RepPghHipHop.com

Tolly Bands Directed by Jordan Beckham

2010-07-21T14:06:00.000-04:00

RepPghHipHop.com

2010-07-06T21:33:00.000-04:00

Drake's Appealing Unappeal

2010-05-06T22:30:00.002-04:00

Once again the boy Drake is dropping fresh material in the form of a blatant “808’s and Heartbreak” outtake called “Find Your Love” and once again the hip hop world of purists, backpackers, so-called gangstas, and those who insist that “keeping it real” is the most important thing anyone can do, are shitting all over it as pure crap, a fake ass R&B singer who can’t rap two fucking bars without them foaming at the mouth mostly from not being able to accept the fact that dude has some serious fucking skills. Meanwhile anyone who is able to appreciate true music, the art of creating sounds that soothe the eardrums, are bumping the shit out of this track and very much anticipating the idea of more Drake and Kanye (as ‘Ye provided the beat, furthering the belief that this track came straight off the “808’s and Heartbreak” cutting room floor).

I seem to recall about 15 years ago, I was watching MTV and this video came on for this minor, insignificant track called “You’re All I Need To Get By” and there, amidst the glassy-eyed half-braided, fully blunted Method Man, was the always beautiful Mary J. Blige, singing an angelic melody while Johnny Blaze told me all the wonderful things about having a wife. I recall a beat destined for pop radio done by Kanye West’s inspiration and knew that this shorty-wanna-be-a-thug Wu-General had just broken through to mainstream artist. Now where were all the purists then? Why wasn’t Tical hung out to dry, panned for “selling out”? Why wasn’t his “ghetto pass” revoked for appealing to a broader audience, for getting 12 year old girls to hang his ugly ass mug on their wall? Granted the mafucka didn’t sing and anyone who actually bought “Tical” off the strength of that joint was confused as fuck when they put on the actual track only to find that the original was some dirty fuck fest of a song. But the fact that bitch tracks then got love and bitch tracks now just make the artists look like bitches is our problem, not the artist’s problem.

You got two options here, bump this Drake track and realize that the kid is the future of hip hop, along with Kid Cudi, Wale, B.O.B. and whatever other contagious fucks are currently making little girls’ ears take 10 seconds away from Lady Gaga, or sit in your basement bumping the newest El-P record convincing yourself that doing mushrooms and rapping about outer space is realer than real. This ain’t two turntables and a microphone anymore, this ain’t MPC’s giving me a drum loop, a bass line, and some uncleared sample. This is a full fucking orchestra of sound, resonating across a track in such a way that “building a beat” requires more than just dropping in the drums after a 10 second intro. Sure our kids do cute shit when they’re younger but don’t we want them to grow and start doing more complex shit? The simple shit they do might be good at the time but if they are still hitting their little brother on the head with a plastic hammer at age 14 then we have a problem.

Drake’s single is fire. The kid can sing, rap and is working with top notch talent. He’s on his way to being the next big hip hop artist and really the fuck else could you want? Between him and J. Cole, we got hip hop’s Tyreke Evans and Brandon Jennings, it’s a celebration bitches.

by @classicmaterial

REVIEW: Apex - Struggle City

2010-04-29T22:00:00.003-04:00

On the surface Apex could pass for another backpack hip hop group with boastful rhymes, classic rap references, and boom bap production, but dig deep into “Struggle City” and you have a mature duo with diversity in all necessary areas.

This album demands attention right from the start as both set off the bangin’ intro with solid verses, pure flow, and brilliant rhyme schemes. But just when you think you’ve already put their sound into a box, the next track starts off sounding like straight up ’95 Mobb Deep. The boom bap does continue though on “Grow Up”, with a dope piano line over some dirty drums, only they added an auto-tune hook and some real life verses. Apex got this ability to combine different styles and produce a track that appeals to all types of listeners. Most hip hop, even when diverse, is usually confined to one group of people but Apex can make polar opposite rap fans bump the same track. That’s chemistry at its finest. “Refuse To Play” is a great relationship track, with an incredible story, it’s some shit that a LOT of people can probably relate to, and again over dirty drums but with a sample that gives it an overall lush production. “If I Walk Away” got a hook that’s fire, and although the production is a little simple, the conceptual rhymes make this one of the stronger tracks on the album. Another boom-bap fueled track, “Right Here” delivers more of that raw hip hop Apex has perfected, but then right after that comes “Dying Inside” with smooth beautiful keys and a heartbreaking story. The overall theme of this album is diversity and that helps paint a complete picture of Apex, making them real people instead of two more rappers that can flow well over golden age beats.

Where the album strays (and coming in at 75 minutes you’re gonna have some tracks that fall short), is on joints like “Going Underground” which has a nice jazz sample but suffers from being too busy and unfocused, and the hook ain’t that hype. “Move Your Body” has a good reggae flavor but isn’t quite up to par. But then you personal tracks like “Please Don’t Front” which has a soothing beat and speaks to all the haters.

