Podcasts about sir jinx

Continuing our month dedicated to female MC's, we take it to the West Coast to review the debut album Make Way For The Motherlode from rapper Yo-Yo released in 1991. Backed by Ice Cube and production from Sir-Jinx, Yo-Yo stomped on the scene to let everyone know she was the brand new intelligent black woman and nothing could stop her. https://www.facebook.com/profile.php?id=100086006336425&mibextid=LQQJ4d https://www.tiktok.com/@brandonhetzel996?_t=8kxDbTjYCfX&_r=1 https://www.instagram.com/str8_the_clippa?igsh=cTBzNnFhenRkN3Nl&utm_source=qr

Failed New Years Resolutions By KDP - 2024 Tracklist: Grandiose by KDP Bubu The Prince x 2wo Offishall - Play Around feat. Swab Estee Nack & Machacha - Bigpapiintheclutch (Feat. The Hidden Character) Ayo Shamir - Head Of Goliath feat. Datin & Mickey Factz Money Mogly - Top 3 And Not 3 feat. Shottie Conway The Machine & Wun Two - Gaspare feat. Goosebytheway Mickey Diamond & Big Ghost Ltd. - Reggiani's Revenge Snotty - Felonious Food Courts feat. Daniel Son Mickey Diamond & Big Ghost Ltd. - Nauti By Nature Swab - The Manual feat. Josiah The Gift & GeneralBackPain Nes - 1000 Shots feat. $auce Heist, Ty Da Dale, Estee Nack, Jamal Gasol, Rome Streetz, Rahiem Supreme & Ankhlejohn Swab - The Manual feat. Josiah The Gift & GeneralBackPain Mickey Diamond & Big Ghost Ltd - Yachts N Boycotts Apollo Brown & Planet Asia - Broad Dayin' Jamil Honesty & Machacha - The Surgeons feat. Apollo lordMixer - Get The Tape feat. Edo G Mickey Diamond & Big Ghost Ltd. - The Last Supper feat. Ty Farris, BoriRock, Big Trip, Shaykh Hanif & Snotty $auce Heist - There Will Be Blood feat. Rome Streetz, Dot Demo & Sa Money Jamil Honesty & Machacha - Pastries Czarface - You Know My Style feat. Nems Vinnie Paz - Beausoleil Wiretaps (Feat. Lord Goat & Ill Bill) (Prod. By PhD Beats) Al Skratch - Preemo Freestyle Kamakaze - Bridge '95 Starvin B & DustVibes - 10 REASONS (feat. Raf Almighty & Guy Grams) Torae & Marco Polo - Rap Shit feat. DJ Revolution Edo G - Master Vinnie Paz - Peace Means Violence (Feat. Saigon) (Prod. By Stu Bangas) Mike Titan X Silent Someone - Church Torae & Marco Polo - More Danger feat. Shy The BeatYoda Chaz The Natural & Props The Optical-Whore (Bonus Track) Q-Unique - Criminally Minded (Feat. D-Stroy) Kurious & Cut Beetlez - Hog Tied feat. Ceaz Da God Ice Cube - Jackin' for Beats - Prod. Ice Cube, Sir Jinx & Chilly Chill

This week, we cover the legendary debut album Amerikkka's Most Wanted, from West Coast rap artist - none other than Ice Cube. After leaving N.W.A., Cube teamed up with Public Enemy's production group The Bomb Squad, and fellow friend Sir Jinx, to make arguably the greatest debut hip-hop album ever. Dropped in 1990, Ice Cubes' story telling, hard chaotic beats, and gangsta yet conscious abilities put him on the map as a solo artist and proved he could stand on his own. https://instagram.com/str8_the_clippa?igshid=MzMyNGUyNmU2YQ%3D%3D&utm_source=qr https://www.facebook.com/profile.php?id=100086006336425&mibextid=LQQJ4d https://www.tiktok.com/@brandonhetzel996?_t=8hrXzbIJzN0&_r=1

30 years after their debut, Souls of Mischief are proving that the title of their song "93 'Til Infinity" is true. Currently, they are in the middle of a world tour spanning over 100 dates, selling out shows around the globe, winning over young fans through streaming, and demonstrating a longevity that is rarely seen in rap music. This exclusive interview with all 4 members of Souls - A-Plus, Opio, Phesto and Tajai - touches on their upbringing in East Oakland, their early days recording with Del the Funky Homosapien, traveling to LA as teenagers to build with Ice Cube, Sir Jinx and Eazy-E, and the ups and downs of signing to a major label. As members of the Hieroglyphics collective along with Del, Casual, Pep Love, Domino, and DJ Toure, Souls and their comrades have been successful independent artists since the 90s. They also touch on how they define success for themselves, their pursuit of other careers outside of music, and how their friendship has helped them stick together to inspire new generations through music year after year. --- Support this podcast: https://podcasters.spotify.com/pod/show/historyofthebay/support

LEGENDARY PRODUCER AND DJ FAT JACK FROM L.A. SOUND CONTROL MOB, COMPTON'S MOST WANTED, SIR JINX, DJ POOH, UNCLE JAMM'S ARMY, MC EIHT , DK TOON, I- SMOOTH-7, ABSTRACT TRIBE UNIQUE, PIGEON JOHN, FREESTYLE FELLOWSHIP , GANGAH K, VOLUME 10, MEDUSA, SACH FROM THE NONCE, MYKA- 9, ACEYALONE, BROTHER J FROM X KLAN, TOMEICKO , AND ON AND ON AND ON ...DID YOU KNOW DR. DRE AND ICE CUBE USED TO PRACTICE MIXING IN HIS GARAGE? COOLIO, DJ SLIP , ALONZO FROM THE WORLD CLASS WRECKING CREW, EGYPTIAN LOVER, AND SO MANY OTHER O.G.S FROM LOS ANGELES HAVE HIM TO APPRECIATE FOR GREAT SOUNDS, VIBES, MIXING, AND FORWARD MOVEMENT MUSIC . OLD SCHOOL " SKATELAND" SKATING RINK IN THE 1980'S, THE GOOD LIFE CAFE, AND PROJECT BLOWED ARE SOME OF THE SPOTS AFFILIATED WITH THIS MUSICAL GIANT. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tomeickoshow/message

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of murder, attempted sexual assault, theft, robbery, guns, police, misogyny, neglect, suicide. We're continuing our Oscars ‘91 series with a groundbreaking major studio movie in its willingness to put women front and center as our heroines. Although, these two aren't the perfect protagonists by any measure, but they are truly compelling. And while the film is rightly remembered as a classic, it's not without its faults. There's a lot of the movie that focuses away from what makes it so great, either out of messy writing or frustrating directing. Still, anytime you can put Susan Sarandon and Geena Davis in a car in the southwest, it's worth the price of admission. Hit the pedal all the way down as we discuss Thelma & Louise on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Thelma & Louise / End Credits” from the motion picture soundtrack to Thelma & Louise, written and composed by Hans Zimmer. Copyright 1991 Metro-Goldwyn-Mayer Music Inc. Excerpts taken from the film Thelma & Louise, © 1991 METRO-GOLDWYN-MAYER STUDIOS INC. Excerpt taken from “How to Survive in South Central,” written and performed by Ice Cube and produced by Ice Cube and Sir Jinx. © 1991 Columbia Pictures Industries, Inc.; Qwest Records.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of murder, gun violence, gangs, racism, police, gang violence, crime, death. Oscars ‘91 continues this week with a movie that lives up to the title of the show, because we really should have seen this movie already. John Singleton, right out of film school, created a narrative that was so authentic and poignant that it didn't matter how predictable the story arc was. The plot isn't complicated, the characters are relatively simple, but it's the reality of life in South Central LA that makes this movie so incredibly powerful. That, and incredible performances from a cast of rising stars, all poised to become household names in the wake of the movie. Grab some barbecue and settle in for Boyz n The Hood on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “How to Survive in South Central,” written and performed by Ice Cube and produced by Ice Cube and Sir Jinx. © 1991 Columbia Pictures Industries, Inc.; Qwest Records. Excerpts taken from the film Boyz n The Hood, © 1991, 1992 Columbia Pictures Industries, Inc. All Rights Reserved. Excerpt taken from “Fade Out - The End” from the soundtrack to the motion picture Barton Fink, composed by Carter Burwell. Copyright 1991, 1996 TVT Records.

s3e27 Sir Jinx (2013) interview on Nexxlegacy Hosted by Charles iambranded Madison Listen to the radio station using the apps #ios - https://apps.apple.com/us/app/nexxlegacy/id1556213017 #googleplay - https://play.google.com/store/apps/details?id=com.radio.mfa6aedb1f Download the app for free #Nexxlegacy #Music #HipHop #Culture #Music #RnB #RythmnBlues #MotivationalSpeaker #Radio #Nexxlegacy #Rap or go to http://www.nexxlegacy.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/nexxlegacy/message

