Cheeze-Boi
HIP HOP's (UNSPOKEN) TEN COMMANDMENTS
Oct 23, 2008
HIP HOP's (UNSPOKEN) TEN COMMANDMENTS
Commandment I: Thou must dis' black women. You are allowed to distinguish between bitches, hoes and "real sisters" only during interviews when asked to clarify your statements. You must talk about beating a woman up at least once on your CD or demo. On at least four (4) but no more than five (5) singles/demos you must talk about having rough and unprotected sex with a woman. You must also refer to your girlfriend or wife as a "bitch" in an endearing way. All music videos must reflect the aforementioned notions.You can talk about doing things to other people's mothers as acts of creative expression. You may also refer endearingly to an unplanned child as a "bastard," "shorty," "lil nigga," or "lil G." By honoring this commandment you vow to never rally behind black females or support a strong family bond. You see her only as an object for sex and to reap the repercussions of your rage. You also believe she is only out to get you.
(Supplement for females) Thou must dis' black men. Female rappers are allowed to distinguish against niggas, bustas, scrubs and punk. You must lyrically emasculate them in every way possible. On at least one (1) CD or demo you must destroy his character by either calling him a homosexual or talking about his lack of money. You are allowed to refer to your boyfriend or husband as your "nigga" in an endearing way. All music videos must reflect aforementioned notions. By honoring this Commandment you vow to never identify with the black male's struggle against white supremacy. You vow to never support a strong family bond. You also uphold the tenements that all of his problems are of his own doing. You see him as only an object for sex and money. You believe he is only out to get you.
Commandment II: Thou must kill. You must "lyrically" take the life of at least one other black person in order to secure a hit CD. This law does not promote the physical killing of another person. However, it is not against the law to assassinate another person on record. You must only talk about killing your own kind, however, or other cultures may sue you for inciting racial violence. You must express pleasure in the kill. The kill must be graphic and extensive in detail. The consumer must always be left with the feeling that taking a person's life (lyrically) was justified. Most of the lyrical murders must be done by guns, however creativity allows for poisoning, stabbings, beatings, stompings, and suffocating. You do not distinguish between male or female kills. By keeping this Commandment you vow to never claim acts of genocide publicly even when you are a victim of violent repression yourself. You also agree to "lyrical" acts of black-on-black violence, as well as prolific incidents of brutality.
Commandment III: Thou must covet. Thou must talk about lusting after things that do not belong to you. You must have an unusual craving for things that do not belong to you. Your desire must be so strong that you unwittingly uphold the second commandment. This law does not advocate you physically go after the material possessions of someone in your community. By keeping this commandment you vow to never promote a strong work ethic in your music or to speak against greed, lust and impulsive behavior. In fact, you now believe
greed is healthy.
Commandment IV: Thou must have a lot of sex. You must have no fewer than three (3) songs on your CD or demo that promote sexual intercourse with one or a group of individuals. You cannot express a deep sense of love or marriage. Thou shalt not talk about commitment, bonding, and intimacy. You can only talk about sex in its purest and rawest terms. Do not use "make love," or "provide pleasure," or "pro-create." You must never mention a sexually transmitted disease in the context of these records. You can however discuss the use of contrace
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Give Your Secrets Away: by Sa'id
Oct 22, 2008
Musicians have long shared tricks of their trade amongst each other. It's a tradition as old as popular music itself. However, for some reason, many hip hop beatmakers/producers pride themselves upon keeping a vale of secrecy over that beatmaking/production methods. What gives?
I could speculate about the cultural , but that's not what this piece is about. On the contrary, this piece is about why the notion of secrecy in hip hop production in beatmaking is ridiculous. As I told a fellow beatmaker/producer the other day, "there are NO secrets between real musicians!" What I was saying, (and he understood immediately), was that dedicated musicians share a common goal: to develop their craft. To that end, we constantly seek out people and resources that we believe will help us reach this goal. In this regard, hip hop beatmakers/producers should view themselves no different. We are musicians, and as such, we stand to benefit a great deal from an exchange of information.
No Two Beat-Makers/Producers Are One in the Same
Regardless of the method or technique, no two beat-makers/producers are the same. Given the same tools and the same understanding, each of us will inevitably develop our own approach. And I've found that it is within this "approach" that you find the most interesting secrets. But instead of having an attitude that promotes the talking of shop, when pressed for specific ideas, secrets, and the like, many beat-makers/producers clam up and offer the proverbial: "don't wanna' give the secrets away." Hunh? What's that all about.
Listen, there is NO magic secret or group of secrets that can instantly make a beat-maker/producer skillful at our trade. Secrets (or pointers) are only as good as the beat-maker/producer who understands them, and in turn is able to incorporate them into what they're already doing. For example, DJ Premier is known for his drums, chops, and his ability to finesse the bass out the breaks that he chooses to use. However, there is no doubt, (and he has said as much), that he would not have been able to develop those skills, had it not been for Large Professor. As Premier told me directly, it was Large Professor--a pioneer in his own right--who should Premier how to filter bass, and how to really make the Akai S950 really work. In turn, Premier introduced Large Professor to a new way of diggin' and the crates and surveying music. And before that, producer Showbiz schooled Premier on diggin' in the crates and surveying music. Thus, these examples of giving secrets away demonstrates how for each of the beat-makers/producers, the common goal was for each to get better, not for one to keep it all to himself.
