Hip-Hop History Archives - New Hip Hop News

RIP Quincy Jones: Celebrating His Hip-Hop Bond Through Iconic Samples

November 4, 2024 by newhiphopnews

“I fell in love with hip-hop in the late 1970s because it reminded me so much of bebop,” the late great Quincy Jones said of the art form and culture we know and love during a 2021 REVOLT interview. “Young people are seekers, man! They always have been. When we’re young, we all want to break the mold and find our truth, and that is a central tenet of both jazz and classical music! Besides, it all comes from the same stuff.” The music legend sadly passed away at 91 on Sunday night (November 3) surrounded by his family in his Bel Air home. He loved hip-hop, and hip-hop returned that passion. The Chicago native enlisted rappers Ice-T and Big Daddy Kane on 1989’s Back On The Block album, plus many MCs like Talib Kweli, T.I., Q-Tip, Three 6 Mafia, and more on his final album, Q: Soul Bossa Nostra.

With this and his indelible legacy and impact in mind, we decided to list six amazing hip-hop tracks that sample Quincy Jones’ work. We obviously couldn’t fit all of them on here, and there’s so much more to discover regarding these connections. LL COOL J’s “Hey Lover,” Ludacris’ “Number One Spot,” and De La Soul’s “Breakadawn,” along with many others, are too iconic to escape mention. But the musicality and creativity behind each of the following cuts leave no room for hyperbole: Quincy was, and forever will be, one of modern music’s indisputable legends for his craft, contributions, career achievements, and celebrations of the sonic language. Here’s how hip-hop chose to reimagine and pay tribute to his greatness.

Mobb Deep – “Shook Ones, Pt. II”

How could we not kick things off with arguably the best hip-hop beat of all time? Produced by Havoc, Mobb Deep’s “Shook Ones Pt. II” features a wailing siren from Quincy Jones’ “Kitty With The Bent Frame.” It’s off the score from the 1971 film Dollars, which Quincy produced in full. What’s more, this isn’t even the start of his iconic movie collaborators, such as with Roots, The Wiz, The Color Purple, In Cold Blood, The Italian Job, and many more. Back to “Kitty With The Bent Frame,” though, this is an often haunting ambient cut whose urgent atmosphere, jazzy bass licks, and ominous keys provide the perfect backdrop for Prodigy’s legendarily gritty narratives. Ain’t no such thing as halfway efforts in much of Jones’ catalog.

2Pac – “How Do U Want It”

Another iconic hip-hop cut, producer Johnny J used Quincy Jones and Leon Ware’s titular track from the former’s 1974 album Body Heat for 2Pac’s easy-riding All Eyez On Me cut from 1996, “How Do U Want It” featuring K-Ci & JoJo. ‘Pac adds his own sense of swagger to the original’s already funky and soulful melodies and instrumentation. Quincy’s track starts off soft, though, and eventually builds from muted guitars and sobbing synths into a brighter and more energetic jam with some gorgeous vocal melodies and grand drums. The notion that the West Coast legend was able to transform its tenderness into bravado is even more impressive, but that’s how resonant and universal the decades-long producer’s sensibilities are.

The Pharcyde – “Passin’ Me By”

Now with a more straightforward example, we have The Pharcyde’s “Passin’ Me By” off their 1992 classic, Bizarre Ride II The Pharcyde. The opening keys on that track are some of the most recognizable in hip-hop history, and they come from Quincy Jones’ 1973 album You’ve Got It Bad Girl. Together, with producer Ray Brown, he uses those opening moments on the track “Summer In The City” with Valerie Simpson to evoke that exact same vibe. There are some killer solos on here propelled by steady drums and heavenly string additions plus vocal soars further on. As for the South Central L.A. group, producer J-Swift adds more lively drums, scratches, and a seemingly altered bassline to keep that same soul alive under a different context. It still sounds like summer in the city, even 20 years removed from its original and over 30 years since they released it.

MC Lyte – “Keep On, Keepin’ On”

There are so many iconic Michael Jackson records that Quincy Jones produced that created monumental hip-hop tracks. “P.Y.T.” became Kanye West and T-Pain’s “Good Life,” and “It Ain’t Hard To Tell” by Nas flipped “Human Nature” perfectly. But we want to highlight MC Lyte’s smooth Xscape collab “Keep On, Keepin’ On” off her 1996 LP, Bad As I Wanna B. A lingering and ethereal synth hangs in the background, and some tuneful steel drums and trills add a lot of flavor and woozy moodiness to the song. Those sounds are from the Quincy and MJ-produced “Liberian Girl” off the blockbuster 1987 album Bad. It’s one of the most unique sonic pallets of that classic, and it resulted in one of the New York femcee’s most idiosyncratic cuts, as well.

Big Sean & Metro Boomin – “No Hearts, No Love”

Onto one of the most recent Quincy-sampling cuts, which comes from Big Sean and Metro Boomin’s 2017 collab project Double Or Nothing. Their track “No Hearts, No Love” opens with some playful keys and guitar licks, with the keys eventually down-tuned just a bit by producer Metro with some additional dark chords. Despite the solid trap beat, those glistening notes don’t lose their luster and, frankly, they make the track what it is thanks to its support of the Sean Don’s confident bars. Their origin stems from The Brothers Johnson’s 1977 album Right On Time produced by Quincy Jones, specifically the pop and funk-fusing “Strawberry Letter 23.” The original is a much more fun and happy cut overall, but again, those melodies are hard to deny in any context.