B. Cox reviews Ice Cube's third album The Predator as it turns 30. In the midst of the one most prolific and successful runs in hip-hop history stretching back his days as with NWA, the soon-to-be West Coast icon created and released his album in the time of transition of turmoil. Hip-Hop acclaim and recognition was beginning to spread its sphere of influence out to the West Coast. to mirror this rise in the commercial success of West Coast hip-hop was great angst. The album was completed in the heat of the aftermath of the Rodney King verdict, which sparked the now infamous 1992 L.A. riots, further fueling political and racial tensions.Not to be dismayed, Cube pressed on to continue his holy trinity of LPs, combining yet again with longtime collaborator Sir Jinx and also new production teammates in DJ Pooh and DJ Muggs of Cypress Hill. Over hard hitting and consistent production filled in with cuts of news footage and commentary that reflected times, he packaged the perfect combination of lyrics that reflected his political mindstate amidst the turmoil, told gangsta tales and told stories of what life like was in like in black Los Angeles.The album was critically acclaimed and was certified double platinum and featured two Cube standout singles: "Check Yourself" and the classic "It Was A Good Day", which has garnered the respect and adulation of hip-hop fans 30 years after its release.Visit The Vault Classic Music Reviews Onlinewww.vaultclassicpod.comSupport The Vault Classic Music Review on Buy Me A Coffeehttps://www.buymeacoffee.com/vaultclassicpodShow NotesAlbumism: Ice Cube's 'The Predator' Turns 30 | Anniversary Retrospectivehttps://albumism.com/features/ice-cube-the-predator-album-anniversaryBrooklyn Radio: #30thAnniversary: Ice Cube "The Predator" http://brooklynradio.com/30thanniversary-ice-cube-the-predator/Support this podcast at — https://redcircle.com/the-vault-classic-music-reviews-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Sir Jinx is back to discuss the future of music , his latest project Tony The Manifesto and much more 

Couple weeks ago, ATEOTD hosts tried to come for San Diego representers, how weak they allegedly are, and was surprised to see Sharp going so hard to defend them! Well, Sharp didn't waste time and made a phone call to have a sit down with Mitchy Slick and AD for this special Sharp Tank edition. Let's see how it turns out! ----- 00:00 Intro 1:38 - People from LA and The Bay talking down on San Diego 5:54 - Growing up in the heart of the c*** era in San Diego, banging on Compton crips at lunchtime in middle school 11:40 - Mitchy took offense when certain people made jokes about San Diego dudes being soft on No Jumper 15:00 - AD apologies for his comments on San Diego dudes being soft 16:02 - Mitchy accepts AD's apology and explains why he took such offense 20:04 - Less opportunity for music artists in San Diego. A million rappers from Daygo but nobody ever went platinum.  22:55 - Mitchy explains how the police run San Diego and how he became the first black person to be convicted under gang injunction 25:30 - Being embraced by LA since 1999. Connecting with Sir Jinx. Going to college 26:58 - AD explains doing a video shoot with YG and Mitchy when Mitchy pulled up with 100 people 32:47 - Being in the music game for 20+ years. First dropped in 2002. New album coming “Everybody Hates Mitch 38:18 - Rob Stone is probably the most successful artist to come out of San Diego.  39:35 - Mitchy apologizes for XXXTentacion being punched while on stage 43:06 - Sharp and Mitchy reminisce on doing their 1,2 in Vegas back in the 00s. Everything is more dumbed down these days 47:44 - AD proposes No Jumper does a San Diego show with all the popping artists from the city 58:35 - AD is going to have to follow through on his idea to throw a show in San Diego ----- Shout to our Partners at Gamer Supps! ORDER YOUR FREE SAMPLE TODAY with our Promo Code NoJumper https://youtu.be/UUwcj1YC-NE Gamer Supps offers esports athletes, gamers, and podcasters the most effective and healthy energy choice to help them perform at the highest potential especially during their most crucial moments. Try it today 100% Free with our Promo Code NoJumper https://gamersupps.gg/ ----- NO JUMPER PATREON http://www.patreon.com/nojumper CHECK OUT OUR NEW SPOTIFY PLAYLIST https://open.spotify.com/playlist/5te... FOLLOW US ON SNAPCHAT FOR THE LATEST NEWS & UPDATES https://www.snapchat.com/discover/No_... CHECK OUT OUR ONLINE STORE!!! http://www.nojumper.com/ SUBSCRIBE for new interviews (and more) weekly: http://bit.ly/nastymondayz  Follow us on SPOTIFY: https://open.spotify.com/show/4ENxb4B... iTunes: https://itunes.apple.com/us/podcast/n... Follow us on Social Media: https://www.snapchat.com/discover/No_... http://www.twitter.com/nojumper http://www.instagram.com/nojumper https://www.facebook.com/NOJUMPEROFFI... http://www.reddit.com/r/nojumper JOIN THE DISCORD: https://discord.gg/Q3XPfBm Follow Adam22: https://www.tiktok.com/@adam22 http://www.twitter.com/adam22 http://www.instagram.com/adam22 adam22hoe on Snapchat Learn more about your ad choices. Visit megaphone.fm/adchoices

Hello everyone, welcome  back.Today we'll have a throwback Thursday on The True Story of N.W.A. Playing “Fuck Tha Police” It wasn't gunshots that caused widespread panic. According to the group's inner circle, police set off fireworks to sow chaos. In the summer of 1989 in Detroit, N.W.A. made it through some 30 seconds of "Fuck Tha Police" before apparent gunshots went off in the crowd at Joe Louis Arena. Prior to that, Ice Cube, Dr. Dre, Eazy-E and the rest had played their signature anthem exactly one time on stage—at the Celebrity Theater in Anaheim the previous spring. The group heard the shots and took off, only to run backstage into a line of cops, who threw them to the ground, handcuffed them and hauled them away.It's a dramatic rebellion story that prefigures this era of anti-police-brutality protests, but the way it's told in the group's 2015 biopic Straight Outta Compton isn't exactly true."'We're all running together and getting caught and getting thrown'—I guess that's done for Hollywood," says N.W.A.'s DJ Yella, who was on stage at the time. "We didn't get arrested. All that commotion and we ended up getting a ticket, like $100 or something like that."In the film, Ice Cube gives a stirring speech to introduce the song: "This is N.W.A., we do what the fuck we want to do, we say what the fuck we want to say" and leads the 20,000-some fans in a middle-finger salute before gunshots ring out. In real life, according to people at the show, all it took to start the song was a brief flash of eye contact between Cube and Dre on stage. And those gunshots from the crowd weren't really gunshots. "All of a sudden you hear bap, bap, bap, bap, bap. Guys are running, and guys are trying to storm the stage. And, of course, our security guys are fighting the guys who had stormed the stage," recalls Atron Gregory, the group's tour manager at the time. "Turns out it was the cops, and they had lit off some cherry bombs to create chaos.""I'm the person that was literally two feet away from the police when they lit the fireworks, or the firecrackers," says DJ Speed, who performed with the group on stage. "It was a crazy thing."Because the police responded to “Fuck Tha Police” so quickly and forcefully, the film strongly suggests that, somehow, officers had the authority to tell hip-hop groups what they could and couldn't say or play on stage. But that's not quite the case. In fact, the restriction came from N.W.A.'s inner circle. The late Eazy-E's manager, Jerry Heller, agreed in pre-tour negotiations with Darryll Brooks, the tour's promoter, that the band would be fined $25,000 if it played the song.Why? Brooks, Heller and the band's agent, Jerry Ade, feared the song “was not going to be palatable” to conservative localities. “When you go to the Bible Belt, to the Midwest, they don't allow sexual gyrating postures on stage," Brooks recalls. In his 2006 autobiography Ruthless, the late Heller explained how the police came to enforce the contract: “Insurance carriers required police security as a condition of issuing a policy.No police, no policy. No policy, no concert. So Detroit police threatened to boycott those fuck-the-police motherfuckers, N.W.A.”Although he wasn't present in Detroit, Sir Jinx, a producer who also performed with the group, says police had an agenda to intimidate N.W.A. 's mostly young, African-American fans. "They were just being bullies," he says. "It was a show to the audience that they were in control."And so on August 6, 1989, many of the 20,000 fans in Detroit started chanting “Fuck Tha Police,” so N.W.A. called an audible and played it anyway. Brooks was working in an office somewhere in the arena when he heard the chant, followed by DJ Yella's familiar opening beat drop. Cops were everywhere, Brooks says, because it was a "'rap show'—put that in quotes—so everybody was looking for marijuana." He ran towards the stage, and soon "every police officer in the building started rushing the stage out of nowhere. It looked like the Battle of the Bulge."According to Straight Outta Compton, plainclothes police gradually made their way to the side of the stage during the performance, where they looked on menacingly. In real life, Gregory recalls, N.W.A. had its own security guards posted on the sides of the stage, and once the police arrived, the two sides began to tussle. The movie got one key detail right, according to people who were there: When the group heard the bap, bap, bap, they panicked and fled. “For that 15 or 20 minutes, it was white-hot,” Brooks says. “You can imagine guys running offstage and plainclothes guys running from the venue, on the floor, trying to get over the barrier to catch these guys who were saying ‘Fuck Tha Police.'”In Gregory's account, N.W.A., after running from the stage, removed their hats and reversed their jackets to hide logos and be more anonymous. They boarded a limousine to the hotel a mile or two away, and everybody else in the group's entourage walked unassumingly past the police on horseback. MC Ren's recollection is different: "Me and Dre were together, we ran backstage. We ran out the door, and once we looked out, it was like, 'All right,' and we turned around and went back into the building. Everybody was like, 'Back into the dressing room.' The police were in there trying to give citations, some bullshit like that." DJ Yella wound up alone in the street. "We went all different ways. I ran into the parking lot," he says. "I walked back to the hotel." DJ Speed left with the late Eric "Eazy-E" Wright and Eazy's security guard Big Ron.The cops first wound up backstage, where they tussled with the first rappers they could find—in LL Cool J's dressing room. (Also on the bill that night: De La Soul, Too $hort and Slick Rick.) "So LL's bodyguards are fighting the police!" Gregory recalls. The scene was so stressful that Brooks, the promoter, felt a spike in blood pressure and asked a runner to take him to the emergency room. (He was okay, and returned to the show, which still had two acts left.)Afterward, Gregory returned to the hotel. He handed N.W.A.'s production manager a briefcase full of cash from the show as well as all the plane tickets back to LA. He called the bus driver to check on the two cases full of guns the group carried on the road. They tried to drive the buses into Canada, "just in case something happened," but police arrived shortly after that.Gregory called a cab for the airport, ending up at another hotel two blocks away. He contacted Eazy-E via walkie-talkie, who verified everything was okay. Police chatted amiably with the band about the Detroit Pistons and sports. Ice Cube once told an interviewer that, "They corralled us, arrested us all, and all they wanted was damn autographs for their daughters and sons."Four years ago, when members of the group reunited in Detroit (and played "Fuck Tha Police"), local cops provided a high-speed escort, "like we were the president or something," Yella says. In the Black Lives Matter era, "Fuck Tha Police" has evolved from a too-dangerous-to-be-performed anthem to a timely Spotify hit with 157 million plays. "I've been seeing people on social media playing it and people having their own signs and writing it on buildings," MC Ren says. "It's unfortunate why the song keeps popping up and is as relevant as it is. I don't know why we never played it. We had so many other songs. We could just do this other shit."Back in 1989, did promoters take the $25,000 “Fuck Tha Police” fine from N.W.A's cut? “To the best of my knowledge,” Brooks recalls, “yes, we did.”Stay tuned.That's all we got for now. Like, Comment, share ,,,and subscribe please Thank you, see you soon bye ☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆https://linktr.ee/jacksonlibon---------------------------------------------------#face #instagram #amour #take #couple #garden #tiktok #psychology #beyou #near #love #foryou #money #ForYouPizza #fyp #irobot #theend #pups #TikToker #couplegoals #famille #relation #doudou #youtube #twitter #tiktokers #love #reeĺs #shorts #instagood #follow #like #ouy #oyu #babyshark #lilnasx #girl #happybirthday #movie #nbayoungboy #deviance #autotrader #trading #khan #academy #carter #carguru #ancestry #accords #abc #news #bts #cbs #huru #bluebook #socialmedia #whatsapp #music #google #photography #memes #marketing #india #followforfollowback #likeforlikes #a #insta #fashion #k #trending #digitalmarketing #covid #o #snapchat #socialmediamarketing