“Struggle City” is a solid effort from Apex and represents a group that has clearly been working together for a while and in that time has developed a chemistry and sound that fits them perfectly. The album boasts many guests but they never overshadow or clutter any of the songs and this allows Apex to shine. And when they do pop up, like in “The Cypher II”, they all hold their own quite well. The album also ends (before the remix tagged on) in dead-on post-Dynasty Jay-Z fashion, celebrating life over some hype ass production, complete with the female soul sample. This is definitely an album worth taking a tour through with two guides who are well educated on the subject they’re exploring. 3.5/5

UPCOMING EVENT:

Lightin' Loud Pack

2010-04-26T21:26:00.004-04:00

On 04.24.10 we had a get together at Mysterious' and as usual it ended in making a hot jam. Mysterious already had the beat made, it's hook a sample from a 41Duece track. We all gathered in the 'stood to hear the beat and everyone started writing their 8 immediately. Guess they were inspired by the subject. Check it out and leave your feedback...

Lightin' Loud Pack

Produced by Mysterious

In order of appearance: YMdaKid (@ymdakid), Villain (@villain151), 41Deuce (@41duece), Mysterious (@mysteriouspgh), L.King (@lking85), TBK (@tbk412), Nilla (K-Mo @nillabooty), Divine Seven (@divineseven)

REVIEW: Common Wealth Family - Disco Lemonade

2010-04-21T00:25:00.010-04:00

Fans of boom bap and that “classic rap” sound might wanna lay back in the cut on this one, but for those that can appreciate the advancement of hip hop and the electro vibe that is currently cranking out hits, then Common Wealth Family’s “Disco Lemonade” is the perfect album for you. Complete with auto tune hooks, spacey beats, and 808s, this album is everything that house fans could want, and that true hip hop fans can appreciate.

The first real track, “She’s So Cold”, has a smooth 70s feel, a solid hook, and a beat that is the perfect start to the journey of this album. I caught a Jamiroquai feel almost instantly and you can’t go wrong with that. The album continues with an electro/house vibe that never drifts, considering many artists are only incorporating one or two tracks like this on their otherwise hip hop albums. Common Wealth Family clearly has a style, and they do it quite well without straying in both quality, or listenability. Though the casual listener may tire of the repetitive themes, and many auto-tune hooks, any fan of the genre is gonna love this album. Now that auto-tune is commonplace in hip hop, instead of artists just having one of two hooks with the effect, we are seeing entire albums using the “gimmick” and when done right, it sounds dope. Simply put, Common Wealth Family is doing it right. Tracks like “Stupid Girl” and “Too Sexy” continue the pattern of sleek, smooth, housed-out hip hop, both containing throwbacks to classic pop songs, the latter of the two being the perfect 1:00am club track.

Other highlights include “Long Distance Lover”, which addresses a topic not often covered in hip hop and aside from a hook that got a little boring, the track was dope, especially the sick breakdown which saved it from the hook. “Slackin”, was straight up ignorant, in the best way possible though. Simple beat, simple hook, ignorant ass lyrics, sometimes ignorant sounding shit is necessary, and in this case they did it just right, mixing the boastfulness of a track like this, with enough of a nod to satire that you can tell they knew exactly what they were doing.

The only issues this album might have is it’s tackling head-on a sub-genre of hip hop that’s still trying to come up, and so casual fans will get bored with the overall theme throughout. It’s certainly a solid album, but at 17 tracks deep, a few stragglers get lost and forgotten, such as “I Know You Wanna” and “808”, the latter suffering from a lackluster and slightly annoying beat. Other than that you have a solid complete album from this crew.

If this isn’t your style of hip hop then be weary when entering, but try to be open as this electro style is taking off and is really just a throwback to the electro hip hop of the 80s, but these new cats seem to have extra energy which excels this style of hip hop more into the forefront of the movement. And with tracks like “P.Y.T. (Where Did You Go)”, which even got me dancing, this is definitely an album worth checking out.

by @classicmaterial

VIDEO: Star Song
VIDEO: Stackin

Why the 2000s Were Good for Hip Hop

2010-04-17T18:24:00.001-04:00

In the never ending battle of “which decade was the best for hip hop” the general consensus seems to be that the 90s were the “golden age” and that nothing in the last 10 years has been worthy of putting up on the same pedestal that we place “Illmatic”, “Reasonable Doubt”, “The Infamous” and “The Chronic”. While there is no doubt that hip hop delivered an epic amount of classics during the 90s, let’s not write off the last decade as being a total descent into watered-down music. From the evolution of new styles, to southern rap’s rise, to the resurgence of mixtapes, to the rise of the internet and indie labels, this past decade has been quite important for our culture. Let’s take a look at why the 2000s were so essential and only further elevated hip hop into the mainstream culture in positive ways.

