It’s a milestone that resonates deeply within the hearts of hip-hop heads and aficionadas alike. Nearly twenty years after its initial release, the iconic collaboration between the masked author MF DOOM and beatsmith extraordinaire Madlib, known as “Madvillainy,” has achieved a monumental feat: gold certification from the Recording Industry Association of America (RIAA). This certification, bestowed upon the album almost exactly two decades after its debut on March 22, 2004, marks a testament to the enduring legacy of an album that has consistently captivated audiences since its inception.
Initially released under the banner of Stones Throw Records, “Madvillainy” has now ascended to the echelons of gold status, denoting sales surpassing a remarkable half-million copies. Reflecting on the creation of “Madvillainy,” on Complex Music’s Instagram, Peanut Butter Wolf, the founder of Stones Throw Records, reminisces on the album’s humble beginnings. He reveals the intimate process behind its creation, recounting how Madlib meticulously crafted the beats within the confines of his home, renamed The Bomb Shelter.
“This was an album where Madlib chose to record the beats in my basement that we called The Bomb Shelter (it was a literally a concrete bomb shelter),” he wrote.
Meanwhile, MF DOOM lent his lyricism to the project, recording vocals in a makeshift studio within Wolf’s own home.
“DOOM recorded his vocals in my bedroom down the hall where we also had @ecoleye do a photo shoot that became the album cover–It’s the first (and only) album on my 28-year-old label to go gold.”
It’s a tale of artistic camaraderie and ingenuity, where creative sparks ignited within the confines of DIY recording spaces.
The album’s impact transcended its underground origins, as evidenced by Wolf’s recollection of the LA release party held at The Fonda. Fearing a lackluster turnout, the lineup was stacked with luminaries such as J Dilla and Common, alongside the enigmatic figure of MF DOOM himself. Despite initial trepidation, the event served as a testament to the album’s burgeoning influence, drawing in crowds eager to experience the magic of this future classic.
“We did a few more shows that month with the same lineup in a few major markets to small but very excited crowds.”
On the twentieth anniversary of the album’s release, the Beat Konducta, Madlib paid homage to his late collaborator, MF DOOM, with a heartfelt tribute shared on social media.
“20 years. RIP to the Villain.”
Accompanied by a clip from the “All Caps” video, which yielded a timeless masterpiece.
Beyond its commercial success, “Madvillainy” continues to thrive in the digital age, amassing an impressive array of streams on platforms like Spotify. The album’s popularity has surged in recent years, with an average annual increase of 73% since Spotify’s inception. This surge culminated in a remarkable 241% spike in streams in 2021, following the tragic passing of MF DOOM, underscoring the profound impact of his artistic legacy.
With over 803 million all-time streams on Spotify and appearances on over 8 millions playlists, “Madvillainy” stands as a testament to the enduring power of artistic collaboration and DOOM’s uncompromising creativity.
Its journey from the confines of a basement studio to the halls of gold certification is a testament to the indelible mark it has left on the landscape of hip-hop and music as a whole. As fans continue to revisit “Madvillainy” the collaboration remains a beacon of innovation, originality, and timeless resonance in an ever-evolving musical landscape.
You wanna read something cool? The news this week has been utterly sh*t, so I think we could all use a pick-me-up. On Monday (March 25), just a day after the 20th anniversary of the release of the late MF DOOM and Madlib‘s joint album Madvillain, the album was certified Gold by the RIAA. That makes it the first Gold album in Stones Throw Records history and
the first Gold album in either artist’s discography. Check out a screenshot from RIAA’s website:
RIAA.com
How To Buy Madvillainy On Vinyl
While the special-edition 20th-anniversary vinyl reissue of Madvillainy is unfortunately sold out, you can still get the normal edition from a bunch of places, including the Stones Throw Records website, MF DOOM’s official online store, and, of course, Amazon (get it from DOOM’s site, though). In some more good news, Madvillainy isn’t the only 2004 collaborative album to get the 20th-anniverary special-edition treatment: As Stones Throw announced last year, the label also reissued Madlib’s joint album with the late Detroit producer J Dilla, Jaylib.
If you’re dedicated (and financially irresponsible) enough, you could probably still find copies of both reissues on the resale market. Either way, Madvillainy is always worth a purchase, as it is largely credited as the album that exposed the underground stalwarts to many of their staunchest fans, which include unlikely names like Playboi Carti. In the wake of DOOM’s death, it was the one reached the highest commercial peak, hitting No. 73 on the Billboard 200.