DJ, rapper, and hip-hop producer Sir Jinx joins Flavor Flav for the show's twenty-fourth episode.

B. Cox & J. Owe review Ice Cube's classic, but controversial second album Death Certificate. After splitting with NWA and dropping his highly acclaimed debut AmeriKKKa's Most Wanted, Cube followed up with a busy 1991 starting his label, kicking off the careers of fellow West Coast emcess Yo-Yo and Del The Funky Homosapien as well as making his acting debut in the cult classic film Boyz In the Hood.He released his sophomore album with new production help from producers Sir Jinx and Boogiemen. Over 20 tracks, he continues his tales on life in the hood and the ills of the ghetto and poor black America, but also detail tough social commentary and the injustices of the day which still mirror an imperfect America in the present It's an album that is still highly regarded and is on the shortlist of many for the best 10-20 hip-hop albums of all-time.Follow The Vault: Classic Music Reviews Podcasthttps://linktr.ee/vaultcmrShow NotesAlbumism: Ice Cube's 'Death Certificate' Turns 30 | Anniversary Retrospectivehttps://www.albumism.com/features/tribute-celebrating-30-years-of-ice-cube-death-certificateLoudNewNet: Ice Cube's "Death Certificate": Tales of Life and Death 30 Years Laterhttps://loudnewsnet.com/ice-cubes-death-certificate-tales-of-life-and-death-30-years-later/Tidal: The Controversy and Brilliance of Ice Cube's 'Death Certificate'https://tidal.com/magazine/article/the-controversy-and-brilliance-of-ice-cubes-death-certificate/1-29651Vibe:Ice Cube Reflects On The 'Death Certificate' Album's Anniversary And Why the Anniversary of Boyz In the Hood is Bittersweethttps://www.vibe.com/features/editorial/ice-cube-death-certificate-album-boyz-n-the-hood-iinterview-1234634228/Ambrosia For Heads: Sir Jinx Talks About Keeping the Production on 'Death Certificate' True to The Gamehttps://ambrosiaforheads.com/2016/11/ice-cube-death-certificate-sir-jinx-retrospective/Support this podcast at — https://redcircle.com/the-vault-classic-music-reviews-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

This week we're joined by a living hip hop legend - rapper, producer and co-founder of Hieroglyphics, we've got Del the Funky Homosapien in the house

The Show in Vegas Was Dope! Sir Jinx & Ice Cube Got Issues?

In the early 90s Ice Cube was in a transitional period in his career. The soon-to-be Los Angeles icon had just left NWA, and while his creative freedom was awaiting, the rapper was still facing animosity from group members and fans for departing. Fortunately, Cube confidently came through with his debut project Amerikkka's Most Wanted and it was a project that showcased the rapper's raw rhymes with militant production through himself, Sir Jinx, and the Bomb Squad. Along with immediate success and critical acclaim, Amerikka's Most Wanted was proof that Ice Cube can make a successful project as a solo artist. For the fans, it was a shift in the trajectory of West Coast hip hop. With this week's guest Ryan back in the building, Ahmad and Vance choose their favorite tracks from Amerikkka's Most Wanted, how the message from Ice Cube's "Turn Off The Radio" moved into the streaming industry, and how the album lives on after 30 years. Ryan Bowens (Www.Ryansfilmreel.tumblr.com) @Yo_Ahki/@VanceB_ Listen to this new episode and previous others on: Apple Podcasts (https://tinyurl.com/jydzz9fk) Spotify (https://tinyurl.com/c3u77hcf) Anchor (https://anchor.fm/recordreport) Follow Record Report Podcast on: Instagram (@RecordRepPod) Facebook: Facebook.com/RecordReportPodcast Twitter: https://twitter.com/recreppodcast?lang=en #IceCube #NWA #California #LosAngeles #SouthCentral #AmerikkkasMostWanted #Cube #YoYo #Radio #Podcast

Thank you Sadat X for shouting out the Sober is Dope Podcast community. It is a honor. Derek Murphy (born December 29, 1968), better known as Sadat X, is an American rapper, best known as a member of Alternative hip hop group Brand Nubian. Originally known as Derek X, Sadat takes his name from former Egyptian president Anwar Sadat. Listen to Sadat X Spotify: https://open.spotify.com/artist/7fDLDq2weBagiAFD2j17Al?si=i2XAknTMRnOPZz5j6Yjjlg Follow Sadat X Instagram: https://instagram.com/sadatx?igshid=wguu5nn2861 Sadat X is involved in teaching children. He has worked as an elementary school teacher in New Rochelle, qualified as a firefighter, and coaches children's basketball for the New York City Basketball League.[citation needed] On March 23, 2010, Sadat X released Wild Cowboys II, the sequel to his 1996 solo debut Wild Cowboys, on Fat Beats Records. The album featured guest appearances from Ill Bill, Kurupt, A.G., Brand Nubian, Rhymefest and others, with production from Pete Rock, Diamond D, Buckwild, Sir Jinx, Will Tell and Dub Sonata. On February 23, 2010, he released an EP, containing five songs from the album and complementary instrumentals. The first single from the album was "Turn It Up" which features and is produced by, Pete Rock. In 2015, Sadat appeared in Mya Baker's documentary film Afraid of Dark which examined the experiences of Black men in America. In 2009, Sadat X and music producer Will Tell developed a wine-tasting web series entitled True Wine Connoisseurs. The wine show with a hip hop twist is now in its 5th season. On December 22, 2005, Sadat was arrested in Harlem and charged with criminal possession of a weapon, reckless endangerment and resisting arrest. On October 3, 2006, Female Fun Music released Sadat's third full-length album Black October. Listen to Have a Good Life on YouTube: https://youtu.be/sa9TZuya9j4 --- Send in a voice message: https://anchor.fm/soberisdope/message Support this podcast: https://anchor.fm/soberisdope/support