MF DOOM – “Rhymes Like Dimes”

Finally, we want to celebrate two late legends with this pick. Out of the wealth of iconic sample flips in MF DOOM’s catalog, the self-produced “Rhymes Like Dimes” off 1999’s Operation: Doomsday is among the most memorable and colorful. Those wondrous keys silky synth leads, and light drums are so joyful and warm that not even DOOM’s husk can take away from their sheen. In fact, it complements it perfectly. Quincy Jones brought this gem of a loop into the world on the 1981 album The Dude on the song “One Hundred Ways” featuring James Ingram. It’s actually the solo that appears after a healing and dream-like vocal performance and is one of many instances where Quincy created larger-than-life moments out of just a few elements and songwriting decisions. To put it bluntly, it’s a magical example of a timeless musical mind and hand.

Rest In Peace Quincy Jones.

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DJ Clark Kent Recalls Introducing Jay-Z To Biggie In Resurfaced Clip As Fans Mourn The Producer

October 27, 2024 by newhiphopnews

DJ Clark Kent tragically passed away earlier this week following a private three-year battle with colon cancer, and the hip-hop world is paying tribute to his indelible legacy. Fans and rap peers everywhere took to social media and beyond to share their heartfelt sympathies, memories, and thoughts on the legendary producer, real name Rodolfo Franklin. In addition, he also introduced Biggie Smalls to Jay-Z, a moment he previously recalled during an appearance on Math Hoffa’s My Expert Opinion podcast. Franklin produced their “Brooklyn’s Finest” collab and also performed the hook on it.

“So, Biggie’s going crazy about this beat and this other beat,” DJ Clark Kent recalled. “I’m like, ‘Yo, come to the studio and wait outside.’ You got to trust me to go to the studio and wait outside when you Biggie and you on fire. I go upstairs, I track the beat, [Jay-Z] goes in, he does a record in, like, 15 minutes. When he comes out the studio… I was like, ‘Yo, you need to put Big on this, man.’ He was like, ‘I don’t know that n***a.’ And [Dame Dash] was like, ‘Nah, f**k that, we ain’t giving Puff no money.’ […] I go down in the elevator, I bring Big back up. We walk in the studio, I’m like, ‘Hi, guys!’ And Big and Jay did not say a word. They just started laughing. […] But the day that they met, they became friends in 1.1 seconds.”

DJ Clark Kent’s Biggie & Jay-Z Story

In addition, DJ Clark Kent explained how he respected Dame Dash and Jay-Z’s initial aversion, but he trusted that he could create fireworks with this link-up. He pretended to go to the bathroom and brought Big up. Then, Franklin recalled how Biggie and Hov sat down and listened to the track that would eventually become “Brooklyn’s Finest.” Kent recalled how Jay went in the booth and recorded the performance we know today with all-new rhymes compared to the version he already recorded.

Hilariously, DJ Clark Kent shared that Jay-Z asked Biggie Smalls if he was ready to record right after. Big was floored by how quickly Jay put it all together without writing rhymes, and ended up taking the record home with him. Smalls’ verse ended up appearing two months later, the night before they mastered the track. It’s one of many examples of Kent’s intuitive choices that ended up giving hip-hop so much.
Rest In Peace DJ Clark Kent.

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50 Cent Hilariously Recalls His First Time Meeting Eminem

September 2, 2024 by newhiphopnews

50 Cent was the most recent guest on Million Dollaz Worth Of Game will Gillie and Wallo, and a great one at that. In their episode, which dropped on Sunday (September 1), they discussed Fif’s career, business moves, and his unbelievable spending on legal fees over the years. However, one of the most colorful and heartening parts of the interview was when 50 recounted the story of the first time he met Eminem. Given their incredibly strong bond as musical collaborators, business partners, and decades-long friends, hearing this backstory from him is a pretty hilarious experience that feels nonetheless wholesome.

“It was wild,” 50 Cent told the media duo around the 51-minute mark of the video below. “It felt like… Remember that show they had? Punk’d on MTV? I thought they had cameras and they was going to come out and say ‘You’ve been punked.’” Also, he revealed that he wore a bulletproof vest when he first met Eminem. This took Em aback when he excitedly hugged him after looking forward to this meeting for a long time. Apparently, this made the G-Unit mogul more doubtful.

50 Cent On Million Dollaz Worth Of Game: Watch

“He flew me to L.A., right?” 50 Cent continued. “I came out. I was so bugged out from the experience that I came through the airport with the vest and s**t on. I’m lucky I took the shock plate out the front of the joint. Because when I came through, it didn’t. But the lawyer that I had with me that took me to [Eminem]. I get there he’s like, ‘Yo!’ He felt the vest and s**t and was like…” 50 then imitated the Detroit MC’s reaction.

“‘Yo this is going to be the biggest s**t right?’” 50 Cent recalled Eminem asking. “He was so excited that it made me question whether what was happening was right ’cause I just wasn’t so used to it. It felt so good that it couldn’t be like right. I’m like ‘Yo, nah.’” Well, all’s well that ends well, right? After timeless hits, millions of dollars, and a whole lot of contributions to each others’ legacies, we’re sure that they laugh back at this moment now.