Only a handful of albums in music history earn the pretentious acclaim that they garner, and who would’ve thought America’s two most blunted supervillains would be hip-hop’s best examples of this? Moreover, MF DOOM and Madlib’s legendary collaborative album Madvillainy turns 20 years old today (March 23). To this day, people still champion its lyrical density, its now-iconic and unique sampling, the seamless inclusion of featured guests, and the overall wealth of appeal within its 22 tracks and 46 minutes. In other words, it’s one of the most fun rap projects to listen to thanks to its sharp, witty bars and engaging production while also being fit for scholarly analysis. There are so many samples to unearth and discover, such rich wordplay laden with hip-hop history and double entendre references, and more soul than a sock with a hole.
Furthermore, we decided to take a look at 20 of the many obscure, surprising, under-discussed, or overlooked references on this album (one song at a time) from MF DOOM’s pen and mic, and from Madlib’s Boss SP-303 sampler, his turntable, and his tape deck. Of course, Madvillainy‘s 20-year history and universally celebrated acclaim means that you’ve probably already heard of these. But we found that these inclusions don’t come up as often as others. Some of these are samples you wouldn’t have expected to be samples, others are clever lyrical nods, a few are old entertainment callbacks, and all of them add to this LP’s mystique, character, and timelessness. Sounds dense, doesn’t it? Yet this complexity doesn’t dilute Madvillain’s creativity, fun-loving nature, immediacy, or frankly, their coolness. Such has been the case for the metal fellow and his maniacal liaison ever since New York plates was ghetto yellow.
Starting off with Madvillainy‘s opener, the musical backdrop is Morton Stevens’ “Beach Trip” off of the original TV soundtrack for Hawaii Five-O from 1968. What makes it ironic is that most of the other sampled clips in this song are from movie trailers but don’t highlight their music, and the music itself on this track comes from a TV show soundtrack rather than a film. This also marks Madlib’s first use of spoken word from James Gordon’s 1989 documentary, The Documented History Of The Fabulous Villains. He also uses clips from this movie in the songs “Rainbows,” “Money Folder,” and “Rhinestone Cowboy” later in the tracklist.
“Accordion”
One of the most iconic songs on this album once made a girl cry, and it was never the same since. MF DOOM’s last line on here is “Won’t take the one with no skinny legs like Joe Tex,” and there are a few reasons for its cleverness. Firstly is Joe Tex himself, a 1960s and 70s singer and songwriter who spoke over much of his material in a faster and less melodic way as a precursor to what rapping would become. He has a song called “Skinny Legs And All” in which he agrees with Metal Fingers’ sentiment -– or rather, the other way around.
However, the other notable background detail about this lyric is that MF DOOM originally had another version of this line: “Wolf likes the girls with the skinny legs.” This was in reference to Peanut Butter Wolf, the founder of Stones Throw Records, whose connection to DOOM and Madlib is well-documented at this point. But when Wolf’s thin girlfriend at the time heard the lyric before the album’s official release, it made her cry. Then, he told his masked friend about it, and without warning, the official version of the album released with the ending line we know today. “I guess he felt bad,” Wolf said of Dumile’s decision.
“Meat Grinder”
“Still back in the game like Jack LaLanne, think you know the name? Don’t rack your brain,” MF DOOM spits on another one of the most iconic moments on Madvillainy. Jack LaLanne was a fitness expert and bodybuilder who continued to sell fitness products, perform feats of strength, and advocate for proper nutrition until his death at age 96. Thus, he was still in the game for a while, but it’s been so long that DOOM doesn’t want you to “rack your brain” trying to remember his name or identify why it might sound familiar to you. To “rack” also means to put a set of weights back on the rack after weight-lifting, or bodybuilding. Not even the illest villain believes in having to know every reference in every bar… but he’ll be cheeky about teasing you to do so, and the temptation is hard to resist.
“Bistro”
You can hear the sample at 0:10 and throughout
Sample starts at 0:20
While this track is mostly just MF DOOM talking casually over a funky flip, Madlib chose to include some lines of dialogue right beneath his partner’s voice that, although barely audible, add some nice texture and context. The clips come from the show McMillan & Wife, specifically the third episode of its fifth season in 1975, “Very Private And Very Difficult Matter To Discuss.” Furthermore, in the dialogue, a character invites another to go get a drink, and the track’s title already points to the perfect destination to do so.
