$$$ Hip Hop Currency $$$

$Hip Hop Currency$. Written by Ryland Root. 
Raw Hip Hop Headz.




Hip Hop is a culture, a genre of music that has stemmed from a plethora of influences, and it is also very influential within our society today. Just as any genre of music has it’s vital points of interest, Hip Hop has always been perceived by the masses as very “distinct,” and has been uniquely segregated by the general public. What I want to talk about in this piece and for you to personally perceive, analyze, and join in discussion is how Hip Hop has evolved over the last 40 years. I want to address these directional changes, how they have taken place, what they have grown into, and what we know as Hip Hop today. 
Hip Hop has a very direct lineage to what many say started in The Bronx, specifically inside that of a small apartment building on 1420 Sedgewick Avenue. This is where a small righteously independent group of intelligent youth took control of their unfortunately stagnant environment of poverty stricken ignorance. In this, they used their environment to shape a culture and did it in a positively expressive form. Through style, DJ’s, break dancing, graffiti, and a competitive spirit, Hip Hop evolved into something new. 
Some say it does not have a lineage at all, and that it simply is a continuous flux of trends, fashion, topic theme, and only an image it represents. I think that is wrong. I believe Hip Hop does have a lineage-sure I do, but I also believe that origin does not stem from one direct location. It is in our blood. Music has always been apart of our genetic DNA, with our hearts naturally pumping to an instinctual rhythmic beat.
 Hip Hop’s first real radical transformation was when the producers at the time began losing success with the nightly party, dance-hall type style, venues that they were used to playing. Their were some DJ’s left, grasping for straws as the late disco era had come to a violent crash. This is where things got interesting. Some found success in the new sampling trends and ability to utilize beat machines, and some failed, just as the tree of music continued to grow, like a leaf they were stripped of their own branch. This is the circle of life, right? Maybe some call it hip hop Darwinism. 
Thus, the “Golden Age” was born, and is what many “OG” Hip Hop fans consider the most important era. During this time, one of the definitive characteristics and aspects of this new style was the use of sampling different beats from an infinite and growing selection of sounds. (As I stare at my MPC I feel goose bumps). This gave birth to a completely new breed of producers, allowing them to experiment, hone, and perfect a new range of talents. Once again spawning from the environment in which they survived within, the Hip Hop also began to take on a very relatable approach to its listeners.
When Public Enemy started releasing extremely politically influenced material, invasively stating that they hated multiple points of the government, and calling out the corruption of our leaders, it had a very militant type of way of speaking to their listeners. This scared the sheep of society. This was something to worry about! Of course, this was not the case as it was a beautiful, yet intense form of expression and individual protest, showing the human soul and spirit can exist in the rarest of forms. 
This is seldom seen today.
Today we have grown into a type of materialistic glorification; auto tuned to the masses ignorant state, corporately induced by the media driven investors, and has created a collection of persona and facades. Not only has a lack of lyrical ability begun to shape. Where the sheep like masses have accepted this fact- the true fans of Hip Hop constantly argue this is a problem, and that the “Golden Era” needs to be recognized as a steadily important influence.
I think when people say this, they are addressing their problems with certain factors of this current state. Whether that be glorifying gun violence; where we have rappers today like Slim Jesus, someone who has personally stated on camera that is “ignorant,” and that he does not participate in any sort of the acts that his songs lyrically portray otherwise. Whether toting guns and spewing off-beat lyrics, referencing that of killing, gang affiliation, and selling drugs, it is simply wrong. In this, people like him are literally profiting off a façade of a character in which they sadly created. 
I feel the current state of Hip Hop is at multiple forks in the road, with an assortment of directions it can take. It is in a transitional phase to say the least and while some say “Hip Hop Is Dead,” I must disagree vehemently, and say that Hip Hop is only going through a new birth of change, once again-but a very dynamic one. Despite some do not enjoy the type of productions, layered synthesizers, auto-tuned voices, and the influence it yields currently, we all know the health of Hip Hop is alive and well. To further this, the underground thrives more than ever, with emcees striving to get their name known, their lyrical ability addressed, touring across the nation to showcase their talents.
To shine a small bit’ of light on this, I look at the example of battle rap. Where battling was a staple in Hip Hop before, it is on the rise again, and in a massively new shape. Venues and investors are coming together to sponsor events, battlers, and make sure that it continues to thrive. This is actually launching careers of people whom never had the chance before but because of Hip Hop, they have opportunity to escape their environment, and succeed. Companies and investors are not only going for the throat of their artist but now invest in the talent they have to offer. This is pure progression! 
Hip Hop may not be what it was in the late 80’s-90’s, in fact it is mind blowing how different it is. In the current state of where we are today, we have a million more ways of utilizing our voice and expression, to create a message, to protest, to scream for change, but we also must adapt and grow alongside this giant, cosmically driven, explosion of true talent.