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Travis Scott’s “Days Before Rodeo”: 5 Songs That Laid The Foundation For “Rodeo”

August 19, 2024 by newhiphopnews

Newer Travis Scott fans are in for a treat from earlier in his discography this Friday (August 23), but for the rest of us… this isn’t our first rodeo. La Flame will drop his 2014 mixtape Days Before Rodeo on digital streaming platforms for the first time this week, celebrating its tenth anniversary and teasing the inclusion of more tracks from that era’s vault. All this excitement around this re-release led many die-hards to look back at the DBR days quite fondly. The project has some of this catalog’s most beloved tracks to this day, and as its title suggests, it proved crucial to the development and massive success of its successor, the 2015 studio album Rodeo.

As such, we’re taking a look today at just five of Travis Scott’s songs on Days Before Rodeo that paved the way for what he achieved on Rodeo, although you could say that about the whole mixtape. Of course, there’s a very specific and connected lineage to highlight: DBR owes much of its identity to the Houston superstar’s first tape, 2013’s Owl Pharaoh. Thus, Rodeo is an even more extended development of many of those original ideas. But when it comes to rapping performances, production styles, and the psychedelic aesthetics that Travis is so renowned for today, DBR is what really started to nurture these key elements of his discography and artistry. His 2015 album sent these elements into the stratosphere of mainstream hip-hop. But these five tracks, in no particular order, are what made them compelling in the first place.

“The Prayer”

Ever since this intro track kicked off Days Before Rodeo, Travis Scott has had an undeniable penchant for amazing opening cuts. “The Prayer” sets up this precedent instrumentally with cinematic organs, string arrangements, regal keys, sharp percussion, and a disorienting but intoxicating outro. His performance, unencumbered by Owl Pharoah‘s pitched-down vocal doubling, also points to more clear and cold-blooded verses on his 2015 studio album. Perhaps most importantly, this record also parallels many of the thematic and structural opening motifs of Rodeo‘s opener, “Pornography.” “The Prayer” opens with the following line: “Midnight awaking, hyper ventilating / Drunk laps running around the globe, wild goose chasing / After three number one albums, would’ve thought I’d feel amazing.” It previews the hedonistic but ambitious concept behind Rodeo before refining his vivid picture-painting even more on that LP.

“Mamacita” Ft. Young Thug & Rich Homie Quan

However, one of the best things about Rodeo isn’t just its loosely assembled but nevertheless compelling subject matter. It’s also full of absolute ragers, and before “Antidote” took over the rap world, “Mamacita” proved for the first time how far Travis Scott could go. It’s by no means his first big commercial and cultural “banger,” as the star-studded “Upper Echelon” landed on Owl Pharaoh. But where that 2013 track chose to be bombastic and overblown, this Rich Homie Quan and Young Thug collab meld that moshpit mentality with the darker, woozier, and more nocturnal vibes that Rodeo would fully embody a year later. This is thanks to Metro Boomin’s striking sample flip of an electric guitar line, atmospheric synth pads, and tough-as-nails drums and bass. If that isn’t enough for you, then look at how Cactus Jack continues to electrify crowds with this anthem to this day.

“Sloppy Toppy” Ft. Migos & Peewee Longway

Speaking of collabs, this Days Before Rodeo cut is actually not one of the best on the mixtape, but it’s most certainly one of its most important. For starters, this kickstarts Travis Scott’s crucial collaborative history with Quavo and the Migos. More broadly, it’s a lofty and audacious attempt to meld vintage soul samples, cavernous synth bass, eerie keys, and grand strings together into a cohesive and progressive song that evolves and molds as it goes along. This would prove to be a key songwriting formula for Rodeo tracks like “3500,” “Nightcrawler,” and many more. It’s something that Travis eventually perfected in 2015 and beyond, but better execution down the line doesn’t diminish the weight of “Sloppy Toppy.” Fortunately, he also got much better at picking song titles.

“Backyard”

While Rodeo‘s more summery and light moments don’t always see the same retrospective appreciation as its shadowy trap highlights, Travis Scott has always tried to balance out his sonic directions. “Backyard” represents this warmer side on Days Before Rodeo (along with cuts like “Grey”) thanks to a simple but tender sample flip, paired explosively with a crisp snare, live-sounding hi-hats, and a carefree chorus. It would fit well in a playlist with Rodeo‘s “Flying High,” but it’s more directly related to the impressive flow switches, involved verses, and stark drum patterns on a song like “Apple Pie.” That’s another thing: this was one of Travis’ best verses and rapping performances to date back in the day, and Rodeo pushed these lyrical heights even further. Thanks to songs like “Backyard,” people fell in love with him as an MC, not just as an artist.

“Drugs You Should Try It”

Finally, we’d be remiss not to mention Travis Scott’s most iconic song from Days Before Rodeo in many fans’ eyes. When he dropped DBR, this was easily his most personal, intimate, and beautiful song yet, and he’s scarcely replicated its magic since. Rodeo‘s “90210” is the key example of the musical legacy that this classic left behind, as well as that album’s more soft and emotive displays like “Impossible…” Plus electric guitar worship. The simplicity of the instrumental paired with the track’s melodic dominance – and especially its unique vocal delivery – built a new lane for Travis to express himself. In fact, it arguably cemented his auto-crooning style for good, an approach that he’s yet to let go of. While Owl Pharaoh had pretty moments, “Drugs You Should Try It” is the first stroke of genius in Scott’s discography, and it defined his idiosyncrasy and innovation as an artist.