BANG! @southernvangard #radio presents the DR. BUTCHER & CJ MOORE interview session! Normally, this would have been a Twice A Week week. You know, the usual - mix show on Tuesday, all new joints, Meeks and Doe talking trash, and then an interview session to follow on Thursday. However, the universe had something different in mind. These two legends were originally scheduled to be on the mix show this week to talk about “AGAINST ALL ODDS,” their new project with DA ODD COUPLE (ROB SWIFT & MISTA SINISTA of the X-ECUTIONERS) and keep it moving - but this thing turned into a TWO AND HALF HOUR history lesson. We let the tape roll and said forget all the new rap this week, this conversation is too important to stop. No cap, as the young folks say - this is foundation / architect / cornerstone type content, Vangardians. While we did manage to get the low down on the phenomenal production & engineering Butcher and CJ provided on the new LP with Rob & Sinista, as well as why they pulled in fresh talent like KE TURNER & RAY LUGER as features - we quickly got DEEP in that hip-hop Encyclopedia Brittanica: 1212 STUDIOS. PAUL C. BLACK, ROCK & RON. ULTRAMAGNETIC MC’S. SIMPLY II POSITIVE aka ORGANIZED KONFUSION. PHAROAHE MONCH. PRINCE PO. LARGE PROFESSOR. DE LA SOUL. TOMMY BOY RECORDS. TOM SILVERMAN. DANTE ROSS. STETSASONIC. QUEEN LATIFAH. FATHER MC. X-MEN. AKINYELE. SIR JINX. THE BEATNUTS. JUJU. PSYCHO LES. MF GRIMM. KOOL G RAP. IRV GOTTI. JAY-Z. DAME DASH. ROCAFELLA. DMX. RUFF RYDERS. NORE. THE NEPTUNES. PHARRELL. LL COOL J. DAVE JUSTICE. HALLE BERRY. Say WHAT?! Man look - YOU’RE WAAAAALCOME. For real, you’re really, really, REALLY welcome. So Happy New Year and all that, f*ck 2020, see you in 2021, and you got damn RIGHT it’s DOE and MEEKS with what is ALWAYS that #SmithsonianGrade #TwiceAWeek #WeAreTheGard // southernvangard.com // @southernvangard on #applepodcasts #stitcherradio #soundcloud #mixcloud #youtube // #hiphop #rap #undergroundhiphop #boombap #DJ #mix #interview #podcast #ATL #WORLDWIDE #RIPCOMBATJACK Recorded live December 27, 2020 @ Dirty Blanket Studios, Marietta, GA southernvangard.com @southernvangard on #applepodcasts #soundcloud #youtube #spotifypodcast #googlepodcasts #stitcherradio #mixcloud #SmithsonianGrade #TwiceAWeek #WeAreTheGard twitter/IG: @southernvangard @jondoeatl @cappuccinomeeks

