Little Brother Enlists Hi-Tek, Lil Wayne for New Album

By Quibian Salazar-Moreno According to Little Brother their last album, “The Minstrel Show,” didn’t do the number they wanted. So Phonte and Pooh told 9th Wonder that they want to rhyme over other people’s beats. They also told Atlantic Records they wre done doing the major label thing and went back to ABB Records. Now they’re gearing up to drop their new album, “Getback,” this fall. The album features production from Hi-Tek, Nottz, Illmind, Mr. Porter and 9th Wonder is still around as well. Lil Wayne, Jozeemo and Darien Brockington also make appearances. “I think this is the closest we could get to the feeling and energy we had when we made our first record” Pooh said in a statement. “Back in 2001 no one knew who we were or that we were even making music. Fast forward to 2007, fresh off Atlantic, the three man group now a duo, people either counted us out or don’t know what to expect anymore. That gave us the freedom to be just that, free.” The album is set to drop on September 25, but there’s no word on a first single or video.

Lil Wayne Diss

By: Hot Gossip Gal It is coming..the diss aimed at Curtis from Lil Wayne. The track which is produced by Streetrunner is going to hit airwaves/Internet within the next couple of weeks. Maybe after Sept 11th might be best as Wayne starts serious promotion for The Carter III which is said to drop before the year end. Why give Curtis free promo?

Ludacris Throws Free Concert to Uplift the Community

By: Rizoh Ludacris has teamed up with Seattle SuperSonics forward Damien Wilkins to host a free concert in Atlanta. The Ludacris & Friends Strength in Numbers Concert, designed to uplift and unite the community, will be held September 2nd. Guest performers will include Ludacris, Chingy, Ne-Yo, and Shareefa. NBA stars Rashard Lewis, Ray Allen, Kevin Durant, and, of course, Damien Wilkins will also be in attendance. The after-party will take place at The Opera Nightclub, located at 1150 Peachtree St NE in Atlanta, GA.

Cee-Lo to Release Three Albums—Does That Make Him Crazy?

By: Rizoh If you thought that success has slowed Cee-Lo Green down one bit, think again. Cee-Lo, one third of the Goodie Mob, is working on three different albums at the same time. The most prominent one is obviously the follow up to Gnarls Barkley’s 2006 epic St. Elsewhere. He recently told Rolling Stone magazine that he wants the music to happen as organically as it did the first time. But the untitled Gnarls Barkley album isn’t the only thing keeping Cee-Lo busy these days. In addition to recording his first solo disc since 2004’s Cee-Lo Green…Is the Soul Machine, he’s also in the studio with his newly reunited Goodie Mob family.

Pole Dancing Lessons for Under 10s

By: Hot Gossip Gal The UK newspaper The express blasted a 39 year old fitness instructor for holding pole dancing lessons for girls under the age of 10 in their Sunday edition this past weekend. The ex stripper…oops sorry fitness instructor claims that there is nothing wrong with pole dancing for kids…ummm yeah ok…and where is it that we see this hobby taking place? The Olympics??? Please…… let kids be kids on the real.

Plastic vs Real

By: Hot Gossip Gal Is it me or does this new barbie doll actually look better than Kimora Simmons upon who it was based. I mean not really dressed how kids dolls should be dressed but not actually quite sure what market some of these dolls are aimed at anyway nowadays.

D’Angelo Pleads Guilty, Gets Light Sentence

By Quibian Salazar-Moreno It seems like D’Angelo is too busy in the courtroom to be trying to record any new music. On Friday, the singer pleaded guilty to driving with a suspended license and driving under the influence from a 2005 car accident. He was rolling in a Hummer in Virginia when he was thrown from the vehicle. He suffered bruised ribs and contusions. But the law let him off kind of easy. The judge fined him $1,000, but suspended $500, then sentenced him to nine days in jail, but suspended it all, and revoked his license for 90 days on the suspended license charge. He was also fined $1,500, with $750 suspended and was sentenced to six months in jail, also suspended, and suspended his license for 12 months on the DUI charge. In April 2005, he was fined $250, given a 90-day suspended jail term and his driver’s license was suspended for one year on a DUI conviction. Just a week before his 2005 accident, D’Angelo was given a three-year suspended sentence on a cocaine charge stemming from a traffic stop.