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Jay-Z Bar From “Public Service Announcement” Finally Gets An Explanation

July 19, 2024 by newhiphopnews

Jay-Z has a lot of history to look back on, whether it’s his still-contentious alleged beefs or the wealth of great bars that he’s given the culture. Still, not every Hov bar is easy to research or break down, and one particular line off of his smash 2003 hit “Public Service Announcement” has always left fans scratching their heads. “My homie Strick told me, ‘Dude, finish your breakfast!’” he raps at one point, and it turns out that no one figured this bar out because it was such a specific anecdote. Moreover, former NBA player Smush Parker recently explained the context behind this line during a conversation with the legendary Rucker Park’s Streetball collective.

Apparently, this Jay-Z line refers to a failed dunk attempt from Parker to Strick during a game at the Rucker, to which Strick told his opponent: “Yo, young fella, you gotta finish your breakfast” with a side-eye. The Brooklyn MC witnessed this moment and chose to christen it on one of his biggest songs, which is quite the flex. Frequent Jay collaborator Just Blaze made this “PSA” beat off of The Black Album, and he previously spoke on how they already finished the project by the time he cooked this song up.

Smush Parker Reveals The Story Behind One Of Jay-Z’s “PSA” Bars

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A post shared by Rucker Park Streetball (@ruckerparkstreetball)

“The Black Album was done, it was handed in,” Just Blaze told REVOLT of the Jay-Z collab all the way back in 2013. “My two contributions were ‘December 4th’ and the intro [‘Interlude’], which I was fine with. And we’re at Battery [Studios] mixing something. One of my best friends by the name Big Jack comes in the studio, ‘I got something you gotta hear.’ I put the headphones on and he puts this record on and all you heard was ‘doom-doom-doom-doom-doom’ and I’m just sitting there like ‘What is about to happen?’

“So, I made the ‘PSA’ beat in the headphones while the engineer was mixing one of the records we was working on,” Just Blaze continued concerning Jay-Z. “I made the beat in like 10 minutes and I ran over to the studio… So, the next day Jay’s doing listening sessions for the press for The Black Album… I’m like ‘Nah, you gotta come in here.’ And I play it and at first his reaction was just like… and I’m like ‘Do you not hear what we’re all hearing?’ As he’s doing the press, he’s thinking about this beat in the back of his mind. Coming up with the song… So, he comes in the next day. Spits the whole thing over in one take…Two or three weeks later we’re at the Garden and the entire arena knows the words.”

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Lil Wayne Celebrates The 20th Anniversary Of “Tha Carter” By Putting New Fans On

June 30, 2024 by newhiphopnews

One of Lil Wayne’s most legendary projects, and arguably the one that shot him up into the stratosphere of hip-hop, celebrated its 20th anniversary on Saturday (June 29). Moreover, Tha Carter has spent two full decades captivating fans and providing a crucial blueprint for modern rap, and it’s been a wonderful journey to witness. “I’m Weezy F. Baby and this is Tha Carter,” Weezy tweeted on Saturday, quote-tweeting a post about the album’s anniversary to invite newer and casual fans to do their homework. With a reunion with Birdman going down recently as well, it’s a great time for him to reflect on his amazing career and strive to live up to this potential in the future.

Furthermore, Lil Wayne is also making sure that he forms a strong relationship with the new generation, such as basketball star and rapper Flau’jae Johnson. She recently spoke on their collaboration “Came Out A Beast” off her new album Best Of Both Worlds and how it lit a spark under her creative flames. “Working with Lil Wayne on ‘Came Out a Beast’ was a surreal experience,” Johnson stated to Complex. “His energy and talent pushed me to new heights.”

Lil Wayne Celebrates Tha Carter‘s 20th Anniversary

But don’t think that Lil Wayne isn’t reflecting on the game as a whole as opposed to his sole contributions, because he’s often got two cents to share on the game. For example, he recently updated his top five MCs of all time list in an interview, and it carried a different context compared to his previous rankings. Jay-Z, Missy Elliott, Eminem, and Biggie Smalls made the list, and so did Young Money partner Drake. This caught many fans’ eyes and ears due to Drizzy’s current beef with Kendrick Lamar, and the fact that K.Dot didn’t make the list.

Of course, it’s not like the Compton lyricist had to make the list, or that Lil Wayne had previously included him, but it’s a curious choice nonetheless for fans. After all, why wouldn’t the New Orleans legend pick one of his proteges? We’re sure that Nicki Minaj is number six. Between a LeBron James-assisted Beats commercial, more new music on the way, and celebrations of his iconic past work, it’s a great time to be Tunechi right now.

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Wu-Tang Clan “Once Upon A Time In Shaolin” Timeline: What Happened & What’s Next?

June 13, 2024 by newhiphopnews

On a trip to Egypt in 2004, the RZA first ideated a new Wu-Tang Clan album that would deservedly treat music as high art, not as a commodity to create and distribute quickly and on a dime. By the time the LP Once Upon A Time In Shaolin “came out” in 2015, following almost a decade of studio sessions with the whole Wu, the project became a more pertinent experiment and statement amid streaming’s rising devaluation of music. He and producer Cilvaringz worked heavily on recreating that gritty sound from the 36 Chambers days, compiling verses from every surviving member of the rap group plus some extra names like Redman and Cher.