Description: One day after the LAPD beat up Rodney King, an Ice Cube concert went down in history as one of the most violent shows ever held at First Avenue. Hosted by Jay Smooth, we ask rap experts and former First Ave staffers about gangsta rap, security, and the uneasy relationship between the Minnesota music industry and Black hip-hop artists. This is the sixth episode of The Current Rewind's "10 Pivotal Days at First Avenue" season. If you missed the first five episodes, catch up below. • April 3, 1970 (The day it all began)• Nov. 28-29, 1979 (The days that told the future)• Sept. 27, 1982 (Bad Brains/Sweet Taste of Afrika/Hüsker Dü)• Aug. 3, 1983 (The birth of "Purple Rain")• Oct. 22, 1990 (Sonic Youth/Cows/Babes in Toyland) Transcript of The Current Rewind season 2, episode 6: "March 4, 1991" Anne O'Connor: We're talking about almost 30 years ago, but my memory of this was like, you opened up the gate at the horse races, and everybody was off to it. [Ice Cube, "The Bomb," with the lyrics: "With the L, the E, the N, the C, the HThe M, the O, the B, the greatLyrics that make the beat swing and I gotchaIt's the hip-hopper that don't like coppers." Hard cut.] Anne O'Connor: And it was just like an explosion, and it was non-stop all night long. ["The Bomb" picks up where it left off, running through these lyrics: "And if you try to upset the pot, sonYou get kicked in the chest like a shotgunI make the beats, I make the breaksI make the rhymes that make you shakeMake you findIce Cube never caught in the middleI make stuff that kick you in the a** a little." Hard cut.] Anne O'Connor: We just went from one fight to the next fight to the next fight. There was no breathing time. There was no downtime. It was just, "What emergency is there to go and deal with next?" [Ice Cube's "The Bomb" returns with a sample of spoken audio and several voices singing, "The bomb"] Cecilia Johnson VO: Gangsta rap was the most controversial music of the '90s – praised as an expression of Black America's righteous anger, reviled for its misogyny and depictions of violence. Taking cues from Schooly D and Ice-T, Los Angeles group N.W.A popularized the genre with their album Straight Outta Compton. Their most talented rhymer, Ice Cube, left the group to go solo in 1990. In early 1991, he brought his show to Minneapolis's First Avenue, for one of its most memorable nights ever. ["Hive Sound" by Icetep] Cecilia Johnson VO: [over theme] I'm Cecilia Johnson. This is The Current Rewind, the show putting music's unsung stories on the map. For our second season, we're looking back at one of the Twin Cities' – and the country's – greatest live venues through a series of pivotal nights. We're bringing on guest hosts for several episodes. In this one, Jay Smooth – the New York hip-hop radio legend and cultural commentator – joins us to tell the story of one of the most infamous shows in First Avenue's history. I do want to warn you: This episode contains explicit accounts of racism and violence. [rewind sound effect] Jay Smooth VO: Way back in 1991, I founded New York's longest-running hip-hop radio show, WBAI's Underground Railroad. It was a pivotal time for hip-hop music, when it was still just beginning to cross all sorts of cultural boundaries. And the other love of my musical life back then was the Black Minneapolis Sound, as defined by Prince and his many collaborators – who, in their own way, were on a similar path of bringing Black music into spaces where it hadn't necessarily been all that welcome. So, as a devoted student of Prince and hip-hop who came of age in that era, the First Avenue club and its relationship with Black music, and hip-hop, specifically, has always been an object of fascination for me. And though it was primarily defined as a rock club, First Avenue did host a number of high-profile hip-hop shows in the '80s and early '90s, according to someone who saw a lot of them. Tim Wilson: Timothy Wilson, Urban Lights Music owner. Jay Smooth VO: Tim's record store, Urban Lights, is a community hub in the Midway neighborhood of St. Paul. Tim Wilson: I remember seeing Run-D.M.C. I remember they had Jam Master Jay kind of suspended in the air, swinging back and forth, and they couldn't jump around on the stage, because the records were skipping and stuff like that, but they still made it through. I remember going to KRS-One; the sound crashed and he literally had one of his people beat box, and he continued to perform. [Tim laughs] Jay Smooth VO: On top of the big names from out of state, Minnesotan hip-hop acts the Micranots and the I.R.M. Crew sometimes performed in First Ave's smaller room, the 7th Street Entry. Still, it would take a while for the club's overall attitude to change, from what sound engineer Randy Hawkins, in Chris Riemenschneider's book First Avenue: Minnesota's Mainroom, called, quote, "anti-rap." The non-white population of Minneapolis grew nearly 70 percent during the '80s. But hip-hop took longer to bloom in the Twin Cities than on the coasts, partly because the success of Prince, the Time, and Jimmy Jam & Terry Lewis made funk the sound du jour there in the '80s. One of First Avenue's most successful dance nights was More Funk, every Thursday with the club's longtime DJ Roy Freedom. Prince and Jimmy Jam would sometimes bring test pressings for the occasion. Tim Wilson also DJ'ed there. Tim Wilson: You know, it was disco, funk, rap, kind of all mixed up into one hodgepodge. It was just a little bit of hip-hop at the time, because rap just hadn't really – hadn't really captured the imagination of the world, let's say it like that. It wasn't the Wall Street darling that it is today. So it was a record here, a record there, but it was just a lot of Minneapolis Sound stuff. Of course you would get a lot of Prince and people like André Cymone, the Girls, Ta Mara & the Seen, Alexander O'Neal. Dan Corrigan: More Funk with Roy Freedom? We used to call it More Fights with Roy Freedom – ha! Jay Smooth VO: Dan Corrigan has been First Avenue's official photographer since 1995. These clips are from a 2003 interview he did with Pete Scholtes of City Pages. Dan Corrigan: There was one night, there was the biggest fight I've ever seen down there. It was just crazy. It started on the dance floor and kind of went around the right and spilled all the way out to the entryway. Jay Smooth VO: That brawl took place in 1990, during More Funk's fifth anniversary. Randy Hawkins told our writer Michaelangelo Matos about that night. Randy Hawkins: The fifth anniversary of [More] Funk night it was a similar situation of losing control of the club. There was a few times where it was like, "We've lost control of this." Jay Smooth VO: Now, this kind of thing didn't happen very often. One reason for that is First Avenue's security system. Sabrina Keith: There's, like, a light switch at various locations throughout the club, like emergency buttons you press if something goes wrong. Jay Smooth VO: Sabrina Keith was a bartender, stagehand, and superglue employee of First Ave, working on and off from 1988 to 2004. Sabrina Keith: And you flip the switch, and let's see, upstairs, a central light goes on. It's, like, a siren light – a red siren light. And then, I think, at the front door there might be one, as well. And then, you look over to the side of the stage, and there's many lights of many different colors, and hopefully just one of them will be spinning, and that would be – that gives you an idea of where the trouble is. And actually, just the other day, me and another old employee were talking and can remember pretty much where all the trouble lights are. It's really disturbing. [laughs] I shouldn't know that green means pool tables, which means it's by where the current coat check is and no more pool tables. Jay Smooth VO: The origin of the so-called "trouble lights" is still fresh in Richard Luka's mind. He had been recruited to work security in 1975, when the club was still called Uncle Sam's. You may remember him from the Ramones and Pat Benatar episode earlier this season. Richard spoke with our producer, Cecilia, and First Ave's longtime general manager Steve McClellan. Richard Luka: The reason for that light was that in March of 1977, I was working alone. We'd purged a lot of people out of there at that time. Uh, there was all this new staff. They really didn't know anything, and I was all alone at the front door with the cashier, and a bike gang came to the door. The Iron Cross from northern Minnesota. And I had to card these guys, and I thought, "Oh my god, I can't – what am I gonna do here?" And I just – there was, like, six of them. I just said well, I guess I'm letting them in. And it turns out a few more came in, so we had like nine bikers in there who took their coats off. They were flying their colors in there. Steve McClellan: What show was it? Richard Luka: No, this was like a Saturday night in 1977, and I remember one of our regular customers, a guy named Tiger. He was Black, and he had a shaved head and these guys surrounded him. They were rubbing his head, saying, "I wish I had a watermelon," and I was like, "Oh my god, this is gonna get out of hand." And at the end of the night, they were just rude and belligerent to people. And [Tiger] came up and he said, "What on earth did you let them in here for?" I go like, "I was gonna get the s*** beat out of me. It's like I'm up here all alone." And they said, "Okay, we're putting a light in." So they installed this light, and a year later, the bike gang came back, but we had hired all new staff. [Steve and Richard laugh] We had some bigger people there, and I hit that light and people were right there, and these guys, they threw their jackets off and they were ready to go, and the police showed up. So that is what can happen at the front door. You never knew what was gonna show up there. Steve McClellan: Oh, the first light that he's talking about, my brother Kevin installed. When did we put in the different colors? So if it was the game room, it would go off green, and when it was – Richard Luka: It was, like, 1983, I'm gonna say. Steve McClellan: Yeah, that much later. The first one was '77, '78. And that was sufficient, and then we had to do a system that people wouldn't go to the front door. They would go to the game area, the upstairs, or bar five. So we had like a six-light sequence that would go off. Jay Smooth VO: Along with the trouble lights, the seriousness of First Ave's security earned it a reputation in town, according to Tim Wilson. Tim Wilson: People go through the usual First Avenue bulls*** when you go to First Avenue. You know, they look at your license and turn it upside down and flip it and flop it, pat you down, and you walk in. It was always one of those things like, oh man, don't go to First Avenue with a fake ID. Don't try to sneak in First Avenue. Their security doesn't play. And it's still the same thing. People get turned away. Sabrina Keith: One point that as always made kind of clear at First Avenue was, we're not bouncers. And we don't ever want to be called bouncers. We are security. We're just trying to make things better. We don't want to bounce you. We don't want to be mean to you. We don't want to beat you up. We just want you to have fun, and I've never understood why people go out and don't have fun. It's like, "Why are you starting stuff? You paid however much money to get in here, so have fun." Whether you kick them out or whether you put them back, it's up to how they act. I mean, I had one kid come up to me five years after the fact saying, "Oh my god, it's you," and I'm like, what are you talking about. "You kicked me out of Nine Inch Nails." I'm like, "OK." [laughs] I'm glad that was a great memory for you. [Sabrina and Michaelangelo laugh] Jay Smooth VO: The club's security staff have long been trained to de-escalate situations, according to a longtime staffer. Anne O'Connor: My name is Anne O'Connor. I worked at First Avenue for two different time periods in the 1990s. [pause] I mean, de-escalation can work in any setting. It really can. You have to keep your head. My strategy was always to get in between the people who were really upset, because they almost would never go after me. And so that would at least create some space. When people are hot-headed, a lot of times all they really need is to step back for a second and say, "Wait a minute, do I really want to do this?" And that's the kind of thing that we would say. [Ice-T's "Body Count" starts fading up] Anne O'Connor: And sometimes that didn't work at all. [Anne laughs] [Ice-T's "Body Count" plays for about 20 seconds] Jay Smooth VO: In February of 1991, First Avenue hosted one of its occasional rap shows: Ice-T, the revolutionary Los Angeles MC with sharp storytelling and a steely voice. That show was one of two he'd perform in Minnesota that year; he also came through St. Paul's Harriet Island on the Lollapalooza tour. And each time, Ice-T didn't just rap – he sang with an all-Black metal band called Body Count. Sabrina Keith told Michaelangelo about hanging out with that group. Sabrina Keith: It was just fun, because it was Ice-T, and he was doing metal, which, like, with Body Count, there's just not a lot of Black artists doing that. And we had Blake working at the club, who's basically the exact same thing, just not, you know, Ice-T. And so it's fun, it's novel and just a bunch of big guys, and they had really cool merch, and they wanted like our First Avenue jackets because we were all wearing them and I think it was cold then too. Michaelangelo Matos: February. Sabrina Keith: Yup, that's cold. [laughs] Jay Smooth VO: Ice-T and Body Count would see more than their share of controversy a year later, in 1992, when they released the song "Cop Killer." But in 1991, there was no more controversial figure in rap, or in music, than Ice Cube. He'd been the primary lyricist for N.W.A, who had debuted in 1989 with the iconic album Straight Outta Compton. Soon afterward, the FBI sent a letter to N.W.A's record label to complain about the lyrics of songs such as "Eff Tha Police" – lyrics that had mostly been written by Ice Cube, who was only 20 years old. But Cube felt like he wasn't getting his fair share of royalties, so in 1990, he and his friend and producer Sir Jinx went to New York to collaborate with the hottest producers of the time, The Bomb Squad. The Bomb Squad, featuring Hank Shocklee, Chuck D, and Eric Sadler, were Public Enemy's sample-heavy production team. With their help, Ice Cube finished his first solo album, AmeriKKKa's Most Wanted, and released it in May of 1990. He followed it with the Kill at Will EP in December. No rapper was hotter right then, as Tim Wilson recalls. Tim Wilson: That was good Ice Cube: AmeriKKKa's Most Wanted, one of my top five albums of all time. He left N.W.A, got politically conscious, and then there was just the whole thing with the group and the break-up, and then he went out east and hung out with Chuck D and Public Enemy, and they produced that album, and it was just – it was the hot album at that particular time. That particular album bridged gangsta rap and politically conscious material all into one project. You know, he was gassed up and ready to go. Jay Smooth VO: Ice Cube didn't lead a lifestyle as violent as his lyrics would suggest – like a lot of rappers, he'd rhyme in character. But some of his fans did carry the things he rapped about carrying, as John Smith, who would join the First Avenue staff in 1993 and is still a DJ and bartender at the club, would discover. DJ Smitty: First Avenue started using metal detectors. When you saw the metal detectors, it wasn't, "Oh, this is a new thing they're doing." It's like, "Oh, Ice Cube is coming." And then earlier that week, before the show, I was at Northern Lights Records, and I overheard some clerks talking about how they had overheard some kids talking about trying to stash some guns in First Avenue before the Ice Cube show, so that they would circumvent the metal detectors. Those were the people who first made it apparent to me that this was not gonna be business as usual. The record stores, I guess, were getting phone calls and whatnot – because we weren't a Ticketmaster club, [so] if you wanted to buy tickets for a First Avenue show, you had to go someplace and buy them. I think the Ice Cube crowd was a crowd that didn't necessarily know where to buy our tickets. So it was kind of that, where we realized, "This isn't just gonna be shiny happy hipsters going to a rap show. This is gonna be real." Jay Smooth VO: Anne O'Connor worked roaming security that night. Anne O'Connor: As the staff, we would get together and talk about what we were gonna do. And then what ended up happening is we hired in a bunch of extra additional security people. For about a week before the shows, we had metal detectors at the door so that