We might as well begin with everyone’s favorite topic to hate on, southern rap. Before 2000, southern rap was limited to independent labels more focused on promoting their brand than pushing the content of their music (No Limit and Cash Money), and beyond that you had Outkast and Scarface. While most would put 3 Stacks, Big Boi and Scarface on the list of legends, the southern rap that emerged in this past decade has made many hip hop fans cringe at the subject matter and seemingly simpleness of the beats and rhymes. It’s true that not every southern rapper brought quality to the table but it’s not like every New York rapper had something to say either and especially West Coast rappers who have always had a history of placing low-riding beats above the need to spread a worthwhile message. However the south has brought us future legends that, without the Mike Jones’s and Dem Franchise Boyz’s, may not have had the ability to rise up and claim their place at the top of the hip hop throne. Look at Young Jeezy and T.I., both unique artists who brought an original style to the game as well as providing an introspective look where they came from and what defined them. While T.I. took a little time to develop, Jeezy’s mainstream debut “Let’s Get It: Thug Motivation 101” was nothing short of a classic, with his unapologetic look at the streets infused with knowledge for the kids and proof that dreams can become reality. Add to that a selection of hot beats and a brand new flow and you have everything that hip hop purists look for. As far as T.I. goes, whether or not you felt his earlier work, “Paper Trail” was one of the greatest albums of this decade, as he gave everything to people in the form of regrets, explanations, and a real desire to make a change that would better himself and his world. He poured his heart out on that album and proved that substance is definitely present in southern rap. Beyond that we have Jay Electronica, who, although has been compared to Nas, is still from the south and has even further proved that the south doesn’t have one distinct sound, just like New York has various styles, and that we’ve only begun to see the potential of southern MC’s.

Speaking of various styles, every good thing has to grow and develop, and hip hop is no different. Whether or not you like southern rap, or “snap rap”, or “emo rap”, or “hipster rap”, it’s inviting to see the different interpretations of the music we love so much. In the 80s “boom bap” hadn’t come into form and gangsta rap was limited to Ice-T and N.W.A. Yet when the 90s rolled around we welcomed these forms of hip hop, especially the blunted styles of New York, the city that started this whole thing. The branching out into different areas is only further proof that hip hop is evolving and growing, which is better than it going the way that most assumed it would (we all remember the days of “this rap thing is a fad, it won’t last). So rather than discredit these new ideas as invasive to the culture, why not embrace them as an ability to see how inspiration can come from all over and not just classic soul records or a well-known rock riff, and that it doesn’t have to be limited to an MPC. Youngsters like Kid Cudi, Wale and Kidz in the Hall have all given us their own 90s-influenced interpretations of hip hop and the result has been some incredible music, if only people would open their minds and give them a chance then they could be the next Gang Starr’s or Mobb Deep’s. And for those hating on their “electro rap” style, have we all forgotten that in the 80s electro rap was HUGE alongside Run-DMC and LL Cool J? This is nothing new, it’s just more polished this time around.

As we completely left behind the cassette era, the mixtape became something of the past. Short of DJ Clue’s “The Professional” series, mixtapes weren’t the source of new material that they used to be. As the internet started to grow few people saw the need to hit the swap shop to cop the newest mixtape to hear what street anthems were blowing up. But with all technology, the more that comes, the cheaper the old stuff gets and with that, CD burners became a staple in all computers, as well as Photoshop, making the ability to mass produce mix CDs a fairly easy task. So cassettes were replaced with CDs and groups like The Diplomats took attention to this, releasing new material in the form of street mix CDs and essentially building a career off that. Someone else who was no stranger to the mixtape game (and who also owes his career to it) is 50 Cent, who, after 3 mixtapes caught the attention of a small label called Shady/Aftermath which just happened to be the home of one of the greatest producers of all time who turned 50 Cent from a failed street rapper into a household name. And the most recent artist to rise from the mixtape circuit has been Drake, who even managed to secure a Grammy nomination off the strength of a mixtape, something that we would have never seen in the 90s.

Getting back to the internet for a second, the 2000s marked the explosion of the internet, going from dial-up connections to always-on cable lines that allowed for integrated video and highly advanced websites. Social networking also became the norm as people turned to MySpace to promote themselves as the next big rapper. Where as one time you could only get signed if you happened to secure a meeting with an executive, or were lucky enough to have a rapper wander into your show, there was now a worldwide arena for you to put your music out there and get one step closer to being able to get somewhere in this hip hop game. While that has certainly oversaturated rap with countless garbage MCs, it’s also allowed up and comers who do have talent to get their music heard by more than just their circle of friends. Even more important are the blog sites that have established the new medium for hip hop news, rumors, and are replacing such staples as The Source and XXL for all things hip hop. With these blogs run by hip hop fans for hip hop fans, artists now have the chance to speak directly with someone who can help promote their music and help them rise without the need for some 40 year old in a shirt and tie to tell them to “make something more universally appealing”. This has opened the doors for a multitude of talented MCs and there’s nothing better than hip hop heads assisting in bringing up the next generation of rappers.

Finally you have the indie labels, once a death trap for any MC that wanted success as the market covered was minimal due to the lack of development and ability to promote a product to the masses in the Tower Records world. Due to all the above mentioned aspects of the 2000s, from mixtapes to the internet, indie labels have seen huge successes in this decade, from Rhyme Sayers to Def Jux to Stones Throw and even to Koch, the label that many once forgotten artists used in order to regain the fans that thought they all but faded away. These labels are doing great things for their artists and for hip hop in general, but not simply paying an advance for the next big single but by developing talent and maintaining this group dynamic that creates strong units of MCs, producers, and A&R’s. Instead of negotiating with major labels for distribution, these independents have been able to handle everything in house which gives them more control in promoting their artists and packaging the best product for their fans.