Also, MF DOOM’s final line on here is a very deep reference to the Stones Throw Records crew. “I’d like to dedicate this next joint to my mans, you know, Big Hookie and Baba from the laundromat.” DOOM refers to Hookie & Baba, a comic series created by the label’s art director Jeff Jank. He told Undercover Magazine during an interview that it was a “lewd” project “sold exclusively in [the] San Francisco Bay Area laundromats to local winos.” Given that “Bistro” is a celebration of Madvillain’s entourage, this nod to their partners is quite colorful and, dare we say, wholesome… even if it sounds like a troublesome team.
“Raid” ft. MED
You can hear the sample at 0:59 and throughout
Sample starts at 6:29
For the “chorus” portion of this vibrant and fun head-bobber, Madlib seems to manipulate an existing sound and repeat it to make it sound like “Day, day-day-day”… or maybe that’s just how we’re hearing it. Either way, it’s surprisingly not a manipulation at all, but rather a direct pull from George Clinton’s title track off his 1982 album Computer Games. As for MF DOOM, this contains one of his most multi-layered sets of references on the album. “The doctor told a patient ‘It’s all in your imagination, n***o’ / Ahh, what do he know? / About the buttery flow, he need to cut the ego / Trippin’, to date the metal fellow / Been ripping flows since New York plates was ghetto yellow.” The first part of the line is a reference to the 1949 film Home of the Brave.
In it, a Black soldier is ironically convinced that racism in the military is in his imagination after a doctor calls him a racial slur. But MF DOOM rejects the doctor’s words and thinks he needs to focus on his flow, a metaphor for other rappers needing to cut their bragging and hone their skill. Then, by stretching out the space between “ego” and how the doctor is “trippin’” in the next line, he references the concept of an ego trip, or thinking too highly of yourself. “Tripping” on psychedelics can also provoke “ego death,” an out-of-body experience that can provide another realm of self-consciousness and awareness, thus “cutting” the human ego of an MC. Finally, this references Ultramagnetic MCs’ and De La Soul’s tracks titled “Ego Trippin’” (De La’s version being a “sequel” to Ultramagnetic MCs’ rendition), and DOOM mentions his “flows” again.
“America’s Most Blunted” ft. Quasimoto
You can hear the sample at 0:53
Sample starts at 0:22
With a whopping 19 samples, it was impossible not to include “America’s Most Blunted” on this list. We could’ve picked any of these references and samples, especially the pro-marijuana comedy album A Child’s Garden Of Grass, released in 1971 by writer Jack Margolis, Jere Alan Brian, and producer Ron Jacobs. Fun fact: that also appears on the track “Rhinestone Cowboy” later on Madvillainy. Nevertheless, Madlib’s most curious inclusion here is from Disneyland Records and Walt Disney Records Studio Group’s “Acting Out The ABC’s” from 1962. The song is exactly what it sounds like: a children’s song to get kids to learn the alphabet and dance, act, or move along to it depending on the letter. “If you all gather around the phonograph” (as the sample says), you’ll understand why the dope-smoking anthem has such a bizarrely and contrastingly whimsical or wondrous feel.
“Do Not Fire!”
You can hear the sample at 0:33
Sample starts at 3:30
“Do Not Fire!” is another sample-heavy joint, with nine of them to look at which range from Street Fighter II sound effects and clips to 1970s Indian music and the laughing evil voice from Michael Jackson’s “Thriller.” Regardless, Madlib’s most ingenious and underground inclusion on this Madvillainy cut is a cheering crowd featured in “Back Door Daddy,” a song from a raunchy 1972 comedy album of the same name from Skillet, Leroy & LaWanda. LaWanda Page was a comedian and entertainer dubbed “The Black Queen Of Comedy” who collaborated on this album with Skillet, Leroy & Co., the duo comprised of Sanford and Son co-stars Leroy Daniels and Ernest “Skillet” Mayhand.