So when 2015 rolled around, and the album released as a unique physical copy with no digital equivalent, the idea was to tour it around museums, listening events, and the like before landing on a single buyer. Wu-Tang Clan members like Ghostface Killah, Method Man, and Raekwon all voiced their grievances over remaining in the dark on this release strategy. Despite the internal conflicts of the group, Once Upon A Time In Shaolin stuck to this approach, and its legacy continues to champion this idea, albeit in an altered manner, to this day. But it definitely went through many obstacles to find itself in 2024, and will likely face more. But where did this all start?

Once Upon A Time In Shaolin‘s Original Sale Plan

Wu-Tang Clan’s rare unreleased album, Once Upon a Time in Shaolin. pic.twitter.com/POArhx34f7

— XXL Magazine (@XXL) June 8, 2024

Once Upon A Time In Shaolin entered the steep marketplace with some legal stipulations: its eventual owner would not be able to release or profit off of the album until 2103, 88 years after its release. About 150 art aficionados, critics, and art dealers heard the album at a MoMA listening session in 2015, and auction house Paddle8 searched for a buyer. This was more of a compromise when compared to the original vision for this Wu-Tang Clan album to tour the world in a briefcase. Alas, they eventually found the project’s buyer, which opened up a notorious can of worms.

Martin Shkreli Buys The Wu-Tang Clan’s Album In 2015

In 2015, hedge fund head and infamous “pharma bro” Martin Shkreli bought the album at an auction for $2 million. This wasn’t just controversial based on the presumptuous image that he represented as Once Upon A Time In Shaolin‘s owner, but also because of his actions elsewhere. A big narrative around this sale was that Shkreli had raised the price of the anti-parasitic drug Daraprim, for AIDS treatment among other uses, by 5,000%. He promised to leak the album if Donald Trump became U.S. President in 2016, yet upon his election, he only played some snippets here and there and shared them online across various platforms. Shkreli also boasted about playing the album for partners and colleagues, and this obviously caused a stir in the Wu-Tang Clan camp.

How Did The Wu Respond To Shkreli?

The RZA claimed ignorance of Martin Shkreli’s moves to raise Daraprim’s price before they finalized the purchase. In fact, the group apparently donated much of the proceeds behind the sale to charities supporting cancer treatment and other medical efforts to circumvent high pharmaceutical costs. While he defended Shkreli’s right to purchase the album as a hip-hop fan and appreciator of art, others weren’t so keen. Ghostface Killah got into it with the “pharma bro,” resulting in some back-and-forth diss videos in which Shkreli played more of the album. Method Man also spoke on feeling blindsided and at odds with Once Upon A Time In Shaolin in 2017, and others like Raekwon spoke of their differences in the years since.

Martin Shkreli Goes Down

In 2017, a court convicted Martin Shkreli on federal charges involving security fraud, and while he tried to sell the album on eBay before his imprisonment and 2018 sentencing to seven years, Once Upon A Time In Shaolin became one of the assets that the court seized as part of a $7.3 million forfeit. The Wu-Tang Clan’s album fell into the hands of the U.S. government, and Ghostface Killah and Raekwon were among those who blasted Shkreli after this arrest. But the question of what would happen to the album remained a mystery… until 2021.

Pleasr Takes Over

In July 2021, the U.S. Department of Justice announced the sale of Once Upon A Time In Shaolin in its continued asset seizure of Shkreli. The buyer was later revealed as NFT company PleasrDAO, who bought the Wu-Tang Clan project for $4 million. This doubled its value but still left its future as an uncertain sea of speculation.

Pleasr’s Lawsuit Against Martin Shkreli

On June 10, 2024, PleasrDAO filed a lawsuit in Brooklyn federal court against Martin Shkreli for allegedly playing unauthorized copies of Once Upon A Time In Shaolin since 2021 that breached the terms of his forfeiture order. Not only that, but the company claimed that he boasted about this practice on social media. Shkreli blasted this lawsuit attempt online, calling PleasrDAO “super nerds” that displayed a “lack of diligence” in their arguments.

Once Upon A Time In Shaolin Is Slowly Becoming A Reality… Right?

Apparently, this did not halt Pleasr’s efforts to get the album out to the public little by little… and on their terms. Earlier this June, New York City’s oldest synagogue held a listening event for bits of the album (not in its entirety), and the company announced that the Museum of Old and New Art in Tasmania would host 30-minute listening events playing select Once Upon A Time In Shaolin cuts twice daily as part of its “Namedropping” exhibition, running from June 15 to June 24. Not only that, but they also reportedly launched five-minute snippets from the Wu-Tang Clan album as NFTs, as part of a reported agreement to “unlock” the album by speeding up the timeline until October 8, 2103 by 88 seconds with each purchase. Will it generate the $28 million necessary to put all the pieces together? Time will tell…

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Travis Scott’s College Essay About G.O.O.D. Music Dug Up By Fan, Internet Rips It Apart

May 27, 2024 by newhiphopnews

Travis Scott has always been a studen t of hip-hop ever since he became a Kanye West protege back in the early 2010s. Over the years, we have seen him take the respective sounds of artists like Ye, Kid Cudi, Future, and more and create a one-of-a-kind psychedelic sound. But even before he began his rap journey, he was looking to get ahead even when he was an actual student. According to XXL, one of many Travis Scott fan accounts recently uncovered a college essay from his short stint at university. This four-page paper from December 5, 2009, seems to have been for an English professor of some sort.