Ice Cube Resurrects Lench Mob Records with WC

By Quibian Salazar-Moreno It’s been awhile since we’ve heard something from Ice Cube’s Lench Mob Records, but the rapper is trying to put it back on the map. Cube announced that he will dropping WC’s new album, “Guilty By Affiliation,” on August 14. This will be WC’s first solo album since 2002’s “Ghetto Heisman.” Produced entirely by Ice Cube, the album features appearances from not only Ice Cube but Snoop Dogg, Butch Cassidy and The Game as well. "WC is the best MC I’ve ever produced,” Cube said in a statement. “I’m lucky to have him on my label." Here’s the track listing to the album: 1. This Is Los Angeles 2. West Coast Voodoo featuring The Game 3. Jack and the Bean Stalk 4. Paranoid 5. Guilty By Affiliation 6. Dodgeball featuring Snoop Dogg and Butch Cassidy 7. Keep It 100 8. Crazy Toones 4 President 9. If You See A Bad Bitch 10. Look At Me 11. Side Dick 12. 80′s Babies featuring Ice Cube 13. Gang Injunctions 14. Addicted To It

Jay-Z Exposed by His Right Hand Man

By: Rizoh Even though Jay-Z and Dame Dash are the well-known co-founders of Roc-A-Fella Records, a man named Dehaven now claims he’s the one responsible for The ROC’s existence. The Brooklyn native, who was referenced on “December 4th,” promised to expose Jay-Z and Dame Dash for who they really are in a new book. “I’ll let y’all know how bad they f***ed the game up and how blind they got y’all talking ‘bout how real they are and sh*t.” Dehaven admitted, though, that money remains the main motive behind his decision to air out Jay-Z but added that it’s also about street principles. “You ain’t paying what you owe to the n***as that put you on there,” he reprimands. “Remember how my moms used to come get you when you get locked up. Remember how she was taking us to the same clinic when we was burning and sh*t, when we was f***ing the same b***h.” This isn’t the first time Jay-Z has been “exposed” by disgruntled cronies from back in the day. Back in July, a former Brooklyn drug dealer who Jay shouted out on “Allure” told DJ Kay Slay that Hov is a phony. “In the 80’s, Jay wasn’t trying to be a drug dealer he was trying to be a rapper,” said the man named Calvin Klein, “but in order for him to transcend himself into this hell of a dude, he had to take characters from the 80’s like myself , said Klein. “ I give him 10% of his life that he talked about; I gotta give him something. He is from Brooklyn, he lived in Marcy Projects, his name is Sean Carter, he got that right.” Watch the video below:

Mel B Picked a Winner??

By: Hot Gossip Gal Turns out Stephen Belafonte (not his real name and in no way is he related to Harry) is a known baby momma beater. People are already speculating this dude as a money grabber, just as they are Mel B who married this dude in June…secretly of course so as to not upset her child support claims against Eddie I guess. I doubt home boy is going to be around too long but I hope Mel B made him sign a prenup as those Spice Girls are about to get paid when they go on tour later this year.

Uh-Ohhhh, Ja Rule Gets Sued by Contractor

By: Rizoh Forget 50 Cent and Eminem, Ja Rule (aka Jeffrey Atkins) has a new enemy. A Saddle Brook contractor, who claims that Rule stiffed him for $8,000, has taken the issue to court. The contractor, Joel Tobia, said the Murder Inc rapper delegate him to fix a bad leak at his $3.5 million Saddle River mansion. Tobia said he and six other men finished the work within three days, devoting 150 hours of manpower to the project. After presenting Ja Rule with a $13,000 bill, the 31-year old rapper paid Tobia $5,000 and refused to pay the rest. Ja’s lawyer contends that “some work was done, and there was a dispute as to whether the work was done properly and whether money is owed.” He added that “the amount in contention is actually $4,000.” A hearing had been scheduled for this Thursday to determine whether there is probable cause for a criminal complaint.