Talib Kweli & 9th Wonder The joint album “Indie 500”

RAW HIP-HOP HEADZ
Talib Kweli & 9th Wonder
The joint album “Indie 500”
Indi 500.jpg
Talib Kweli & 9th Wonder have leaked a streaming sneak peek of their new collaboration album "Indie 500"

Talib Kweli & 9th Wonder shared the stacked tracklist for their collaborative project Indie 500 last month, and with the official release date coming later this week, the duo have chosen to put the LP up as an advance stream.
The full album features contributions from Rapsody, NIKO IS, Problem, Bad Lucc, Pharaoh Monch Brother Ali and Slug From Atmosphere.


The Full Album “Indie 500” Drops Friday Nov. 6th
Production is supplied largely by 9th Wonder, but Nottz, Eric G, Khrysis, and Talib's longtime collaborator Hi-Tek are also credited.
Jimmy Fallon premiered the cover art for Talib Kweli and 9th Wonder's collaborative album, Indie on The Tonight Show (October 5).

Talib Kweli and Rapsody, a member of 9th Wonder's Jamla label, were the guest performers on the show.
Jimmy fallon Talib Kweli.jpg
Hear the whole Album here:“Indie 500”
Written By Dylan Mitchell 
https://www.facebook.com/groups/RAWHIPHOPMUSIC/

Lil Wayne's Mansion Raided

As far as most of us know, Lil Wayne hasn’t had much trouble with getting money. However, he refuses to pay $2 million he owes a jet company for a jet he leased awhile back.  He was sued last month by Signature Group, a jet leasing company, for $2 million over missed payments. 
            Since Wayne refuses to pay this $2 million in overdue charges and attorney fees, the Miami Beach Police were told to interrogate his mansion and seize certain assets of his. 
            Miami-Dade County Judge Lisa S. Walsh denied a “break order” at first because there was no proof of valuable assets on the premises.  However, Walsh later reversed her decision based on a real estate agent claiming that there were assets inside.
            Since the Sheriff’s deputies have obtained court order with the warrant, this gives them permission to break the locks and doors of the assets they came for.  In the meantime, Lil Wayne is busy in LA, at the Ace of Diamonds strip club.

            It is also worth mentioning that Wayne is expected to drop his No Ceilings 2 mixtape this Thanksgiving.

Written By Kevin Truss Journalist at Raw Hip-Hop Headz
https://www.facebook.com/groups/RAWHIPHOPMUSIC/

Vince Staples Taking The World By Storm!



Vince Staples. A young emcee rising through the tides of the
independent industry, has broken through the rough, gritty, and often
suffocating surroundings of his hometown Long Beach, California. Vince
began rapping at an early age with “The Cutthroat Boyz,” whom also
consisted of fellow rappers Joey Fatts and Aston Matthews. While trying to
escape the reality of being embedded in a life of warfare and complete
uncertainty, Staples began to branch out with his music and utilize his
inherent talent. He immediately engulfed himself in work with the Odd
Future team, including work in the very early stages of his career with Earl
Sweatshirt, most notably known for the song “epaR.”
After becoming serious about rapping, he became completely
consumed in creating music and began to mold his craft artistically in his
own direction. Staples was featured in Sweatshirt’s “Hive,” in which he
delivered an intensely, yet casual flow, descriptively depicting the grime
ridden side of his personal underworld.