While reminiscing on the glory days of rap, it’s important to realize that the steps we’ve taken in the past decade have only furthered the growth of our culture and are paving the way for the next generation. Purists will always be around complaining of the lack of substance or “boom bap”, unable to appreciate the use of real instruments that allow for full, almost symphonic, productions that push the boundaries of what was once nothing more than a break and one MC spitting for 5 minutes straight. The mainstreaming of hip hop is a good thing because it makes hip hop more accessible to everyone involved, from the big acts you love to hate, to the minor acts who now can promote themselves without being told “yeah well we don’t know how long this hip hop thing is gonna last so we’re not sure we can work with you”. In short, hip hop grew in the 2000s and that growth should be appreciated as it’s done a lot of good for all of us involved.

Select artists whose careers started this decade – Kanye West, 50 Cent, Fabolous, Young Jeezy, T.I., Joe Budden, Clipse, Little Brother, Ludacris

Selected future “classic” albums from this decade – The Black Album (Jay-Z), Get Rich or Die Tryin’ (50 Cent), The College Dropout (Kanye West), The Unseen (Quasimoto aka Madlib), Quality (Talib Kweli), The Fix (Scarface), Speakerboxxx/The Love Below (Outkast), Be (Common), The Documentary (The Game), Paper Trail (T.I.), Let’s Get It: Thug Motivation 101 (Young Jeezy)

by @classicmaterial

Wiz Khalifa - Kush X OJ

2010-04-14T22:05:00.001-04:00

Download Mixtape | Free Mixtapes Provided by DatPiff.com

RepPghTV.com Presents "3in3 - Real Deal"

2010-04-10T01:46:00.000-04:00

YD of Moola Gang "Zeen" Promo Video

2010-04-03T18:32:00.003-04:00

Dope video coming from Moola Gang's YD for his smash single "Zeen". Check it out!

I'm Heavy Hunny Vol 1 Coming Soon!
@ydmoolagang
@pyrexpress

Review: DJ Mynd Tek starring Beedie "Walking on a Dream"

2010-04-03T17:00:00.002-04:00

With a name like “Walking on a Dream” there is a definite theme that is present throughout this mixtape. With celebratory, hyped up tracks and maturity that the dream has been achieved and is in fact being “walked on” instead of just being looked at in passing, this mixtape delivers on all fronts and achieves what it set out to do, prove that dreams can be accomplished with hard work and dedication. This is definitely one of the best mixtapes I’ve heard both in flow and consistency. There is almost never a boring track and the focus is ever present. Beedie is the star of the show, but every MC brings their A game to this project and it makes the whole tape shine.

Starting off over one of the best instrumentals of last year, Beedie introduces us to his world and sets the bar high for what’s to come. Boaz follows up over a hot Statik Selektah beat by bringing that boastful, god body rap complete with drug laced cuts and the result is pure fucking dopeness. A.P.E.X. delivers a track reminiscent of the smooth jazz Pete Rock days and both MCs CRUSH the third verse, showing a clear chemistry between these two equally tight lyricists. Beedie’s “Grown Man Shit” caught me off guard at first, with the Jay-Z flow of the first verse, but as the beat builds, the track itself “grows up” and results in one of the highlights of the album. The A-Jaxx interpolation of the classic Queen Latifah joint on “Another Day,” had the feel of 93 and the freshness of 2010 at the same time, which shows that you can bring back a golden age sound while still being current. As far as “Cruise Control” goes, I’ve already said this track is fire, and it’s easily one of my favorite songs to ride around to. Put one in the air right quick for this joint. BZE’s “California Chiefin” is, without a doubt, one of the funniest tracks I’ve ever heard in my life. At first I thought it was gonna be corny the way they flipped that hook, but once that beat kicked in it was a wrap, and lyrically they KILLED IT with this weed anthem. Kemickal, who has the style and voice of Lloyd Banks with the substance of Styles P, delivered a deep reflective joint which was a nice calming break to the otherwise hyped up mixtape. Another highlight was Idasa Tariq’s “On Top of the Mountain” which is straight up hip hop at its finest, with a smooth ass beat that dude glides over with ease. The album was topped off with another mainstream beat, Alicia Keys’ “You Don’t Know My Name”, and once again Beedie flipped it nice, and instead of just reminding me that he was rapping over someone else’s beat, he brought his own style and truly made the track his own.

The only real lowlights of this album came from Vintage Radio’s “That Flame”, which although I understood what they were trying to do with that drum/bass line, it simply didn’t work for me. The hook was also underwhelming and while the style of the track might work for some, it didn’t fit the overall feel of the tape. A track that did continue the theme, “Reachin”, was good, but the monotonous flow made it difficult to stay focused towards the end of the track. Other than these two drop-offs, this mixtape is pure fire.