If you did not know, Trav attended The University of Texas at San Antonio (UTSA). He would drop out during his sophomore year, before ultimately becoming the controversial superstar we know him to be. In the essay, Scott flexes his rap knowledge by summarizing the careers of Kid Cudi and Big Sean. He refers to them as “well-known rappers that had similar lifestyles but different messages.” Subsequently, these parallels “carried them an opportunity to get sign to a multi-million-dollar company called G.O.O.D. MUSIC.”

Fans Joke Travis Used Wikipedia For This College Essay

Full essay: pic.twitter.com/oX7jZlierh

— Travis Scott Vault (@travis_vault) May 27, 2024

Near the end of the paper, Scott wanted to this story to convey that, “Success is not something that is giving out. You must go out and take what you want.” Even though the multi-hyphenate must have felt good about his efforts here, fans have been quick to tear it up. “Dude wrote the intro, then just copy paste Wikipedia!” one user writes. “Goddamn my brain is hurting reading this s***” another adds. While some of the grammar is not totally refined, it seems that he knew this information on the back of his hand.

What are your thoughts on this college essay about G.O.O.D. Music by Travis Scott? Do you think this is a poorly written, or well written paper? Could you see Travis knowing all of this, or do you think he did some light research? We would like to hear what you have to say, so be sure to leave your takes in the comments section. Additionally, always keep it locked in with HNHH for all of the latest news surrounding Travis Scott. Finally, stay with us for everything else going on in the music world.

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6 Times Rappers Lied In Diss Songs

May 10, 2024 by newhiphopnews

Gayle King interviewed Fat Joe last year, where he opened up about how a rapper’s lyrics lie. His statement came after King asked Fat Joe what he thought about Young Thung’s lyrics being used against him in court. His response caught King off-guard: “I’ve been rapping for 30 years – I’ve lied in almost 95 percent of my songs.” No one was expecting to hear this, but it begs the question: how many rappers have been lying on record? How many have lied in a diss song? Quite a few, it turns out.

In the ongoing Drake-Kendrick Lamar beef, the media and fans have been skeptical about Lamar’s claims on “Meet the Grahams.” The track dropped on May 3, raising eyebrows when Lamar rapped, “Dear baby girl, I’m sorry that your father not active inside your world.” Lamar is obviously taking his cue from Pusha T, who exposed Drake’s son Adonis back in 2018 with “The Story of Adidon.”

The difference is that when Pusha’s track dropped, Drake owned the truth and started showing his son publicly. In the case of Lamar’s track, however, Drake immediately responded on Instagram, writing, “Nahhhh hold on can somebody find my hidden daughter pls and send her to me…these guys are in shambles.” The difference in response–plus Fat Joe’s reveal with Gayle King–makes you wonder if Lamar is just making stuff up. Are the rapper’s lyrics lies? It certainly wouldn’t be the first time a rapper has bent the truth in a diss song.

1. Jay-Z Vs. Nas: Baby Seat Claims On “Super Ugly”

Everyone knows Nas burned a hole through Jay-Z on his record “Ether.” It was so powerful that the song title became a verb used in lingo: “You ethered him.” When Hov dropped The Blueprint in 2001, he included a couple of comebacks, notably “Super Ugly.” Jay-Z fired shots at Nas by trying to trash talk his now-ex Carmen Bryan, with whom Nas has a daughter. He raps, “I came in your Bentley backseat (Damn) / Skeeted in your Jeep (Woo) / Left condoms on your baby seat (Woo).” Were this rapper’s lyrics lies, too?

Speaking with VladTV in 2017, Carmen Bryan addressed the diss song and its dishonesty. She pointed out the fact that her daughter was nine or 10 years old when “Super Ugly” dropped, so she’d outgrown baby seats by that point in time. Bryan believes the track was an impulsive, emotional reaction on Hov’s part. The rapper was trying to bounce back quickly and was simply grasping for whatever he could. Bryan also claims that a mutual friend later told her that Jay-Z ultimately regretted dropping the track.

2. Ma$e Vs. Cam’ron: Family Intimacy Claims On “The Oracle”

Back in 2017, Jacksonville-born Bad Boy Records rapper Ma$e dropped “The Oracle.” The track was a scathing diss aimed directly at Cam’ron’s neck. The two had run together in the ’90s in Children of the Corn, a group they formed with Big L and Herb McGruff. But on Hot97 in 2004, Ma$e and Cam’ron had a heated argument after which Cam’ron swore he’d never speak to his old friend again. After that, Cam’ron dropped diss song after diss song against Ma$e.

When “The Oracle” came out in 2017, it was a full-on assault. Ma$e commented on Cam’ron’s ulcers, lambasted him for selling Sizzurp liquor, and then went for the throat. He claimed Cam’ron was intimate with his own sister. Ma$e raps, “Every since 10 you was a thirsty n**** / I ain’t gone talk about the time you f***** your sister.” In a later interview on The Breakfast Club, however, Cam’ron stated that he doesn’t even have a sister. The interviewers prodded for possibilities, but Cam’ron was steadfast.

3. Gucci Mane Vs. Young Jeezy: Rapper’s Lyrics Lie About Keyshia Cole

Gucci Mane and Young Jeezy started beefing way back in 2005 when the two collaborated on the track “Icy.” Young Jeezy had been under the false impression that the track was meant for his debut record. What actually happened was that it ended up on Gucci Mane’s first independent album, Trap House. To add fuel to the fire, Gucci Mane never even paid Jeezy for his appearance on the record (or so Jeezy claims).