Common Signs Copies of Finding Forever at Borders

By: Rizoh After 15 years in the game, one of Chicago’s best lyricists has finally earned his first ever No.1 album. Common’s seventh album, Finding Forever, entered Billboard Top 200 at the peak spot with 155k units. Common is celebrating the success of his Kanye West-helmed opus by signing copies of the CD at a DC Borders. The socially aware MC who also acts as an activist for Know HIV/AIDS Organization will autograph copies of Finding Forever on Tuesday, August 14th, at 1801 K Street NW, Washington D.C. 20006.

50 Cent Explodes After Video with Robin Thicke Leaks

By: Rizoh Uh-oh…50 Cent has lost it. Word on the street is that 50 went completely bananas at the G-Unit office, after learning that his video for “Follow My Lead” has prematurely made its way onto the Internet. According to spywitnesses, 50 went on a rampage and ripped off a 70-inch plasma TV from the wall before hauling his cellphone through the window of his G-Unit office. According to missinfo.tv, Curtis yelled “You’re f***king everything up! You’re messing up my look, my album, so you know what, I’m on f***ing vacation now. F**k you and F**k Interscope!” As radio personality Miss Info reports, 50’s original plan was to save “Follow My Lead” (featuring Robin Thicke) for October, since he already has the Justin Timberlake-assisted video for “Ayo Technology” in heavy rotation. That explains why he lost his cool and decided to boycott all promotional run for Curtis. He even hinted at possibly leaving Interscope Records for good. Somewhere in L.A., The Game is throwing a victory parade, saying “I told you so.” Click Here To View

Jermaine Dupri Picks Up The Pen

By: Hot Gossip Gal Well more like he told his tale and some chick wrote the story for him. Anyhow here is the cover of JDs book. Will he dish the dirt on the situation at Virgin we wonder, will he talk about his annual strip offs in ATL, any info on him and Janet? If not..not much point in buying the book to hear him bitch about STILL not winning a Grammy. Hot cover though.