Beedie clearly had a vision with this project, and it came together perfectly as this mixtape is great for big parties as well as groups of friends just sitting around chillin’ and reflecting on the successes of life. I would absolutely recommend this tape to anyone who is either feeling great or needs something to get their mood up as there is no doubt that every artist contributed some of their best efforts to celebrating hip hop and the goals that can be accomplished when people stop beefing and start appreciating the art. Also, the outro, you’re ALWAYS gonna win me over with a classic Kane beat, and as far as walking on a dream goes, that’s the perfect beat to drop right at the end to remind everyone what’s good with hip hop. 4.5/5

by @classicmaterial

DOWNLOAD WALKING ON A DREAM

Review: Ayatollah Jaxx "Hello, Hip Hop"

2010-04-03T16:55:00.002-04:00

Ayatollah Jaxx is, simply put, a rapper’s rapper. He’s the people’s champ, he’s the MC that, if you’ve lived in America recently, you can absolutely relate to. While other rappers are trying to cater to a certain crowd, or celebrate a life that they ain’t living, A-Jaxx is spitting nothing but truth about the realities around us that we are actually facing on a daily basis, and with “Hello Hip Hop” he has done a brilliant job at that.

He starts right off with the title track that is a perfect introduction to the type of album that he delivers, full of life and knowledge and then flows right into “Ain’t It True”, which, when people talk positively about “conscious rap”, this is what they are referring to. “Shoe Horn” is one of the gems and with its short length and neck-breaking beat it reminded me of a Madvillain track, but with substance, which only made it better. Another jewel was “Coming of Age”, which had all the good qualities of a hip hop track, solid beat, sick samples, and a passionate MC telling his life story. A-Jaxx is unique in that every time you try to pinpoint his style, he shows you more diversity and you realize throughout this album that he can do it all, not many MCs have that ability. “Wha Gwan?!” is more of that neck-breaking material with A-Jaxx showing off his battle skills, and with lines like “kill me I’ll turn a whole religion against yall”, the kid can definitely hold his own when it comes to that tough talk. You got the honey tracks, “Bitter Sweet” and “Ms. 416”, the latter of which being one of the most beautiful hip hop love songs ever made, which again show diversity in topics from A-Jaxx. Overall the production on this album is phenomenal, from the soulfulness of “Deen Tight” and “Reflection” to the hypeness of “Street Hop” and the aforementioned “Wha Gwan”. There were also two tracks where the vocal sample completely clashed with the beat, but surprisingly the clash worked quite well and in the case of “Coming of Age” resulted in one of the best tracks on the album.

The album isn’t all fire but even when it strays it still keeps you interested. “I Will Not Lose”, with its badly auto-tuned Kanye-interpolated hook wasn’t the best move, especially after denouncing auto-tune in the song before it, but the lyrical content of the track was still fire. The remix of “Street Hop” wasn’t as good as the original tagged on at the end and “Probably Wack” was more of the same hating on the mainstream stuff that we’ve been hearing too much in hip hop. However “This Is For That Radio” is EXACTLY the type of shit we needed someone to say so A-Jaxx does know how to tackle the subject right. Also, “Pain”, at first I wasn’t feeling the idea, being a reboot of one of the greatest Pac tracks of all time, but after a couple listens I realized that the topic being touched was such a modern day reality that rarely, if ever, gets addressed and it made the track so deep. He straight up gave us an updated version of the Pac joint, and it was dope.

All together, “Hello Hip Hop” is a masterpiece of an album, with not just something for everyone, but everything for everyone. Ayatollah Jaxx is a rapper who lives a real life and is able to paint a picture of that life so vividly that you truly get pulled into his world. Only a handful of MCs have that power and A-Jaxx is one of them. He touches on every subject with the classic hip hop feel while incorporating the most modern day raps I’ve heard in a while. Aside from a couple missteps which in turn make this album a little lengthy, you have a classic album from someone who is definitely ready and deserving of some shine in this game. 4/5

by @classicmaterial

DOWNLOAD HELLO, HIP HOP

The Future of Hip Hop

2010-04-03T16:52:00.002-04:00

In hip hop we have always had the uncanny ability to look at the past, whether it be for important reasons such as pulling samples to create beats or cut hooks, or for the overdone debates of who was the best MC in 1987 and what the best album from the 90s was (Illmatic, in case you weren’t familiar with the greatest rap album of all time….see…I’m doing it right now). Rather than constantly focusing on the past (or even the present) it’s about time that we took a good look at the future and while one can only guess where hip hop will be in 5, 10, or 20 years, it’s worth taking the time to examine the possibilities. This is nothing more than a prediction, based on what we’re seeing right now, but as someone who has seen hip hop go from underground radio stations to an American controversy to an undeniable aspect of mainstream culture, I feel as though I can at least provide somewhat of a blueprint to where our beloved art-form is heading.

There is no doubt that the recent explosion of the internet has catapulted hip hop into an arena where anyone with a cracked copy of Fruity Loops and a microphone can be a rapper. While this has given us the opportunity to hear artists that would otherwise go unnoticed due to the politicized mainstream radio/record label environment, it has also flooded the market with untalented artists and basically, too damn much hip hop to ever keep up with. There used to be only a few ways to discover new talent, either from mixtapes, guest verses on an established artist’s album, or the Unsigned Hype column in The Source. Now we have thousands of blog sites giving up and coming artists their 3 minutes to prove that they have something unique to offer the hip hop world, from which we’ve learned about such great rookies as Wale, Fashawn, Sene ,and Charles Hamilton. The internet has also allowed for combinations that we could never even imagine before in hip hop. Thanks to the ability to send MP3s in an instant we got 4 of the hottest MCs in the game right now (Slaughterhouse) to link up and deliver an album full of quotables that would never be possible without this wonderful broadband connection. Hip hop has seen itself go from the streets of New York to worldwide exposure in everything from movies to commercials to news broadcasts to children’s books to college courses and to museums. When Guru said he was about to “blow the fuck up” he certainly wasn’t kidding, and when presidential candidates use words like “diss”, it’s safe to say that hip hop has made a distinct mark on society. So what happens next?