     Capitalizing on his work with Odd Future, his name and ability to
work with others’ began to quickly escalate. Staples began cultivating
recognition from well-known artists and producers. In 2013, he released
Stolen Youth, a mix tape completely recorded and mastered by Mac Miller
under his pseudonym “Larry Fisherman.”
XXL considered this project “a trippy ride through the witty mind of the LA
spitter,” with a “dreamy, textured production.” The mix tape contains
features from his long time affiliate Joey Fatts, Ab-Soul, SchoolBoy Q,
along with a plethora of other hard-hitting emcees.
Often alluding to the wide based corruption with those who claim to
“Serve and Protect,” Staples has reoccurring themes of the unfortunate
circumstances regarding the lower class. As the listener, we relate to the
topics each individually in some way, and stand against the manipulation of
minorities, as he paints a vivid picture of the modern man’s struggle to fight
social corruption.

     After working with prominent artists and developing a solid name
within the industry, Staples went on to release his first debut EP titled Hell
Can Wait, which contained content that immediately received critical
acclaim. “Blue Suede” and “Hands Up” received massive praise and was
considered a success from the hip-hop community, with tracks produced by
Hagler and NO I.D. These two songs also acquired an enormous amount of
attention as both videos embodied the craft of his work perfectly with visual
After this stretch of success, Staples went on to release his first full-
length album titled Summertime 06’via a live stream on “NPR First Listen.”
Keeping to his roots, Staples considered Summertime 06’ to be almost a
continuation of Hell Can Wait, embellishing on the events that happened to
him personally during the Summer of 2006. At this time he was 13, where
he provides insight into the life he experienced growing up as a young teen,
surviving in the streets with intense ties to gang affiliation, and existing in a
constantly unpredictable, violent environment. On June 30th, Spin Magazine
awarded it “Album of the Week,” and wrote “it could be well the fiercest,
most ferociously focused street-oriented double rap album since UGK’s
Underground Kingz.”

    It is evident that Vince Staples is no ordinary emcee; in fact he is the
epitome of what this generation so desperately needs.  Staples would much
rather write a song about current affairs and injustices within our society,
than waste studio time on the current status quo. Staples’ continues to break
barriers and entertain his audience, all while educating the youth to try and
support change among the community.
Written by Ryland Root Journalist at Raw Hip-Hop Headz
https://www.facebook.com/groups/RAWHIPHOPMUSIC/

Redman Destroys the 2015 BET Cyphers Can we expect this same sharpness in the upcoming Muddy Waters 2 ??

With his latest appearance on the 2015 BET cyphers I think Redman is showing the world he is ready to jump back in the game full swing.

At the end of 2014 Redman released a free sneak peek download entitled “Rocking with Marley Mall” It has an overall old school feel with dope samples from Marley Mall spliced to the track, Redman brings the song into the future and rips the 4 minute “old school beat” to shreds. If Redman has been working on an album for over a year and his first sneak peek is produced by .. Muddy Waters 2 is gonna be Fire


After the Def Squad BET Cypher, I think Redman is telling the world he is back and ready to take it all as an independent entrepreneur.

Def Squad reunites during the second cypher of the show. E-Double ( Eric Sermon)  opens things up, kicking bars over an ageless Beanie Sigel beat spitting punchlines about his longevity, a $1.7 million Def Jam Records contract in the ’90s, and hits stretching over 30 years. Keith Murray goes last and tries his hardest to redeem himself over his loss to Fredro Starr of ONYX in a rap battle last week. With a versatile flow Murray... tries his hardest lol….