El-P Interview

By: William Ketchum For being one of the most heralded figures in independent hip-hop, El-P sounds impressively grounded while talking to CrackSpace. Since his entrance into the game with former Rawkus trio Company Flow, the NYC native has earned a reputation as one of the most avant-garde, consistent producers in the industry, with his highly successful Definitive Jux label housing indie mainstays like Cage and Aesop Rock; and as an abstract, angst-filled lyricist. With every project he approaches, El-P seems to take on a totally different style of production: his Fantastic Damage solo debut deftly organized hazy, abrasive sounds, and his High Water instrumental LP saw him experimenting with jazz. With his sophomore LP, I’ll Sleep When You’re Dead, El keeps the trend going, experimenting with even more sounds and rapping with the just as much urgency as he ever has. His explanation? “I’m just a fucked up person.” Read on to see El-P talk about his latest record, life in New York City and illegal downloads. HHC: It’s been a minute since your last solo album. In between Fantastic Damage and now, with all of your work that you do with Def Jux, how has your focus been balanced? El-P: It’s been balanced as well as it possibly could. The fact is that what I do now, most of the time it’s bigger than just me. I’m working to help other artists and I’m helping to produce for other people. I try and balance it as much as I can, but I can’t really do both at the same time. So eventually, I had to be like, “Yo, I’m going to do this. I have to go back into my little world, now.” So eventually, that’s all it was about. I was like, “Yo, I have some shit I’ve gotta change.” HHC: What kind of viewpoint did you use for the new album? Did you have a specific mission or message that you wanted to convey? El-P: Just a fuckin’ eloquent translation of one man’s experience during strange times, trying to walk through the muck and mire and live like everyone else is. That’s my viewpoint. I just wanted to be an honest voice. I have no intention of getting on a soapbox and preaching to anybody, or anything like that. I just wanted to capture my time, and my head is the filter. I just wanted to tell some stories and to create a record that, ten years from now, people could look back and have some sort of understanding of what it really meant to be alive during this time. I just wanted to give the fans something I think they’ve been craving for, which is honesty and genuine expression. And that can be fucked up. … Something that we can look at, where even if it’s not your voice, it’s a voice that makes you feel something, and you understand that there is something to be said here. Whether or not I succeeded is up to everybody else. HHC: I read something that quoted you as saying, “I’ll Sleep When You’re Dead is what I imagine New York City whispering into my ear.” Elaborate on what you meant by that. El-P: New York City is the backdrop to my story, where I was born and raised. Everything in my music and my life is influenced by New York City. That’s a love-hate relationship, the same way that life is hard, and sometimes life is great. I think that over the past five years, the city has been a lot harder psychologically on people than anyone is really admitting. Because you have some obvious things, and I think that…I have self-destructive tendencies, I’m a bit of a crazy bastard sometimes. I think that walking through this city and trying to survive, the city can suck the death out of you, insert the worst into you, and it can magnify your worst tendencies. You have to fight to a degree, heavily, to be the person you want to be in a city like this. If you’re not careful, it can follow you…of course, it’s bigger than New York. But there are times where I’m like, “Goddamn, this city can kill me. This city is going to fucking kill me.” And that’s just the way it is. That’s really what the record is about. It’s about being susceptible to all that bullshit. Having serious ups and downs, and yet, I’m resigned…I’m not going to be taken out. HHC: Your style is always out there, production-wise and lyrically. When I told a friend I was interviewing you, he told me to ask you what drugs you’re on when you make your beats. Where does that style come from? El-P: Drugs! It comes from drugs, of course! [laughs] It’s funny when I get asked that question, because I wonder…it’s because I’m a fucked up cat, basically. I’m a fucked up person. That’s basically the answer. But other than when you’re sitting in your apartment in Brooklyn, …and you’re fucking trying to fucking write something in the pad, and you’re hearing die rants and people screaming, and all types of noise, and cars, and you start walking around and then you hear birds chirping, and church bells in the distance, singing. All this noise and all this shit in conflicted frames of my skull, it kinda worked its way into my mind as one, and I couldn’t separate it. I’m not one of these people that can live somewhere and make music….I just pick up on the shit, and I corporate it in. I’m just trying to turn chaos into beauty. That’s all I can tell you; I’m a fucked up person. HHC: You’re also versatile, which is odd for someone whose style is as unique as yours. Your beats will be a certain way, while your beats for Mr. Lif would be more structured. El-P: Well, more traditionally structured. HHC: How difficult is it for you to work with artists who aren’t always on the same page as you are? El-P: I think the key to being a good producer is being able to make music for other people that’s not the same shit you do for yourself. It’s a challenge, and it’s something I’ve learned how to do. If I’m doing something for