My prediction is that hip hop will only expand more, allowing us to embrace even more new styles and artists. The glorified use of auto-tune and the electro elements that have made their way into hip hop culture can either be accepted or rejected, but like them or not, they are just another way for people to expand a genre of music that once consisted solely of a breakbeat and a generic MC hyping a crowd for his DJ. Artists like Wale are as unorthodox as it gets, with the sing-song style of rhyming and the internationally-influenced beats, but damned if he ain’t an incredible MC. Dude is one of the great examples that stepping outside the box is important in growing a culture which many deem to be on life support. Look at Kanye’s “808’s and Heartbreak” which was more a pop album than anything rap related but still managed to top the charts. Was this good or bad? Quite simply it was one of the best things to happen to hip hop. It proved that we can push boundaries and still make great music.

At this point we have been around long enough to see a generation of kids come up hearing hip hop in places other than the street corner. Anybody with an internet connection from Brooklyn to Utah is able to instantly access thousands of artists without ever leaving the comfort of their home, whether it be a boarded-up project, or their parent’s 1000 square foot basement. This has allowed for many different artists with many different backgrounds to step into hip hop, not just as an escape from the real world around them, but simply as a way to express themselves artistically. Hip hop is becoming less about who you are and where you’re from (thanks 50 Cent, we get it, you’ve been shot 9 times, oh and you’re the Teflon Don, thanks, we’ve only heard that about 8000 times), and more about what you can do lyrically. Now some say that hip hop has taken a lyrical downturn, but I believe those who say that are focusing too much on artists themselves and not what they are spitting. Hip hop hasn’t just been about lyrics for a while but with the ever growing pool of MCs, lyricism will become more important as far as rappers trying to launch a lasting career and the one-hit-wonders will become even more obscure and forgettable. Does anyone even remember Jibbs anymore? Nope, but I bet back then you haters were spending way too much time trying to discredit “Chain Hang Low”. There is so much out there now that the pop hits will only be more associated with the pop radio stations while true hip hop keeps its target audience on point with the real issues of the world. I think it’s safe to say we’ll see even more styles emerge and the variety of topics expanding past money, drugs and bitches. As hip hop has always been based on the sample, we will see different genres of music being sampled other than the typical soul and funk breaks. We will see a growing demand for talent amidst an expanding sea of potentials and while the line for being a true star will tighten up, the door for exposure will remain open to those who have real skills. With global appeal comes global elements, and although I don’t see international artists getting their deserved shine any time soon, I do see their music becoming an inspiration for swagger-jacking, whether for samples or just style. All this is called expansion, it’s called pushing boundaries, it’s called growing, it’s called building and adding on.

As far as modern culture goes, hip hop is everywhere and it continues to grow and become a staple of white suburbia as much as the streets of New York. Girls can buy “bling bling” jewelry kits and boys can dream about and plan to “pimp their ride” as along with that comes a generation so immersed in hip hop that most of them don’t even realize the implications of their thoughts and actions. Through the gentrification of the culture I believe white producers (and maybe even white MCs, thankfully not Asher Roth though) will begin to dominate the hip hop scene, with beatmakers like Statik Selektah and Jake One already proving that when it comes to getting behind the boards, there is a broad range of talent out there who come from all walks of life.

Hip hop is also getting more personal, through video blogs and chatrooms we have the ability to get first-hand exposure to our favorite artists and on demand content from top notch MCs. Rather than waiting a month for an interview in XXL, we can watch the video interview from last night or sit in on a live feed of Joe Budden being his ridiculous self. I hope we continue on this path of bringing the artists closer to the fans, as it has proved to be quite successful, such as Raekwon dropping a sequel to his epic debut album mostly because of the constant input he got from fans seeking a return to the kitchen from the Chef. I see artists continuing to break down that wall between them and their fans and I feel as though you’ll see a lot more live shows via the internet and artists taking the feedback of their viewers and turning it into the product their fans demand.

Finally hip hop has become academic and as a result it has become not just a musical expression but a teaching tool used to develop young minds. We have hip hop classes in colleges, hip hop after school programs, community organizers using hip hop as a means to bring people together and create bonds within groups of kids who have nothing else to turn to. We put hip hop into our children’s books to not only teach them to rhyme but to give them a sense of pride in something they can do themselves and we learn from what hip hop has done to our lives in the form of studying the past to build on the future. Hip Hop Summits bring together minds from all over the country to work towards common goals that we see in hip hop from eradication of poverty to a true equality of all people in this nation. All of this will continue to grow and reach more people as we continue to use hip hop not just to make great music but also to help people better themselves and better the world. I predict you’ll see more art galleries pop up exclusively dedicated to hip hop themed pieces, and exhibits timelining the emergence of this culture becoming much more common in respected museums.