Needless to say, I've always been against the notion of not not sharing knowledge ("secrets"). I share EVERYTHING I know, and some of the most well-known beat-makers/producers have shared EVERYTHING they know with me. And consider this, even if one beat-maker/producer breaks down their entire beat-making/production process to another beat-maker/producer, chances is are the latter beat-maker/producer isn't going to utilize everything that he learned from the former. Not at all. The latter beat-maker/producer is only going take what he needs and/or can use from the other beat-maker/producer's process. And it is this sort of exchange, that each beat-maker/producer will emerge better skilled...
Final note, keep this in mind: the entire hip hop production and beat-making trade is only as good as its weakest beat-maker/producer. Hence, there's merit in all of us trying to help each other step up our beat-making/production skills.
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Should You Tag Your Beats?
Oct 22, 2008
Here's my humble opinion on beat-tagging... NEVER, EVER, EVER tag your beats!
Beat tags put off too many people-- A&Rs don't like it, and artists hate it because they can't really dig in and write to the beat, as soon as they get it. Listen, when it comes down to it, a beat tag is really a marketing tool; it's a means for a producer to let it be known that they were responsible for the production. However, a beat-maker's/producer's stamp should be in their music, not a vocal tag that streams in and out of their music, with no real purpose other than to advertise that they are indeed the beat-maker/producer of record.
The argument for tagging beats on the grounds of beat-jacking is a weak one. Beats get jacked and/or "borrowed". That's nothing new; the digital era just made the practice of beat-jacking faster, easier and more efficient. And if you haven't noticed, there's a lot of dry beat-jacking going on right now, anyway. Biting another beat-maker's/producer's style is also a form of beat-jacking, albeit indirectly. Moreover, if you're an unknown beat-maker/producer with quality production, then getting a beat or two jacked isn't as bad as you may think. If your beat gets jacked and someone tries to use it on a RIAA sanctioned commercial release, the paperwork (proper credits and such) will be scrutinized, which means that in the event that your beat gets jacked and makes it on to an officially released album, (not a mix tape), then your chances of recourse for filing suit and/or getting the "right attention from the right people" is excellent...That is, provided you have the original data (files, etc.) for the beat in question.
By Sa'id
from: https://www.beattips.com/articles/
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Niggers Dont Read
Oct 19, 2008
Please Note: For those of you who heard it, this is the article that was read on a radio station recently. For those of you who didn't hear it, this is very deep. This is a heavy piece and a Caucasian wrote it.
“THEY ARE STILL OUR SLAVES ...”
We can continue to reap profits from the Blacks without the effort of physical slavery. Look at the current methods of containment that they use on themselves: IGNORANCE, GREED, and SELFISHNESS." Their IGNORANCE is the primary weapon of containment. A great man once said, "The best way to hide something from Black people is to put it in a book." We now live in the Information Age. They have gained the opportunity to read any book on any subject through the efforts of their fight for freedom, yet they refuse to read. There are numerous books readily available at Borders, Barnes &Noble, and Amazon.com, not to mention their own Black Bookstores that provide solid blueprints to reach economic equality which should have been their fight all along), but few read consistently, if at all.
GREED is another powerful weapon of containment. Blacks, since the abolition of slavery, have had large amounts of money at their disposal. Last year they spent 10 billion dollars during Christmas, out of their 450 billion dollars in total yearly income (2.22%). Any of us can use them as our target market, for any business venture we care to dream up, no matter how outlandish, they will buy into it. Being primarily a consumer people, they function totally by greed. They continually want more, with little thought for saving or investing. They would rather buy some new sneaker than invest in starting a busines! s. Some even neglect their children to have the latest Tommy or FUBU, and they still think that having a Mercedes, and a big house gives them "Status" or that they have achieved the American Dream. They are fools! The vast majority of their people are still in poverty because their greed holds them back from collectively making better communities. With the help of BET, and the rest of their black media that often broadcasts destructive images into their own homes, we will continue to see huge profits like those of Tommy and Nike. They'll continue to show off to each other while we build solid communities with the profits from our businesses that we market to them.
SELFISHNESS, ingrained in their minds through slavery, is one of the major ways we can continue to contain them. One of their own, Dubois said that there was an innate division in their culture. A "Talented Tenth" he called it. He was correct in his deduction that there are segments of their culture that has achieved some "form" of success However, that segment missed the fullness of his work. They didn't read that the "Talented Tenth" was then responsible to aid The Non-Talented Ninety Percent in achieving a better life. Instead, that Segment has created another class, a “Buppie” class that looks down on their people or aids them in a condescending manner. They will never achieve what we have. Their selfishness does not allow them to be able to work together on any project or endeavor of substance. When they do get together, their selfishness lets their egos get in the way of their goal. Their so-called help organizations seem to only want to promote their name without making any real change in their community. They are content to sit in conferences and conventions in our hotels, and talk about what they will do, while they award plaques to the best speakers, not the best doers. Is there no end to their selfishness? They steadfastly refuse to see that TOGETHER EACH ACHIEVES MORE (TEAM)
They do not understand that they are no better than each other of what they own as a matter of fact, most of those Buppies are but one or two paychecks away from poverty. All of which is under the control of our pens in our offices and ou
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