“Money Folder”
You can hear the sample at 2:46
Sample starts at 9:35
MF DOOM albums obviously come with many comic book references and media samples, plus a particular love for Dr. Victor Von Doom, also known as Doctor Doom. On “Money Folder,” the song’s ending samples the aforementioned Fabulous Villains documentary, which is suddenly interrupted by a clip of the word “DOOM.” This comes from the Spider-Man TV show, specifically its first season’s second episode “Dr. Doom, Master Of The World” from 1981. This is just one of the many instances of “DOOM” clips that Madlib and the London-born lyricist himself use to interconnect with other spoken word samples, and it comes across quite seamlessly. Now for bars: “Egads, he got enough styles to start three fads / True that, she bad, I wonder do she come with kneepads,” MF DOOM raps on the song.
“What a call, what a real butterball / Either I get a strike or strike out, gutterball,” he continues, mixing animal references, food companies, bowling, and baseball. Butterball is a brand specializing in turkey products, and a “turkey” is three strikes (knocking down all ten pins with one move) in a row in bowling, hence “three fads.” “What a call” is a term for successfully calling or predicting a strike (swinging and missing the ball) in baseball. Baseball players also wear knee pads to slide on the field and DOOM wants them for this lady, presumably so she can kneel down and perform oral sex on him. He’ll either enamor her and get a strike in bowling terms, or fail and strike out (three straight strikes) in baseball terms. “Gutterball” is when your bowling ball goes in the gutters on the side of the lane, resulting in no points.
“Operation Lifesaver AKA Mint Test”
You can hear one of the samples at 1:13
This sample starts at 4:37
“Operation Lifesaver” has a couple of samples, but it’s one of the Madvillainy cuts that gets the most mileage out of a single source. For example, Madlib uses many different clips of dialogue and sounds effects from the story album Songs And Stories About The Justice League Of America from 1966 by Tifton Records, namely from the tracks “The Theme Of The Justice League Of America,” “Aquaman – Defeat Of The Dehydrator,” and “Metamorpho: Fumo The Fire Giant.” In addition, he also takes from a similar story album: The Official Adventures Of Flash Gordon (1966) by Jackson Beck. Specifically, it’s from the track “The Decoys Of Ming The Merciless.”
Speaking of story, the narrative behind this song is that MF DOOM is on a date with a woman with bad breath. “Wow, it caught me off guard / I went to breathe out but then she made me cough hard / Contact the God and let him know to slip two in,” he spits over the beat. “Contact the God” is apparently supposed to be a reference to the Nation of Islam, and the number two means wisdom in their numerology. As such, DOOM suggests that he thought about telling her directly that her breath stinks, but opts for more underhanded and less confrontational ways to potentially improve his night out as the song goes on.
“Figaro”
This is a pretty simple one all things considered, but just one of many examples of MF DOOM paying homage to the rappers and microphone fiends before him on Madvillainy. Also, “Figaro” is laden with some of the most discussed, cryptic, clever, and relentless lyrical onslaughts on the whole album, so we had to give it a shoutout and look for less traveled paths down its runtime. “O’s beats and my rhymes attack,” he raps at one point, which might be a direct reference to Marley Marl and MC Shan’s “Scratch.” “All these beats with my rhymes attached,” Shan rapped over Marl’s beat, a rapper/DJ duo akin to Madvillain. The lines rhyme, and “O” is Otis Jackson Jr., better known as The Loop Digga, DJ Rels, Beat Konducta, Quasimoto, Yesterday’s New Quintet, or simply Madlib.
“Strange Ways”
You can hear the sample at 1:25 and throughout
The ending of “Strange Ways” narrates a downtrodden man after his former partner starts seeing another, more rich suitor. The clip itself uses phrases such as “feeling blue,” “an old flame,” “raining cats and dogs,” etc. Madlib took this audio clip from a 1951 cartoon short film titled Symphony In Slang directed by Tex Avery and written by Rich Hogan. In it, God is trying to understand a man telling his life story in heaven, but interprets his slang sayings literally, as depicted by the animation. Narratively, it also perfectly ties into the story of the very next song on Madvillainy‘s tracklist, “Fancy Clown,” which is about two of Daniel Dumile’s alter egos, MF DOOM and Viktor Vaughn, and how the latter’s girl cheated on him with the former. It’s a seamless inclusion that also points to DOOM’s obsession with language.