Over the 2000s and 2010s, the two would continue to beef. In 2012, Gucci Mane dropped the critically acclaimed album Trap God. A fiery sling at Jeezy, “Truth,” was on the record. This time Mane brought Keyshia Cole into the mix, whom Jeezy had been in a relationship with from 2005 to 2007. On “Truth” Mane raps, “I did a song with Keyshia Cole, and I know you still miss her (Yeah) / But Puff was f****** her while you was falling in love with her (Wow).” Keyshia Cole would make a stand against the record, tweeting, “That ain’t my business!! he’s lying! its all G tho.” Mane would respond with an apology and tell Cole that it was simply meant to add fuel to the fire between him and Jeezy.

4. Nas vs. Jay-Z: The Foxy Brown Claims

Earlier in the article we covered Nas’s beef with Jay-Z. It was on the track “Ether” that Nas systematically dismantled Hov. One of the enduring digs Nas made was regarding Foxy Brown. On “Ether,” Nas raps, “Foxy got you hot ’cause you kept your face in her p*** / What you think, you getting girls now ’cause of your looks?”

It’s true that some believe Jay-Z was involved with Foxy Brown when she was underage. Jay-Z mentored Brown after she signed with Def Jam in 1996 and helped her create the platinum Ill Nana album. But these rumors have never been confirmed, and Brown herself has recently denied them once again. On Instagram in 2023, she made a post calling the allegations “Fake fairytale news.” She went on to say, “The Fox and Hov flies are pathetic at this point.” It’s hard to say whether the Illmatic rapper’s lyrics are lies, but Brown has a point. It’s been almost 30 years, and no one has provided sufficient evidence.

5. Ja Rule Vs. 50 Cent: “Life’s On The Line”

50 Cent released “Life’s on the Line” in 1999 as an attack against Ja Rule and Murder Inc. The motivation came from Ja claiming that one of 50’s associates robbed him of his chain while shooting a music video. The beef simmered between the two, and when Ja dropped “Murda 4 Life,” 50 felt he was snubbed during the shoot for the video. “Life’s on the Line” was a straightforward attack, but Ja has continuously claimed that the entire beef between him and 50 was a gimmick. In a 2023 interview with Math Hoffa, Ja claimed that creating a beef was 50’s plan from the beginning. Apparently, 50 fabricated the beef to garner attention and explode upward in the industry. So, it seems the rapper’s lyrics on “Life’s on the Line” were a rapper’s lies.

6. Tupac vs. Biggie: “Hit ‘Em Up” & Faith Evans

Tupac’s “Hit ‘Em Up” might be the most famous diss song of all time. The song is a direct attack on The Notorious B.I.G. and Bad Boy Records. It also famously spawned The Outlawz, who provided backup on the track. Tupac’s track was a scathing attack crafted after Tupac interpreted Biggie’s “Who Shot Ya” as a shot at him. It all started in the lobby of Bigge’s Manhattan Quad Studios. Tupac was coming to do a verse after receiving an invite. Unknown assailants jumped, robbed, and shot him in the studio’s lobby. When “Who Shot Ya” dropped, Tupac believed it to be about him. This series of events would ignite the entire East Coast-West Coast rivalry of the ’90s hip-hop scene.

Early on in “Hit ‘Em Up,” Tupac shouts at Biggie, “You claim to be a player but I f***** your wife,” a direct hit on Biggie’s wife Faith Evans. Biggie’s widow has repeatedly denied the claims for decades, most notably in her 2009 memoir Keep the Faith. In an interview with VladTV in 2014, Faith spoke candidly about what really went down. Apparently, when she joined Tupac in the studio to record on his track “Wonda Why They Call U B****” she was unaware of the brewing beef between Tupac’s label and her husband’s.

Evans said the situation was strange in the studio, and the tension was palpable. After finishing the session, she went to collect her payment from Tupac at his hotel, where he allegedly asked her for oral sex. Tupac offended her, and she declined. Once she was there, she says, she realized it might’ve been part of Pac’s plan from the get-go. Though fans still speculate, this is one of the most famous instances where a rapper’s lyrics lie.

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Ghostface Killah Is Still Supreme: 7 Of His Best Songs Of The Last Decade

May 9, 2024 by newhiphopnews

Happy 54th birthday to Ghostface Killah, one of the best to ever rap. As a member of the Wu-Tang Clan, he’s been engrained in hip-hop culture for the part 30 years now. In fact, it’s not hard to see the collective as a whole’s influence in the contemporary generation of MCs. Many within the Wu and within the Griselda crew have pointed out the kindred spirit between them, and any gritty lyricist you love today has roots in the Shaolin land. Of course, it’s thanks to revered spitters like Ghost that this cultural and artistic connection exists, but don’t think that history and time have eroded his untouchable qualities as a wordsmith and storyteller.

On albums like Ironman (1996), Supreme Clientele (2000), and 2006’s Fishscale (plus, hopefully, the upcoming Set The Tone LP), you’ll find plenty of vivid imagery, staggering wordplay, and cinematic storytelling, but don’t think that’s where the buck stopped. Tony Starks continued to collaborate prolifically, play with new conceptualizations of tried-and-true ideas, and process more experiences to turn into excellence. You can determine for yourself whether these Ghostface Killah songs (solo material, not feature verses) match up to his most classic work. But you’d be a fool to label him anything less than one of the greatest hip-hop artists alive, or to classify some of his 2010s and 2020s output as undeserving of that praise.