Lif, I know what Lif wants. Lif wants something much more straightforward, and I’m going to give it to him. Because I’m going to work with him to get the music he wants out of him. Of course, my vision is going to be a part of it, because I’m a producer and because I’m an artist and we’re working together, but of course I’m going to give Lif something different than I’m giving me. To be honest, no one wants what I use for beats [laughs], and I can’t do it for anyone else. It’s kind of hard to explain, but that’s like my blood right there, that’s my DNA. That’s something that I can’t create for anyone else, because I have to be 100 percent involved in the process, as plain as possible. And the thought behind the shit, the way that I do it…I would never subject anyone to that process [laughs]. They’d kill me. They’d murder me. … I have to be able to provide people different things, I have to be able to do different things for different situations. I’ve worked really hard at being able to be versatile. HHC: With the new album, you also have a lot of rock and jazz artists: Mars Volta, Cat Power, Trent Reznor. What made you take that approach? El-P: Put it this way: name one hip-hop record that you’ve ever heard that was comprised of samples from all hip-hop records. All your favorite classic hip-hop records are sampled from rock, jazz, funk, soul, Brazilian music, all different genres. To me, to have the Mars Volta on a section is like finding the Mars Volta in a dusty bin for a dollar when it was recorded in the 60s. So I just look at it as sampling, I just like to weave it in. I’m a hip-hop producer and a student of music, I’ve got thousands and thousands of records of all different types of genres. Shit that fucks my head up is that all these producers out here have the same record collections that I do. More, actually—20,000 records, 30,000 records—all these different records that they have, with all these different genres of music, with all these different structures, different ideas; and they keep coming up with the same wannabe career beats every time. That shit fucks my head up. I’m like, “How are you listening to all this music, and not coming up with some different shit?” So to me, working with other musicians is just natural; it just makes sense to me. If I would’ve found your part on a record, I would have sampled that shit. But now, I don’t have to clear it. HHC: Within the past few years, you’ve really revamped your studio and invested a lot into it. What do you think is the most valuable addition that you’ve made? El-P: Do you want directions to my studio, too, so I can get robbed? What the fuck? I’m a musician, and I put my money into it. I’m not going to go down a list of shit of money and prices. HHC: I didn’t mean price-wise, I meant what’s the most valuable musically. El-P: Ohhhh, my bad. I thought that was a weird question. Now I understand your question, and I’ll answer it. Pro Tools is the most valuable shit, in terms of, it’s the hub. It connects all the other instruments, all the other synthesizers and functions, and everything that I use. It’s where it all comes together, and where the final touches put on it. HHC: It’s 2007. Five years later, would you still rather be mouth-fucked by Nazis unconscious? El-P: [laughs] Yeah, man. Pretty much. HHC: Advance copies of your album had the specific names of their recipients watermarked all over them to help thwart bootlegging. Do you think downloading has downgraded the quality of music? El-P: I’m not one to bitch and complain about shit. To me, it’s just become a part of the culture. To some degree, I can’t blame motherfuckers for it. Kids are used to it now, it’s established. Cats can get ahold of a record before the shit’s on sale. I leave it up to the artist to make a record that is deserving of a kid spending his hard-earned cash. It’s there, so we’ve got to work with it and figure it out. A lot of what motherfuckers are mad about is that they put piece of shit records out, and they can’t trick kids into buying it anymore. They can’t even put one single out and there’s a bunch of hot trash on the album. And a kid is like, “That single’s the shit!” and they run out with their $15, which is too much anyway for something that they can get free, then they buy the album and one single is the only hot song on the record. Basically, kids now, they’re just smarter. They just want to hear the shit and they just want to know they’re not getting scammed. A lot of that scamming is big right now, they’re putting out wack albums. They’re not putting any effort into it, they’re not taking the shit seriously as an art form. … If a motherfucker likes my record, of course, my plea would be that if you really do like it, please buy it. It’s going to be better quality, I’m going to package the shit right, it’s going to look great, and if you come out, you’re going to get all types of shit, and it’ll allow me (to keep making music). It’s a relationship between the fans. All they’re asking us is, “Make some quality shit so that I don’t have to get it for free, listen to your wack mediocre album and toss it into the trash in my computer.” That’s how I look at it. HHC: Any possibility of another Company Flow record? El-P: This year, we’re planning on releasing the 10-year anniversary of Funcrusher Plus on Definitive Jux Records. It’s going to have a DVD of the last show we did in 2000, and we’re talking about doing new songs for that one. I don’t think it’s any type of full-fledged reunion, but we’re definitely talking about getting down on some [records]. But basically, I think that’s going to be the end of it, but you never know what to do.

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