Speaking of the late legend’s obsession with language, there’s a line on here that isn’t solely included just to set up a rhyme scheme. “They pray four times a day, they pray five / Who ways is strange when it’s time to survive,” MF DOOM raps on “Strange Ways.” “Five” seems to just set up the “survive” rhyme, but the record’s message centers around authorities taking advantage of their subjects for personal gain, whether it’s police abusing their power or religions and governments waging war on their colleagues. Jewish people pray four times a day on the Sabbath or Shabbat, whereas Muslims pray five times daily. DOOM points out that each religion has its own customs and culture that others will wrongfully try to eliminate or oppress. We shouldn’t be focusing on what makes us different, but rather the common struggles we can help each other with.
“Fancy Clown” ft. Viktor Vaughn
You can hear the sample at 0:08
Sample starts at 0:13
One of the more unnoticeable and obfuscated samples on Madvillainy appears in the first few seconds of the aforementioned “Fancy Clown.” While the actual beat and melody samples something else entirely, Madlib chose to include a song on here that sounds soulful enough to warrant a track of its own, but opted to only use a small part of it. It’s the 1972 song “Walkin’ In The Rain With The One I Love” by Love Unlimited. The part that the West Coast producer uses is buried beneath the already sampled vocals, melodic elements, and drums; it’s of a group of folks scattering as rain falls. You can hear one voice yell out, “See you tomorrow!” and there’s a pretty good chance that many of Madvillain’s most ardent fans never noticed it in the mix. Or at least, enough to identify it as a wholly different sample.
As for MF DOOM, he gives out a pretty simple reference here, but one that each new year, generation, and fashion trend cycle threatens to bury deeper in the ground. “Matter fact, gimme back my bracelet and my Shearling,” Viktor Vaughn demands of his girlfriend. A Shearling is a wool coat that really took hold of b-boy and b-girl fashion in the 1980s, but nowadays it just sounds like some nondescript clothing item or brand. The idea certainly gets across, but it’s one of the moments on this album that is the most at risk of losing its cultural specificity over time. Clearly, DOOM meant it under a different context than the people who wear Shearlings today.
“Rhinestone Cowboy”
You can hear the sample at 0:08
Sample starts at the very beginning
Finally, Madvillainy‘s closing track “Rhinestone Cowboy” provides a discographic history for a Brazilian singer-songwriter and comically self-aware admissions of MF DOOM’s unabashed passion for references, wordplay, language, and humor. Starting with the sample, Madlib actually uses the same artist for the track’s musical sample (beat and melody) and the applause throughout: Santo Amaro’s own Maria Bethânia. The actual beat elements are from 1971’s “Mariana Mariana” off of the album A Tua Presença, whereas the applause is from her song “Molambo” off her record Recital Na Boite Barroco from three years earlier. Looks like Otis was a particularly big fan of Bethânia herself or Brazilian music at large when he was cooking this one up, and that connection across her discography for entirely different elements is a creative homage to the 77-year-old’s catalog.
Then, MF DOOM delivers one of the funniest and most characteristic lines on the LP. “Goony goo-goo, loony cuckoo / Like Gary Gnu off New Zoo Revue, but who knew the mask had a loose screw?” With “loony cuckoo,” we know he’s delusional, and “goony goo-goo” is gibberish from Eddie Murphy’s 1983 stand-up special Delirious. New Zoo Revue was a 1970s kids’ TV show, but Gary Gnu is from a 1980s children’s show called The Great Space Coaster. DOOM’s mix-up proves his “loose screw”: he’s as “cuckoo” as a character being from the wrong TV show. The villains love to make fun of their own jokes, as it’s just another excuse to string more words and sounds together in masterfully creative and fun ways. This humility makes Madvillainy an infinite source of hip-hop craft, sonic wizardry, linguistic transformation, and immersive, curiosity-rewarding knowledge.
MF Doom, a titan in the underground hip-hop scene, held a net worth of $1 million US dollars in 2024, according to Celebrity Net Worth. This masked legend’s impact on rap extended far beyond his financial gains. But how did he amass that wealth before his death in 2020? We’ll be exploring his career and business moves.
Foundations Of MF Doom’s Net Worth
NEW YORK – JUNE 28: Rapper MF DOOM performs at a benefit concert for the Rhino Foundation at Central Park’s Rumsey Playfield on June 28, 2005 in New York City. (Photo by Peter Kramer/Getty Images)
Born Daniel Dumile in 1971, MF Doom started his music career in the late ’80s as a member of the group KMD. After the group disbanded, he re-emerged in the late ’90s as MF Doom, releasing the critically acclaimed album Operation: Doomsday, thus setting the stage for his financial success.