people couldn't bring guns of knives or anything in and stash them in the club, so that they could use them during the shows themselves. You know, these were guys who, their show was about raising people's anger about some really unfair situations, about calling out some things that were really wrong, and so people had a tendency to get pissed. So we knew that, and we had to be ready for that. And the Ice-T show, I feel like we managed to do that without huge problems. We didn't have huge problems that night. When you put together people with loud music, lots of drinking and lots of young people dancing – body contact – you're really just setting a stage for some conflict. There's gonna be some conflict sometime. Jay Smooth VO: Ice Cube's March 4 appearance was, in fact, two shows – an all-ages in the late afternoon and an ID-only show at night. This was a regular occurrence at the club throughout the '90s. Sabrina Keith: I know for the first show, I did coat-check, so it was pretty mellow. Everybody thought the kids' show was gonna be bad, and it just was not. Jay Smooth VO: There was one issue during the all-ages show: Somebody threw a bottle over the upstairs balcony, where alcohol was allowed. When Ice Cube finished the first show, the club took two hours to change over. Sabrina Keith: You have to clean up and kind of reset everything to start the night fresh. I think they bought us pizza, and we just kind of hung out and waited. Jay Smooth VO: Rod Smith was bar-backing that night – running liquor from storage to the bars. Rod Smith: The attendance at the all-ages show was healthy, but nowhere near sold out. At the ID show, attendance was sold out-plus. I believe you've encountered the phenomenon where somebody in the office would panic about ticket sales and just start slamming comps out indiscriminately. A ton of comps had gone out, and then a ton of people paid, so attendance [laughs] was way over the top. DJ Smitty: We got there for the ID show. We walk in. First thing we figured out pretty quick was, we weren't gonna get any help, because anything with a counter, whether it was a bar or whether it was coat-check – they were busy. It was packed. It was full, and there were people yelling. There were people who were not happy with the order that they were being helped. There were people who were not happy with the prices. There were just a lot of not happy people. It was wet outside, and it was hot in there, which made it hot and wet – like a cave. The walls were sweating. The men's room had an inch of water going on, on the floor. There was a bad vibe. Jay Smooth VO: Our sources couldn't pick out one specific point where the fights started. But according to Anne, once they started, they didn't stop. Anne O'Connor: It was just bam-bam-bam. It was just non-stop, so you didn't really have time to stop and think, "Wow, this is really overwhelming; I don't know if I can do it." You just did it. The place was packed. There were so many people there. So if you were – if you couldn't get to the trouble light, that's one thing, but also if the trouble light was already going, you'd have a fight five feet away from you. Well, five feet in a packed room could be – it's a lot of feet to get to, sometimes – [laughs] you know – to get through the bodies and get to the actual fight, you're not always gonna make it. Rod Smith: These melees would just randomly break out. The outside security people that First Avenue hired did an outstanding job, because they were really aware of what was going on mood-wise in the club, and as soon as something broke out, they would start heading toward it. But, again, the problem being there was a certain amount of distance in the Mainroom, and when the club is that packed, you can't move that quickly. They were moving pretty quickly, though. So these fights were being stopped, for the most part, like, pretty quickly after they started. But they didn't really stop. I'd say they continued pretty much through the night. DJ Smitty: As a customer, I knew about the trouble lights, and I'd seen them go off in the past. I had never seen all of them go off at the same time. Rod Smith: I believe there were 27 all told, and there were incidents that didn't even prompt the trouble light, because nobody could get to a trouble light, because the club was that packed. Jay Smooth VO: Randy Hawkins worked the barricade in front of the stage for both shows. Randy Hawkins: There was three of us – four of us all in the barricade, and we had to stay there. Unless the situation was right in front of you on the floor, of which there were many, we did what we could from inside the barricade, but mostly the roaming security of people on the dance floor dealt with that stuff. And so it was like, it turned into a pretty serious us-against-them scenario, and like as far as security vs. the audience, which, you never want to get in that situation. But every time a door got opened, there'd be three people trying to bum-rush the show. But every time like a side door or anything got opened to let someone in, you had to have security at each one, basically just to defend the castle. It was kind of the same way with the barricade and every bar – just people trying to take everything they could take. Yeah. There was all sorts of, just grab whatever booze you could grab. Rod Smith: I encountered bartenders and bar backs crying back by the coolers, and that happened multiple times. The bar backs, because they'd been sucker-punched, and the bartender, because people kept I mean, there was some real ballers there, and they tipped really well, but then these wannabes would come along and steal the big tips that somebody else had just left. And it was so busy that it was impossible for the bartenders to really keep track of what was happening with their tips. Anne O'Connor: You know, we called the cops several times. We carted several people out to the cops. When you are in a fight at First Avenue, what ends up happening is you get surrounded by staff. Michaelangelo Matos: Quickly. Anne O'Connor: Quickly. And so, you know like, there's nowhere to go. Jay Smooth VO: But the cops weren't particularly soothing that night, or any other. In fact, just the night before, on March 3, 1991, a Los Angeles motorist named Rodney King was pulled over and beaten mercilessly by the LAPD. A man with a camcorder filmed the incident and sent it to a local TV news show. The Rodney King video wasn't yet national news when Ice Cube played First Avenue – that would be in a few days still. But for most people at the show, police brutality wasn't just something they heard about in rap songs – chances were, many of Ice Cube's fans knew someone it had happened to, if they hadn't experienced it personally. Anne O'Connor: What I would say is that there were a lot of valid reasons for being upset, and this was a place for them to have that upset, and sometimes that upset meant that they wanted to hurt someone. And so I'm not justifying the behavior or excusing it, but I'm just saying it was not a big surprise. When I say nobody got seriously hurt, I mean like broken bones or injuries that . . . Michaelangelo Matos: Hospital injuries. Anne O'Connor: Hospital injuries. It was a rough night. It was a rough scene. It was a very violent show, so I don't want to underplay that. Jay Smooth VO: Urban Lights owner Tim Wilson was in the audience that night – and he remembers seeing an opening group that included a rapper who would top the pop charts four years later. Tim Wilson: I remember a group called WC and the MAAD Circle, which was one of Ice Cube's groups – Dub-C who still tours with Cube. And Coolio was actually part of the group at that time. Crazy Toones was the DJ, which was Dub-C's brother. I remember they kept having sound problems. And they kept telling the sound guy, like, "Man you better fix this or we're gonna have a problem." And they would keep rapping, keep doing their thing, and then they would warn him again, and then the sound never changed. I think they warned him a third time. And honestly, what I remember is them jumping off the stage, breezing past us, and I remember – I never understood why First Ave set their soundboard – they had those steps that go down, and then they set their soundboard where, unfortunately, the way he kind of got jumped on, he ended up down in the crevice at the bottom of the stairs and where the soundboard started. And they were kicking him and hitting him until they got pulled off and back onto the stage. They just kind of shot past us and jumped on him. Then they jumped back onstage, and they kept rapping, and the sound man wiped the blood off his face and he just kept going. Jay Smooth VO: DJ Smitty, who couldn't get into the Sonic Youth concert last episode, did make it in the door for Ice Cube. He says the mood perked up when the headliner took the stage. DJ Smitty: People never talk about the fact [that] that was a great show. Ice Cube – I'd go see him again in a heartbeat. One of the best hip-hop shows I've ever seen. But a friend of mine did get close enough to the stage to see the set list and came back and said, "We're going. We're two songs away from the encore. Let's get out of here." And as we left, I had to hold the door open because they were stretchering someone out. [Ice Cube ft. Chuck D, "Endangered Species (Tales From The Darkside) - Remix"] Rod Smith: Management lost control of the club, too. Everybody lost control of the club. Steve McClellan: All I know is it was hateful because you couldn't – you got 1,500 people in the room. You could have 50 security staff. You don't stand a chance. There was so many people ready to quit after some of these shows. Jay Smooth VO: Anne O'Connor was one of them. Anne O'Connor: I put my notice in shortly after the Ice Cube show. I remember thinking, that is the violence that I don't need to be a part of. And I love the club, I loved the people I worked with, it was a lot of fun, but that wasn't fun for me. Rod Smith: A lot of people were really bummed out. I had quit smoking eight months earlier, and I started again that night. The mood overall was, "We got through it." A few people were traumatized. Anne O'Connor: We were worn out. And it was hard. And I remember everyone feeling pretty rough at that point. It was pretty rough. Jay Smooth VO: The show also got First Avenue in trouble with the city, not for the first time. Steve McClellan: I had too many incidents where the police wouldn't respond when I would book gangsta rap. I used to go to monthly downtown – what do they call them? – downtown association meetings or something. Where I'd go and I'd sit, and when you went to these meetings, and if you were a nightclub, the fire department was there to tell you exactly what you do to keep your license. The police department would be there monthly and tell you exactly what you needed to do to keep your license. They were more like – "This meeting isn't to ask questions. We're the city and you're gonna do what we tell you." Jay Smooth VO: Despite the complaints about gangsta rap, the next First Ave show that'd see similar violence was a 1995 appearance by a singer-songwriter whose politics could not have been further removed from Ice Cube's. Randy Hawkins: There's a country singer – oh my god, what's his name? Outlaw country singer. David Allan Coe. At the time, that was show two that had as many problems as Ice Cube. That David Allan Coe show, I think it wasn't as well attended. I got probably there was probably 800 people there, and so I don't think we ever really lost control of it, but it was definitely getting there. I came in the next day and everybody was just, like, shell-shocked: "You will not believe what we were dealing with last night." Jay Smooth VO: Chris Riemenschneider, author and longtime music reporter at the Star Tribune, suggests that the Ice Cube show is remembered as a turning point. Chris Riemenschneider: The biggest myth about that show – well, I don't know if it's a myth, but I mean, supposedly that show was – hip-hop was not booked at the venue for many years after that show, because it got so ugly. And they generalized over, "Well, hip-hop audiences are bad news." Jay Smooth VO: When we asked Steve McClellan and LeeAnn Weimar whether First Avenue avoided hip-hop after Ice Cube, Steve said that he still booked rappers through agents he trusted. Steve McClellan: There was a lot of drug dealers that were trying to bring me shows, because they had connections with the agent, and they wanted to bring in a lot of these hip-hop acts. LeeAnn Weimar: Or they had beepers. Remember, they had beepers. Steve McClellan: I called them the beeper phone promoters. In the '90s, I stopped dealing with beeper phone promoters that had plenty of cash but no trust from me. Jay Smooth VO: Steve returned to this point several times throughout the interview, insisting that if there was a lapse in hip-hop shows, it was only because he didn't want to work with so-called "beeper phone promoters." Whatever the case, First Avenue generally avoided hip-hop until the late '90s, according to Chris Riemenschneider. Chris Riemenschneider: It really wasn't until Rhymesayers and Atmosphere came along and started packing the place that they started giving hip-hop a good chance there again. Jay Smooth VO: Nationally, hip-hop had been ebbing into the mainstream for years. In Minnesota, indie rap label Rhymesayers capitalized on that shift. In the late '90s, they started throwing Soundset Wednesdays, a series of hip-hop dance nights at First Avenue, and their audiences trended whiter and whiter. At the same time, First Avenue opened the gates to touring acts such as OutKast, Eminem, Public Enemy, and the Black Eyed Peas. ["Hive Sound" by Icetep fades up and plays for a few seconds] Cecilia Johnson VO: Ok, so this episode was a whopper. And I think the material of this episode is still so relevant today. At this point, I want to bring up an article that rocked Minnesota music in 2016. Like, I still remember, the day that it came out, reading it at my desk. It's the Twin Cities Daily Planet's piece "Whitest hip hop scene you've ever heard of," written by Kayla Steinberg, and it speaks directly to the aftershocks of the Ice Cube show. I'm just gonna read a few somewhat abridged sentences: Quote, "When out-of-state and mainstream media and fans refer to Twin Cities hip hop, Rhymesayers Entertainment is often their point of reference. The common faces of Rhymesayers include Brother Ali, an albino Muslim rapper who identifies as white, and Atmosphere, a duo of racially ambiguous, arguably white-passing, hip hop artists. However, to Toki Wright, a Black North Minneapolis rapper, these are just a couple faces of the Twin Cities hip hop scene. "I think the face of Twin Cities hip hop is a 14-year-old kid on the Northside of Minneapolis in his bedroom, making beats or writing rhymes," he said. "The face of Twin Cities hip hop is Lexii Alijai recording with Kehlani and the local press turning a blind eye to it. That's Twin Cities hip hop." Enquote. Later in the article, Black rapper MaLLy talks about his experience at the Rhymesayers 20th anniversary show in 2015. The way he remembers it, many audience members went from supportive, when white artist Brother Ali rapped his song "Dear Black Son," to apathetic when Toki Wright and I Self Devine, both Black rappers, proclaimed messages such as "eff the police" and "kill white supremacy" on stage. Some things haven't changed between '91 and now, but First Avenue [itself] has undergone a monumental shift, in the way they operate, what causes they stand for, and whose names are at the top. It's all covered in our next episode, which is about Election Day in 2004: the day First Avenue declared bankruptcy. This episode of The Current Rewind was hosted by the one and only Jay Smooth and me, Cecilia Johnson. It was produced by me and Jesse Wiza and scripted by our head writer, Michaelangelo Matos. Marisa Morseth is our research assistant, and Jay Gabler is our editor. Our theme music is the song "Hive Sound" by Icetep. This episode was mixed by Johnny Vince Evans. And I wanna give a super special thank-you to Rick Carlson, Shelby Sachs, David Safar, Pete Scholtes, and Chris Wilbourn for additional support. If you want to check out a transcript of this episode or any other one, you can go to TheCurrent.org/rewind. And if you feel so moved, you can go ahead and rate and review the show on Apple Podcasts or tell a friend that it's out there. If you want to share any thoughts, feedback, or First Avenue stories, our inbox is open. You can just send an email to rewind@thecurrent.org. The Current Rewind is made possible in part by the Minnesota Legacy Amendment's Arts and Cultural Heritage Fund. It is a production of Minnesota Public Radio's The Current. The Current Rewind goes to First Avenue