When we look to the future of hip hop, what it basically comes down to is expansion. Expansion in styles, expansion in fan base, expansion in exposure, and expansion in acceptance. Those of us who are progressive in thought will be able to embrace the way that new artists bring their brand of hip hop to the table and be thankful that so many different elements have contributed to this amazing culture. If you are a fan of hip hop and a true member of the culture then the future is bright and you should consider yourself lucky. From interaction with artists, to a variety of styles all existing at once, to experiments never thought of but well executed, to social change through the culture, hip hop is an ever-growing force that will continue to play an important part in all of our lives, whether we are immersed in it or are only touched as it passes us by.

by @classicmaterial

Burgh Famous Vol. 4: Burgh Watch

2010-03-29T03:36:00.001-04:00

The 4th in the popular series!
[DOWNLOAD]

NEED GRAPHICS?

2010-03-16T15:56:00.002-04:00

For mixtape/album covers, show flyers, promo flyers, logos and more email mrkus@reppghhiphop.com today for a quote! affordable!

EXAMPLES:

Kustom!!! Graphic Design
in association with
www.reppghhiphop.com
www.highbridnation.com

Pittsburgh All City Bangers (free mixtape)

2010-03-06T22:42:00.000-05:00

DOWNLOAD

YM daKid - G.O.D.

2010-02-28T18:23:00.002-05:00

DOWNLOAD

Website of the Year

2010-02-22T00:46:00.002-05:00

2010 Pittsburgh Hip Hop Award Winner for Website of the Year!

RepPghTV!

2010-02-12T00:03:00.001-05:00

Watch live streaming video from reppghtv at livestream.com

The First Annual Blizzy Awards

2010-02-06T22:04:00.000-05:00

Since we're all snowed in and the Pittsburgh Hip Hop Awards were postponed until 2.21.10, we bring you The First Annual Blizzy Awards!

CLICK HERE

Sunday Night Showcase Burgh Famous Vol. 3 - Jeopardy!

2010-01-17T22:03:00.000-05:00

CLICK HERE TO DOWNLOAD

2010-01-14T22:03:00.002-05:00

www.reppghhiphop.com

RPHH Freestyle Series - YD

2010-01-09T17:38:00.001-05:00

www.twitter.com/ydmoolagang

www.reppghhiphop.com

RepPghHipHop.com Cosigns: Pyrex Pre$$ - Cash Cow

2010-01-07T20:49:00.001-05:00

This is a must listen, download Cash Cow by Pyrex Pre$$ of Moola Gang.

Download Mixtape | Free Mixtapes Provided by DatPiff.com

www.reppghhiphop.com

Rhyme Cal 8

2010-01-05T22:16:00.000-05:00

Rhyme Cal 8

Jon Quest - Emcee University (Prod. by Shade Cobain)

2010-01-04T19:53:00.000-05:00

New exclusive single from Pittsburgh native Jon Quest titled Emcee University. The track is produced by up and coming Pittsburgh producer Shade Cobain. Jon’s gearing up for his debut album The Great Adventures of Jonny Quest which is scheduled to be released in the 2nd quarter of 2010. While Shade is in pre-production for his debut album Euphoria Theory which is scheduled to be released September 2010.

Contact:
www.twitter.com/jonquest412

www.myspace.com/shadecobainofrotundamuzic
www.twitter.com/shadecobain

www.reppghhiphop.com

Michael Warbux - Fat Girl Sex

2010-01-03T11:10:00.000-05:00

view more videos on the Michael Warbux Show! subscribe, view, rate and comment!

Excess Bangers 58: Xmas Bangers Christmas

2009-12-25T14:51:00.001-05:00

click here to download

01. Snoop Dogg ft. Crooked I, Busta Rhymes, Fat Joe, Lloyd Banks,

Ras Kass & Styles P – I Wanna Rock (September 7th Mix)
02. Juelz Santana & Lil Wayne – Move the Damn Thing
03. Drake – It’s Been A Pleasure
04. Crooked I ft. Raekwon, EDI & ConiYac – That’s My Word
05. Young Jeezy – 4 My Town (rmx)
06. Wale – The Meeting
07. Styles P – Soldier Of Love
08. Kendrick Lamar – The Relevant
09. Reflection Eternal ft. Jay Electronica, J. Cole & Mos Def – Just Begun
10. Young Buck & JT the Bigga Figga – Gang Injunction
11. Cassidy ft. Trav & Lloyd Banks – Ride the Wave
12. Teriyaki Boyz ft. Jay-Z – Living The Life
13. Crooked I – Fear Freestyle
14. Kendrick Lamar ft. Ab-Soul – For the Girlfriends
15. Young Buck – Raindrops
16. Nino Bless – Buffalo Bill (52 Bars)
17. Illogic – Graveyard
18. Divine Seven, R-Sin, Jon Quest - Wish List (This Xmas)

Produced By Mysterious

The Blakkout

2009-12-23T22:59:00.002-05:00

Mega-collaboration of 19 Pittsburgh Hip Hop artists!!

DOWNLOAD

VIDEO COMING SOON!