The Driving Force Behind MF Doom’s Net Worth
NEW YORK – JUNE 28: Rapper MF DOOM performs at a benefit concert for the Rhino Foundation at Central Park’s Rumsey Playfield on June 28, 2005 in New York City. (Photo by Peter Kramer/Getty Images)
Doom’s unique style, characterized by complex lyricism and use of comic book-themed alter egos, captivated the underground hip-hop community. His albums, like Madvillainy and MM..FOOD, were commercial successes and significantly contributed to his net worth. Collaborations with other artists, including Madlib and Danger Mouse, also expanded his musical reach and financial gain.
Beyond Music: Other Contributors
Long Beach, N.Y.: The late hip-hop MF Doom’s family and friends hold signs in support of him posthumously being honored with a street renamed for him in his hometown of Long Beach, New York on July 31, 2021. (Photo by J. Conrad Williams Jr./Newsday RM via Getty Images)
In addition to his music career, MF Doom capitalized on his iconic persona through merchandise sales, which added to his net worth. His distinctive mask has become a coveted item among fans, further bolstering his financial standing. Moreover, MF Doom’s forays into producing and his guest appearances on tracks by other artists provided additional sources of income, contributing to his net worth.
Reflections On MF Doom’s Net Worth
While assessing Doom’s net worth, one must recognize his enormous influence on hip-hop. Despite not achieving mainstream fame, his innovative style and lyricism inspired a generation of artists. His net worth is a testament to his success in carving out a unique niche within the industry. MF Doom’s commitment to his craft and artistic integrity were his career’s hallmarks. He prioritized creative freedom over commercial success, which has added to his legendary status in the industry.
Conclusion/TLDR
While $1 million US dollars in 2024 underlines Doom’s financial success, his worth as an artist is immeasurable. His unique approach to hip-hop, influence on other artists, and commitment to artistic expression are integral to his legacy. The journey to his current net worth is a story of perseverance, creativity, and dedication. As MF Doom’s influence continues reverberating through the rap scene, his net worth serves as a reminder of his significant contributions to the industry.
On this date in 1971, rapper Daniel Dumile also known as MF DOOM (Metal Face Doom), was born in London, England to his Trinidadian mother and Zimbabwean father. His family relocated to New York when Dumile was a teenager, which was where he developed a love for the Hip-Hop culture.
In 1988, Dumile, under the moniker Zev Love X, created the rap collective KMD (Kausing Much Damage) along with his brother and DJ of the group, the late Subroc. From here DOOM gained fame from the timeless “Peachfuzz” single, which catapulted Dumile to the status of being able to deliver an anticipated solo album.
With over 30 album releases under his belt and an international cult following unmatched by virtually any other solo emcee or group, MF DOOM will continue to leave his graffiti-style mark in the game.
DOOM passed away on Halloween day in 2020 at St James’s Hospital in Leeds after a bad reaction to a blood pressure drug. He was 49 years old.
Yasiin Bey announced that he’s holding a truly special show in Paris, which will be held for one night only at La Cigale Paris on January 18. As for what else will make it unique, he will be doing a tribute to the late MF Doom by covering his songs during the concert.
“Yasiin Bey always showed admiration to the rhymes of who’s been called Viktor Vaughan, The Villain, King Gheedorah or simply DOOM,” the description on the social media reveal read. “He will perform some of his favorite tracks from the Masked One.”
For those looking to attend, tickets for Yasiin Bey’s concert went on sale today. As of Friday afternoon, there are still passes available for €45.
A few years ago, during an interview with Vulture, Questlove shared a heartfelt story about how Yasiin Bey was the one to introduce him to MF Doom’s music.
“I was preparing myself for some kind of deep talk, but he just started preaching the gospel of DOOM,” Questlove said at the time. “I’m talking a 40-minute monologue, almost something like a Jehovah’s Witness would preach, trying to convert me to a new religion. He was like, “Do you understand the majestic gift that is Operation: Doomsday?”
More information about his MF Doom tribute show can be found here.