Legendary West Coast producer and DJ Sir Jinx returns with new music for this exclusive interview 

We breakdown 2 classic Rap Albums of All-Time. Ice Cubes "Lethal Injection VS Snoop Doggs "Doggystlye".

SIR JINX TALKS ICE CUBE, NWA, STRAIGHT OUTTA COMPTON, DR. DRE, CIA, AMERIKKKA'S MOST WANTED & MORE. THE DJ PODCAST VINYL ESQUIRE INTERVIEWS THE LEGENDARY SIR JINX! AVAILABLE NOW! DOWNLOAD THE APP OR LOG ON TO WWW.VINYLESQUIRE.COM @VINYLESQUIRE @DJSIRJINX @THEORIGINALRIP

In this episode, DubCNN catches up with legendary hip-hop producer, Sir Jinx, for an exclusive interview. He talks being portrayed in the Blockbuster Straight Outta Compton movie, Ice Cube, new music and more. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/dubcnnshow/support

CHECK OUT SIR JINX ON ROADIUM RADIO EPISODE 14 HOSTED BY TONY A. DA WIZARD. SEE THE LIVE STREAM ON THE TONY VISION YOUTUBE CHANNEL AT http://www.youtube.com/tonyvision LEAVE US A VOICE MESSAGE HERE https://anchor.fm/roadiumradio/message --- Send in a voice message: https://anchor.fm/roadiumradio/message

Ice Cube was the best rapper from 1990-1992. I don’t feel that’s up for debate. Some may point out his work on Straight Outta Compton, but it’s hard to overlook Slick Rick in 1988. In 89, while Cube was prepping the release of his debut album with The Bomb Squad, The D.O.C. took home both the MVP and Rookie of The Year honors. But after that, it was all Ice Cube and he had one hellava run. That 3-year run solidified him among the very best in hip-hop history. If you’re wondering who took the honors of after that, I’d have to give it to Snoop (93), then Nasty Nas (94), then Big (95). But let’s get back to Ice Cube, aiight? Ice Cube released 3 consecutive classic albums, 4 if you want to count his EP (Kill at Will). And it’s not like he just put out consecutive classics like Redman, Scarface, Jay-Z or ATCQ, I’d argue that AmeriKKKa’s Most Wanted and Death Certificate are the TWO best back-to-back debut and sophomore releases by any rapper, ever. The magnitude of those releases can’t properly be articulated. They were flawless. They were influential. The had this tremendous impact too, and not just in hip-hop, but in the world we live in. These album helped mold us, even shape the way we think about certain things. It gave us insight on issues we had no idea about. Ice Cube, like Slick Rick, was as fantastic storyteller and his ability to carry a story was truly special. The Predator is classic material, but not in the same vein as the previous efforts. Lethal Injection was the last really great Cube album. I know nostalgic is a muthafucka and we always have a soft spot for our favorites but if we’re being honest with ourselves, the Ice Cube we knew and loved had taken a great detour after 1993. After his movie dominance, it only made sense Hollywood would take him away from music, which explains why his next album didn’t drop until half a decade later. You have great rappers but if they don’t have the right producer their work can fall on deaf ears (see what I did there?). The Bomb Squad and Sir Jinx were monumental in making Ice Cube as great as he was during this era. We don’t cover everything on this mix outside of those prime years and while this was originally featured on West Coast Classic II (Episode 15), there was plenty more Ice Cube played throughout our 17+ hour West Coast Classic tribute series. I know people are quick to say Dr. Dre, Snoop and Pac, but in my eyes, Ice Cube is the most important rapper to come from the west coast. If he isn’t among your top 10 rappers of all-time, you either don’t know (new jack Hype Beast sissy) or simply forgot. After you listen to our Ice Cube Tribute Mix, you’ll have no other choice but to include him in your list.

Ice Cube was the best rapper from 1990-1992. I don't feel that's up for debate. Some may point out his work on Straight Outta Compton, but it's hard to overlook Slick Rick in 1988. In 89, while Cube was prepping the release of his debut album with The Bomb Squad, The D.O.C. took home both the MVP and Rookie of The Year honors. But after that, it was all Ice Cube and he had one hellava run. That 3-year run solidified him among the very best in hip-hop history. If you're wondering who took the honors of after that, I'd have to give it to Snoop (93), then Nasty Nas (94), then Big (95). But let's get back to Ice Cube, aiight? Ice Cube released 3 consecutive classic albums, 4 if you want to count his EP (Kill at Will). And it's not like he just put out consecutive classics like Redman, Scarface, Jay-Z or ATCQ, I'd argue that AmeriKKKa's Most Wanted and Death Certificate are the TWO best back-to-back debut and sophomore releases by any rapper, ever. The magnitude of those releases can't properly be articulated. They were flawless. They were influential. The had this tremendous impact too, and not just in hip-hop, but in the world we live in. These album helped mold us, even shape the way we think about certain things. It gave us insight on issues we had no idea about. Ice Cube, like Slick Rick, was as fantastic storyteller and his ability to carry a story was truly special. The Predator is classic material, but not in the same vein as the previous efforts. Lethal Injection was the last really great Cube album. I know nostalgic is a muthafucka and we always have a soft spot for our favorites but if we're being honest with ourselves, the Ice Cube we knew and loved had taken a great detour after 1993. After his movie dominance, it only made sense Hollywood would take him away from music, which explains why his next album didn't drop until half a decade later. You have great rappers but if they don't have the right producer their work can fall on deaf ears (see what I did there?). The Bomb Squad and Sir Jinx were monumental in making Ice Cube as great as he was during this era. We don't cover everything on this mix outside of those prime years and while this was originally featured on West Coast Classic II (Episode 15), there was plenty more Ice Cube played throughout our 17+ hour West Coast Classic tribute series. I know people are quick to say Dr. Dre, Snoop and Pac, but in my eyes, Ice Cube is the most important rapper to come from the west coast. If he isn't among your top 10 rappers of all-time, you either don't know (new jack Hype Beast sissy) or simply forgot. After you listen to our Ice Cube Tribute Mix, you'll have no other choice but to include him in your list.