“Love Don’t Live Here No More” Feat. Kandace Springs – 36 Seasons (2014)

In chronological order, we start with Ghostface Killah’s 2014 concept album 36 Seasons, centering around Tony’s return home after nine years behind bars. This is one of the opening cuts, and narrates how much he looked forward to seeing his girl after so long. Through detailed narration, a tender instrumental, and conflicting emotions about loyalty and loneliness from both romantic parties, Ghost creates a very hard-hitting cut. It’s an amazing sample flip to boot, and suggestive lines like “Gone for 9 years like 9 months to a child” give some more depth to what this love’s dynamic actually looks like.

“Six Degrees” Feat. Danny Brown – Sour Soul With BADBADNOTGOOD (2015)

Over one of the oddest instrumentals Ghostface Killah’s tackled over the last decade, he crafts really striking chemistry with none other than Danny Brown. Hearing the vocal contrast between the former’s composed force and the latter’s unleashed yelps is a true treat, especially when the beat switches between stronger boom-bap drums and swings and more jazzy, eerie, and syncopation-focused percussion. It’s no wonder the instrumental can come across so haunting with lines like, “Sixth sense, six pack, six degrees of separation / My evil third eye blinks with no hesitation” sticking in your head. Heavily reverbed and cavernous guitar plucks, woozy tones, and an overall minimal atmosphere really emphasize the hedonistic nature of their boasting.

“Resurrection Morning” Feat. Raekwon & Bilal – Twelve Reasons To Die II With Adriane Young (2015)

Ghostface Killah’s known to be larger than life: overwhelming orchestral instrumentation, energetic verses of life’s realities and mysteries… the whole shebang. But over the past decade, few collaborations or tracks in his catalog are quite as passionate, evocative, or dramatic as this one, which centers around a man sacrificing himself seemingly to exact revenge to achieve atonement or to curse another. Whether it’s choral vocals, ringing organ chords, hard-hitting boom-bap drums, electric guitar strums, or uplifting piano arpeggios, “Resurrection Morning” really gives weight behind gut-punching lyrics like, “Murderer, take lives like mine’s was once taken / Or leave my seed in this cold world, my heart’s aching.” There are also some striking chord changes throughout that not only keep the song dynamic but also illustrate the complexity of emotions within.

“Buckingham Palace” Feat. Benny The Butcher, 38 Spesh & KXNG Crooked – The Lost Tapes With Big Ghost Ltd (2018)

At face value, there’s not much new to say about “Buckingham Palace”: a loud and bombastic horn-led boom-bap beat, equally boisterous bars like, “We kamikazes, microphone aeronautics / We bounce off promoters like West Coast hydraulic,” and fiery verses from the guests. But not only is this a well-balanced and properly electrified throwback, but it also shows off a lot of dynamic blow-trading between all these MCs. Spesh and Benny, in particular, trade bars off quickly, melding their individual verses into one. All in all, this will probably hit especially hard for the old heads out there, and is among the best examples of P Tone retreading old territory.

“Morning Ritual” Feat. Kendra Morris – Czarface Meets Ghostface With CZARFACE (2019)

When they hit, there’s nothing like a Wu-Tang Clan reunion, and this is probably the biggest highlight on the collaborative album between Ghostface Killah and CZARFACE (Inspectah Deck, 7L and Esoteric), although ironically enough, Inspectah isn’t on this one. Instead, Ghost and Esoteric trade between two instrumental tones over the same percussion: the former’s contains menacing horns for his villainous energy (“I got a question for the mirror, ‘The Ballys or the Wallos?’ / ‘The Desert E, or should I do the pound with the hollows?’“), whereas the latter spits more lackadaisically over cold synths and ghostly pianos and pads. The switches between the two are always worthy of a stank face, and it’s more evidence of the now-54-year-old working perfectly with whatever teammate is by his side in the booth.

“Soursop” Feat. Masta Killa, Harley & Solomon Childs – Ghostface Killahs (2019)

The closing track on the somewhat self-titled 2019 album from Ghostface Killah is an unconventional reggae flip that nonetheless contains one of the best beats on the project, and a refreshingly laidback atmosphere for him to attack. He’s still able to come through with aggressive deliveries coating more luxurious and nature-tuned lines like, “Sharpened machetes that slice through the trees for berries / Busting coconuts, Selassie legendary” or still bragging threateningly with lines like “Machine gun mask on, looking like a bunch of goalies.” But most impressively, neither contrasting approach dilutes the other. The Staten Island native has missed some fusions before, but this is just as sunny as it is sonning any rapper attempting to match his energy.

“Claudine” Feat. Ghostface Killah, Method Man, Nicole Bus & Mathematics – Wu-Tang Clan (2023)

Finally, we have a bit of a cop out. But as one of two Wu-Tang MCs on here for the group’s first official single in six years in the year of hip-hop’s 50th anniversary, we wanted to shout out Ghostface Killah’s emotive, powerful, and deeply verse on “Claudine.” Per legendary Wu producer Mathematics, who’s behind the board here, this song is a tribute to his mother and to “all mothers, wives, and young women,” and is a soulful tale of love, perseverance, pain, and togetherness. Method Man goes over a complicated relationship with a partner, whereas Ghost honors his deceased mother. “Her face was cold, she felt my tears in the casket / And every drop that fell on her cheek, I cried acid.” It summarizes much of what makes his work transcendent in a powerful way, and we can’t wait to hear what else he crafts.

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