MF DOOM’s legacy and its proper preservation hangs in the balance in a legal battle between his widow, Jasmine Dumile Thompson, and his former collaborator and label executive, Eothen “Egon” Alapatt. Moreover, the latter claims that the former’s lawsuit against him for allegedly stealing DOOM’s notebooks from a Los Angeles studio is “baseless and libelous.” Egon’s attorney Kenneth Freundlich expressed in a court filing on Tuesday (November 14) that this year-long narrative falsely represents his client’s character and misunderstands the situation. For those unaware, Thompson claimed that Egon unrightfully bought 31 “rhyme books” of original material, ideas, “musings, and other creative ideations” from the aforementioned studio’s landlord.
This was when DOOM was out of the United States, as he left for his birthplace of London in 2010 for a show and was not allowed reentry into the U.S. based on immigration issues. Furthermore, Thompson and her legal team allege that Egon never consulted with MF DOOM about this purchase. When he asked for them back, she claims, the former Stones Throw manager “delayed, obfuscated and deflected” while refusing to return them. Not only that, but the New York MC’s widow claims that Egon actively went against his wishes that they remain “secret and confidential.” Instead, he wants them to go to into a public archive.
LONDON, UNITED KINGDOM – NOVEMBER 16: DOOM performs on stage at The Forum on November 16, 2013 in London, United Kingdom. (Photo by C Brandon/Redferns via Getty Images)
On the other hand, in Tuesday’s legal response, Egon and his team admitted to assuming ownership of MF DOOM’s notebooks, but denied that he was their legal owner when they came into Egon’s possession, which is why he bought them from the L.A. studio’s landlord, which also had a lot of unpaid rent. If not for this, they allege, then this entity would’ve put the pads up for purchase or destroyed them altogether. In addition, they claimed that Egon reached out to DOOM to get these back to him, but that he never followed up and “seemed to have completely forgotten his prior discussion” with the executive. One thing that this response confirmed is that Egon will only return the notebooks if a digital version of them goes to an archive, of which his attorneys suggested “the Cornell Hip-Hop Archive, the Smithsonian, or another accredited archive of their choosing.”
Meanwhile, Freundlich claims this initiative would preserve and champion “precious artifacts of hip-hop history.” “Scholars and researchers [can] study DOOM’s creativity and further entrench his creative genius– not just in hip-hop, but in [United States] history. Rather than accept [Egon]’s generous offer, plaintiffs chose to continue their hurtful, and defamatory attacks against [him] by filing this frivolous complaint.” For more news and the latest updates on MF DOOM, stay logged into HNHH.
On this date in 2004, MF DOOM dropped his fifth full-length studio release MM..FOOD. Put out on the underground Rhymesayers Entertainment label, some songs from the project were previously released under the name Madvillian on another label. The album featured classic samples from several superhero cartoons including the Fantastic Four, Spiderman and Superman.
The album featured production mainly from DOOM himself, with Count Bass D and Madlib on the help out on just two tracks on the 15 track project. Some of the standout tracks include “Hoe Cakes”, “Guinnesses”, which featured Tennessee born/ATL bred femcee Empress StaHHr and 4ize, and the kaleidoscopic “Fig Leaf Bi-Carbonate.”
Salute to DOOM and everyone involved with this timeless album!
On the last day of 2020 the world was shocked to learn that hip hop’s supervillain, MF DOOM had passed away 2 month’s prior on October 31st. Shock, disbelief and sadness spread across the community of fans, family and people who loved him.
My story with DOOM started in 2004. I was working on The Beautiful Struggle tour for Talib Kweli and DOOM was the opener. I was rushing around backstage when I saw him and Benn Grimm waiting to go onstage.
“You got a dutch?” I asked him, pushing past Benn who seemed like he was trying to block him. “Nah I don’t have one, he replied, flashing a smile of 18k gold fronts. At that moment, Kweli walks by and says, “Oh you met DOOM, this is my assistant Courtney Brown— Court, you know DOOM is from KMD?’
BB Kings Show in NYC
This was the beginning of a friendship that would forever influence my life. Not much long after our initial meeting we became road buddies and I came to know the author Daniel Dumile. After watching me problem solve on the road for Kweli, he asked me to work for him and his wife Jasmine once that tour ended. They both taught me how to navigate the business world as well as helped with my personal growth. DOOM was a teacher and to be in his circle you had to study. He would send countless 4 hour lectures and sign books that he felt were pertinent to my growth.