However, it is Redman aka “Reggie Noble” who shocks us all in the middle of the cypher. Boasting that he is now fully independent, Redman’s bars involve punchlines about keyboard acronyms, owning his status as a favorite rappers’ favorite rapper, and Def Jam reconsidering how they treated his after his 2015 South By Southwest crowd reactionHe says he chose the beat as well. I personally hope he makes a full come back and keeps on spitting that classic Red’. Full Cypher:http://tinyurl.com/qfqo7y6

`Written By Dylan Mitchell Journalist at Raw Hip-Hop Headz




D12 Releases New “Devil’s Night” Mixtape

        


 After their group’s future was questionable, Detroit hip-hop group D12 released a new mixtape titled Devil’s Night on October 30th, 2015, the night before Halloween.  This mixtape, hosted by DJ Whoo Kid, has guest features from Royce Da 5’9, Young Buck, Kidd Kidd, Lazarus, and King Gordy.  Most of the production is by Denaun Porter, along with Block Symfany.  

        The main idea behind this project is to give fans a taste of the old D12, back in 2001 when they released their album version of Devil’s Night.  However, this 2015 reenactment is the mixtape version showcasing “the raw skills, raw lyrics, and the battle shit.”
Originally, Eminem was not a part of the project (trick). Then, it was announced that he did a two minute introduction after the new mixtape came out, promoting the mixtape and the return of D12 (treat).  The rest of the D12 group wanted to make a statement though.  In an interview with Vlad TV, D12 explained that they wanted their voices to be heard.  They obviously don’t want to take away from what Eminem brings to the table, but they want people to know that they’re rappers too! “We can handle ourselves. We know how to do this shit. We need to reinvent ourselves."

Although this mixtape is quite the treat, D12 says this is just “an appetizer for more to come.”

Written By Kevin Truss Journalist at Raw Hip-Hop Headz
https://www.facebook.com/groups/RAWHIPHOPMUSIC/

Jerry Heller sues Dr. Dre, Ice Cube, and Producers for $110 Million


Jerry Heller feels as though he was falsely depicted in the Staight Outta Compton film, and he is making his case for it now.  Apparently, Heller was portrayed as "a sleazy manager who took advantage of Eazy-E, Dr. Dre and Ice Cube.” 
According to TMZ, Heller believed that the following were seen as lies:
  • Withholding a $75k check from Ice Cube
  • He fraudulently urged Dre and Cube to sign bad contracts 
  • He enjoyed lobster brunches while contracts were being signed
  • He was fired by Eazy-E
Heller claims that he never gave the producers permission to use his likeness! Heller is asking for $75 million in punitive damages, $35 million in compensatory funds, and all the profits from the film, whose budget was approximately $28 million.


Written By Kevin Truss Journalist at Raw Hip-Hop Headz
https://www.facebook.com/groups/RAWHIPHOPMUSIC/

Complex Magazine Debate

"Turn up vs Conscious"




This battle started ever since Drake and Future dropped theyre project What A Time To Be Alive. To Complex Magazine if your not "turn up" then your a "conscious rapper". Really? Just think about it, If you say Kendrick Lamar is a conscious rapper. Yet have songs like Backseat Freestyle, Cartoons&Cereal, Hood Politics, and etc. those songs aren't conscious not with the lyrics or production. So, to say somebody like Kendrick Lamar is a complete conscious rapper was idiotic. Any "conscious rapper" have a turn up song including Lupe Fiasco, Big KRIT, Talib Kweli, Mos Def, Killer Mike, and more. Can you name one "turn up rapper" with a conscious song? Probably not because only time they'll turn conscious is when they on a feature, and you can tell they uncomfortable because of how they sound, how they sing a certain hook, and etc.
For the production it follows whatever is popular with the "turn up" songs. Example, DJ Mustard every beat he makes sound's exactly the same as his old beat. Producer's like Thundercat or Flying Lotus is the all around producer, but in they own way rather its the soulful or the airy type of production. You ever check your iPhone or iPod to see if the song is over because it sounds like its looped? That's because its the production and how the song is made. People will say "naw fuck that I love this song just forgot the name". Knowing it sounds the same. Artist like Fetty Wap you'll know its him when he say's "yeah baby". What if he didn't say that, and just start to sing or rap with the production he has? It'll sound exactly like Future because Future is the biggest if not the biggest the most popular rapper right now easily. Overall you can't really say its turn up vs conscious when the artist categorized as conscious make turn up music too. People who are using certain music from "conscious rappers" as a cover to say theyre not turn up. The artist that people categorized as "conscious rappers" are more balanced artist and can go in any lane they want. Artist like Kendrick Lamar, Big KRIT, Lupe Fiasco, and Talib Kweli are all balanced artist and can go in any lane. Even a artist like Drake have a balance with turn up and conscious. So, the article Complex put out basically saying if you not turn up then you a conscious rapper is idiotic to say. If you want to say its turn up vs conscious then make sure its the right artist and not a all around type of artist.