Rae Zellous, Gucci Mane, Project Pat, Rasheeda - Chef Boi R Z Half Man Half Powder Mixtape Hosted by Supastar J. Kwik @ DatPiff.com

2009-12-23T11:06:00.001-05:00

Download Mixtape | Free Mixtapes Provided by DatPiff.com

Living Proofe - Say You Will freestyle

2009-12-23T10:48:00.002-05:00

Excess Bangers 57 - SnowCain

2009-12-19T23:47:00.002-05:00

CLICK HERE TO DOWNLOAD

01. Lil Wayne ft. Eminem – Drop The World
02. Alicia Keys ft. Raekwon, CNN & Styles P – Empire State Of Mind 2 (rmx)
03. Cam’ron Ft. Vado – Ooh Baby
04. Rakim ft. Jadakiss, Styles P, Busta Rhymes & Cocoa Chanelle – Euphoria
05. Young Jeezy – Money To Blow
06. Young Money – Finale
07. Obie Trice – Da Streets
08. Mos Def – 24 Hour Karate School
09. Inspectah Deck ft. Solomon Childs & Fes Taylor – The Pain
10. Joell Ortiz ft. Cory Gunz – Line ‘Em Up
11. Charles Hamilton – Air Agains
12. Mobb Deep – Tha World
13. Game ft. Busta Rhymes – Breakin’ Rules
14. Fluent ft. Royce Da 5′9″ – Steady On The Grind
15. Kendrick Lamar – Little Johnny x JE
16. XO ft. Raheem Devaughn – Take Home
17. Paul Wall - Im On Patron
18. Sandpeople – Can It All Be So Simple (El Michels Affair rmx)

Mac Miller - The High Life

2009-12-16T17:55:00.003-05:00

click here to download

Apex - Struggle City

2009-12-15T11:52:00.001-05:00

released 12.15.09

Graphics by Kustom!!!

2009-12-13T22:28:00.001-05:00

Here is just a sample of album/mixtape covers by Kustom!!!
if you would like one, please email mrkus@reppghhiphop.com

Dubble - Flight Cancelled

2009-12-13T22:27:00.001-05:00

click image to download

Excess Bangers 56: The Late Drop 2: Now Playing

2009-12-12T12:35:00.004-05:00

click image to download

01. Young Jeezy ft. Lil Wayne– Scared Money
02. Red Cafe ft. Fabolous– I’m Ill
03. Black Thought – Mona Lisa
04. Nicki Minaj, Gudda Gudda, Jae Millz, Lil Twist & Lil Chuckee – Where’s Wayne
05. AZ – I’m ILL
06. Curren$y – Famous
07. Obie Trice ft. Deuce Wonder– Roughnecks
08. Common – Start the Show (New Verse)
09. Bishop Lamont & Indef – Money On My Head
10. KRS-One & Buckshot ft. Talib Kweli & Geo (of Blue Scholars)– Oh Really(rmx)
11. The Outlawz – Fuck You f. Young Buck
12. Willy Northpole, Stat Quo & Royce Da 5′9? – Soldier
13. Young Jeezy ft. Lil Boosie– Miss Me
14. Obie Trice – On & On
15. Charles Hamilton – Loserville
16. Xzibit – Hurt Locker
17. Mickey Factz – The Lost Exhibit
18. Game – Turn Off The Lights

Looney - Prepare for Takeoff

2009-12-12T12:32:00.002-05:00

click image to download

Excess Bangers 55: Fail List

2009-12-05T13:56:00.002-05:00

click image to download

01. Eminem – Buffalo Bill
02. Lil Wayne – On Fire
03. Snoop Dogg ft. The Dream - Luv Drunk
04. DJ Kay Slay ft. Cam’ron, Rick Ross, Vado, Busta Rhymes, Sheek Louch & Papoose – Blockstars (rmx)
05. Freeway – Love Is A Battlefield
06. Birdman ft. Gucci Mane - Ball Till You Fall
07. Yo Gotti ft. Lil’ Wayne - Women Lie, Men Lie
08. Ya Boy – On Me
09. Gucci Mane ft. Bun B, Devin the Dude & E-40 – Kush In My Cologne
10. Charles Hamilton - Charles Hamilton is Back
11. B.o.B (Bobby Ray) ft. Bruno Mars – Nothin’ On You
12. Eminem – Elevator
13. DJ Kay Slay ft. Papoose, Maino, Red Cafe & Ray J – Thug Luv
14. Red Cafe ft. Sheek Louch & Ross Fortune – Nasty Girl
15. Gucci Mane ft. Keyshia Cole – Bad Bad Bad
16. Swifty McVay - Verbal Contract
17. Jim Jones ft Maino – Tryna Win
18. X.O. (Black Wall Street) f. Pharrell – Step Ya Game Up

Kemickal - Hoody Muzik

2009-12-05T13:08:00.002-05:00

click image to download

Y.M. da Kid - King of the City

2009-12-05T13:05:00.002-05:00

click image to download free mixtape

Burgh Famous Vol. 2: Special Delivery

2009-12-03T20:06:00.001-05:00

Join us every Sunday at 8pm for the Sunday Night Showcase where
the viewers decide whether the track "Delivers" or we "Throw it into the River".
Tracks that deliver may be featured on a future volume of the mixtape.

click image to download mixtape