Onstage with Mos who loved DOOM
Once his mask was removed, he revealed he was thoughtful… full of curiosity, kindness and unusual talent. He treated me like a queen in an industry that took advantage of women. He didn’t act like a rapper because as he said that wasn’t even him. He would run errands, helped with my goals and always knew how to fix everything. He inconspicuously took the train from NYC in a snowstorm to Jersey Shore to help us pack up my granny’s 7 bedroom house for sale. Even though he just released his classic album MM…FOOD , he trooped through the snow walking from the train to our house in Neptune, NJ because no cars were available. We stayed up all night talking about everything under the sun as he meticulously wrapped heirlooms inquiring about each item.
I moved to LA to assist him as he worked on DangerDOOM. During that time we spent a lot of time finding inspiration for that album and hanging out with my best friend at the time Kelis and her husband, rapper Nas. One day after a bougie LA dinner I convinced them to come back to my hotel room where DOOM put on some beats and Nas began freestyling. This lasted nearly an hour. DOOM had his Special Herbs CD on him and it was a historical moment not captured on camera or recorded.
Eventually my job description grew as I became a part of his ‘entourage’ but DOOM was a villain and there was always more to be revealed. When I began writing he supported that too—demanding I write many of his cover stories including his FRANK 151 cover.
written by C. Boogie Brown
One day he instructed me to do an entire press day with what he called a ‘robot’ and later I found out it would be Benn Grimm. (He was full of surprises.) He told me not to let ANYONE in the room except the journalists for the interviews and the photographers to take photos. I was scared shitless. We were shooting a cover with a fake DOOM. I had on my best business ensemble and issued a lot of ‘no’s’ that day. We made it through that day until a woman who knew him and demanded to speak to him kept pressuring to enter the room.
Busted. We stayed up that night with him and Jas in Atlanta and me in New York writing the perfect editorial for Elemental Magazine who was pretty upset.
One of my first Editors gig.
He and I together composed the perfect words to explain his tactics. And Jas, always loving and fair, paid me handsomely for my work. They both respected my pen. We moved back to LA to work on MADVILLAIN 2 and that album is the greatest album no one has heard yet. Built off a lot of crazy experiences and real life situations he turned into songs, he put a lot of work into that record. Although he didn’t complete it, he felt masterpieces should not be rushed. One song we researched for weeks which came from a weird news story I told him about in New York. We laughed about it for nearly 2 hours before the intense research began. We called it the ‘monkey song’. He recorded a few songs with Ghostface during that time and he was one of the few rappers I could get to change lyrics which is why there are 2 versions of Angels.
“I asked him, “Why does GHOST say 3 white b****?”…
I could go on for eternity with stories, memories and lessons I learned from the supervillain. He was very strategic and placed things and people where he wanted them to be. He knew what he was doing. Many might wonder why I would reveal so much. DOOM often talked about not being here and of course I would shrug it off. He emphatically told me, “If I’m not here anymore, you better tell that story. I’d rather it be you then anybody. Villain!” Maybe one day, I will. Rest in Power DOOM.
MF DOOM‘s widow, Jasmine Dumile Thompson, has now filed a lawsuit against the late rapper’s former label manager, Eothen “Egon” Alapatt, according to Billboard. Thompson claims that Alapatt stole 31 of MF DOOM’s notebooks that contained both lyrics from his albums, as well as ones for unreleased songs and “other creative ideations.”
Thompson filed the suit in a Los Angeles court yesterday (October 24). Before the lawsuit, she had already accused him of the theft, after posting emails on social media between MF DOOM and Alapatt. “Egon, Give the Notebooks Back,” she captioned.
According to the publication and the filing, Alapatt has admitted to having MF DOOM’s writings but is reportedly not giving them back to his estate. Instead, he allegedly wants them “donated to a university or government archive” or a “museum or other institution.”
However, the lawsuit comes because according to Thompson, this goes against MF DOOM’s wishes. “[The notebooks] were intended by DOOM to be secret and confidential,” it reads.
“Alapatt never consulted with DOOM about his acquisition of the notebooks and took advantage of DOOM’s being out the country to obtain them,” it adds, with the alleged theft taking place before the rapper’s death. He had been stuck in the UK over immigration issues, and Alapatt allegedly used this to take them sometime around 2016.
Along with seeking “significant compensation” in the lawsuit, she is also requesting a jury trial.