Written By Brandon Watkin's

Administrator @ Raw Hip-Hop Headz
https://www.facebook.com/groups/RAWHIPHOPMUSIC/

Kevin Powell Talks The Legacy Of Tupac And Biggie

 


"People have to understand, it got so crazy during that time, not only did Tupac and Biggie get killed, if people actually did their research, a lot of folks got killed over a course of a couple of years. People got death threats. I got death threats as a journalist because people knew I had a lot of information. He said everyone's names in the interview. So even if you go back and look at the cover story, we actually changed the names of everyone and 'Pac was mad about it" said Kevin Powell in a recent interview with Complex Magazine. For those that don't know, Kevin Powell is a political activist and actor, having a close relationship with Tupac. As he states that alot of rappers at the time were beefing, it makes you think about exactly how much controversy was going on at the time. It was not just Tupac & B.I.G, it was the whole country split down the middle. As revolutionary as a name like Tupac is, alot of people lost their lives due to the massive crime spark. I believe it struck fear into hip hop community, and it almost made people pick and choose sides. We lost many great minds during the 90s and it was unfathomable to see two of the most greatest rappers have to leave so early. You can pick up Powell's book "A Boys Journey Into Manhood" where he describes his relationship with Tupac. "Pac was kind of a combination of like Public Enemy and N.W.A, elements of both were happening in him. There wasn't a lot of folks like that." Rest In peace.

Written By Collin Hart
Administrator At Raw Hip-Hop Headz
https://www.facebook.com/groups/RAWHIPHOPMUSIC/

Download: Big K.R.I.T.’s surprise new mixtape



Download: Big K.R.I.T.’s surprise new mixtape, It’s Better This Way

Krit.jpeg

After hinting at new music during the 2015 BET Hip-Hop Awards, Big K.R.I.T. followed through. On Wednesday (Oct. 14), K.R.I.T.dropped his surprise mixtape “It's Better This Way” In support of his upcoming massive tour.
It’s Better This Way spans 14 tracks and features contributions from Ludacris, Warren G, BJ the Chicago Kid, and DeLorean, as well as narration from DJ Drama.After all the money he made off of his last album “Cadillactica” — one of rap’s best of 2014 — Big K.R.I.T. has followed up his last work with a free mixtape, “It’s Better This Way.”
The album starts with an intro skit where K.R.I.T stands between two forks in the road, as he says aloud his thoughts, he is telling listeners how he will take  the path less traveled- something of the poet Robert Frost as he too once stood between a fork in the road.
K.R.I.T. tells his fans he will go in the opposite of his usual work by saying, “I’ma do something different, I’ma go this way.”
The album’s cover art is a reflection of this, depicting K.R.I.T. with a knapsack on a Cane pole over his shoulder, facing a fork in the road. Signs pointing leftward read, “Regular,” “Follower,” “Ordinary” and “Pressure,” whereas the only sign pointing in the opposite direction reads the album’s title: “It’s Better This Way.”
Since the young rapper came into the game he has continually shocks us with originality and creativity,K.R.I.T. has always insisted on producing all of his own work which eventually landed him a deal with Def Jam, he forces himself to step out of his comfort level and work with different artists, instead of just staying in the studio at his house. His recently announced tour is so big there is a good chance it will come to a city near you, I will definitely be in line when the venue opens.
`Written By Dylan Mitchell Journalist at Raw Hip-Hop Headz