SHOW NOTES: http://freshisthepodcast.com/episode-84-del-funky-homosapien-amp-live/ This week’s guests are a couple of highly respected names in the history of hip-hop, Del the Funky Homosapien and Amp Live. Recently, the duo collaborated on a full-length project titled Gate 13. During our interview, Del and Amp talk about how this project came together and what its like to be an independent hip-hop artist in an industry that’s ever-changing. Each episode, the guest is asked to suggest someone from their life/career that should be on Fresh is the Word that would have good stories. Del chose both Sir Jinx and DJ Pooh and Amp Live chose anybody that was affiliated with his crew, Zion I. Stream/Purchase Gate 13: http://smarturl.it/vlkfsd. Follow Del The Funky Homosapien: Web: www.delhiero.com Instagram: instagram.com/delhiero Twitter: twitter.com/DelHIERO Facebook: facebook.com/Del-the-Funky-Homosapien-187211000029 Soundcloud: @zartan-drednaught-cobra Spotify: http://spotify.com/artist --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/freshistheword/message

Le rap californien des années 90, ou l’évidence même quand on pense à un album estival. Sortons de l’évidence en écoutant l’unique album d’un artiste à la carrière presque nulle, mais qui a toujours plané sur le rap de l’époque, et qui est à la source de beaucoup de choses. Sidekick cool d’Ice-Cube, K-Dee sort en 1994 “Ass, Gas or Cash”, un album charnière sans que l’on ne s’en soit rendu compte, qui tourne autour du sexe et de l’argent uniquement, bordélique et grandiloquent comme le veut l’époque. Unique coup avant de disparaître et de quasiment arrêter la musique et de passer la main. Podcast animé par Mehdi Maïzi avec Raphaël Da Cruz, Aurélien Chapuis, Nicolas Pellion et Brice Bossavie RÉFÉRENCES CITÉES DANS L’ÉMISSIONAss, Gas, or Cash (No One Rides for Free) (K-Dee, 1994), Ice Cube, Sir Jinx, C.I.A, NWA and the Posse (N.W.A, 1987), Da Lench Mob, The Predator (Ice Cube, 1992), Lethal Injection (Ice Cube, 1993), Too $hort, Slick Rick, Friday (F. Gary Gray, 1995), Georges Clinton, The Time, Morris Day, Rick James, Biz Markie, Bootsy Collins, Bernie Worrell, Dr Dre, Prince, The Dude (Devin the Dude, 1998), Dana Dane, Smooth B.CRÉDITSEnregistré le 4 juillet 2017 à l’Antenne Paris (10, rue la Vacquerie 11ème). Production : Binge Audio. Direction de production : Joël Ronez. Chargé de production et d’édition : Camille Regache. Direction générale : Gabrielle Boeri-Charles. Moyens techniques : Binge Audio / L’Antenne Paris. Réalisation : Sébastien Salis. Générique : extrait de "Tyra Banks" de Nodey (Atrahasis EP) par Nodey. NoFun est une production du réseau Binge Audio www.binge.audioPOUR ASSISTER AUX ENREGISTREMENTSPour assister à notre prochain enregistrement en public à L'Antenne Paris, rendez-vous sur notre page bingeaudio.eventbrite.com See acast.com/privacy for privacy and opt-out information.

SIR JINX, PRODUCER EXTROIDENAIR WILL BE JOINING US TODAY,PRODUCER OF ICE CUBE,XZIBIT,TOO SHORT JUST TO NAME AFEW, DON'T MISS THIS POWER HOUSE INFORMATIVE SHOW.The iconic producer – responsible for many of the classic songs and albums from Ice Cube, Xzibit, Yo-Yo, Kool G. Rap and others - has ensured ”Landminds” is another star-studded affair featuring many of the biggest names in the industry including Snoop Lion, Monie Love, Ras Kass, Kurupt of Tha Dogg Pound, Sadat X from Brand Nubian, Bad Azz, former Dr. Dre protégé Bishop Lamont, Brother J of X-Clan, Ill Camille, Mykestro, and Black Thought from The Roots to name a few.

He has produced too many platinum hits to name. Sir Jinx will join us live. 

SIR JINX, PRODUCER EXTROIDENAIR WILL BE JOINING US TODAY,PRODUCER OF ICE CUBE,XZIBIT,TOO SHORT JUST TO NAME AFEW, DON'T MISS THIS POWER HOUSE INFORMATIVE SHOW.The iconic producer – responsible for many of the classic songs and albums from Ice Cube, Xzibit, Yo-Yo, Kool G. Rap and others - has ensured ”Landminds” is another star-studded affair featuring many of the biggest names in the industry including Snoop Lion, Monie Love, Ras Kass, Kurupt of Tha Dogg Pound, Sadat X from Brand Nubian, Bad Azz, former Dr. Dre protégé Bishop Lamont, Brother J of X-Clan, Ill Camille, Mykestro, and Black Thought from The Roots to name a few.   HTTP://WWW.WORLDMOVEMENT.COM

SIR JINX, PRODUCER EXTROIDENAIR WILL BE JOINING US TODAY,PRODUCER OF ICE CUBE,XZIBIT,TOO SHORT JUST TO NAME AFEW, DON'T MISS THIS POWER HOUSE INFORMATIVE SHOW.The iconic producer – responsible for many of the classic songs and albums from Ice Cube, Xzibit, Yo-Yo, Kool G. Rap and others - has ensured ”Landminds” is another star-studded affair featuring many of the biggest names in the industry including Snoop Lion, Monie Love, Ras Kass, Kurupt of Tha Dogg Pound, Sadat X from Brand Nubian, Bad Azz, former Dr. Dre protégé Bishop Lamont, Brother J of X-Clan, Ill Camille, Mykestro, and Black Thought from The Roots to name a few.   HTTP://WWW.WORLDMOVEMENT.COMBecome a supporter of this podcast: https://www.spreaker.com/podcast/i-am-indi-entertainment-show--3433195/support.

SIR JINX, PRODUCER EXTROIDENAIR WILL BE JOINING US TODAY,PRODUCER OF ICE CUBE,XZIBIT,TOO SHORT JUST TO NAME AFEW, DON'T MISS THIS POWER HOUSE INFORMATIVE SHOW.The iconic producer – responsible for many of the classic songs and albums from Ice Cube, Xzibit, Yo-Yo, Kool G. Rap and others - has ensured ”Landminds” is another star-studded affair featuring many of the biggest names in the industry including Snoop Lion, Monie Love, Ras Kass, Kurupt of Tha Dogg Pound, Sadat X from Brand Nubian, Bad Azz, former Dr. Dre protégé Bishop Lamont, Brother J of X-Clan, Ill Camille, Mykestro, and Black Thought from The Roots to name a few.

SIR JINX, PRODUCER EXTROIDENAIR WILL BE JOINING US TODAY,PRODUCER OF ICE CUBE,XZIBIT,TOO SHORT JUST TO NAME AFEW, DON'T MISS THIS POWER HOUSE INFORMATIVE SHOW.The iconic producer – responsible for many of the classic songs and albums from Ice Cube, Xzibit, Yo-Yo, Kool G. Rap and others - has ensured ”Landminds” is another star-studded affair featuring many of the biggest names in the industry including Snoop Lion, Monie Love, Ras Kass, Kurupt of Tha Dogg Pound, Sadat X from Brand Nubian, Bad Azz, former Dr. Dre protégé Bishop Lamont, Brother J of X-Clan, Ill Camille, Mykestro, and Black Thought from The Roots to name a few.Become a supporter of this podcast: https://www.spreaker.com/podcast/i-am-indi-entertainment-show--3433195/support.

Hosts: Yukmouth Kuzzofly and iambranded Guests: Sir Jinx and Danyelle “C-Dove” Brown This station plays the hardest of the hiphop genre. Station is home of some of the best interviews, and the best artists. Endorsed by bay-area hip-hop Legend Yukmouth, this show provides a chance for callers to call in, and provide feedback with the hosts, and guest. Creators of the Original Gasit OR Trashit segment, where hosts will provide honest feedback about new music being aired. This show is one of a kind with its raw edge of media, and music. SmokeAlot Records: Smoke Alot Records Website  Yukmouth's TwitterKuzzofly's Twitter Call # 949-270-5912

Host: iamBranded Guest: SirJinx Topic: UnderRated HipHop artists of all Time Ongoing Program dedicated to the movement of underground music of all genres. Call in (949) 270-5912

Welcome to another edition of Po Politickin. In this episode, we politick with Wrongkind Ingles CEO Sean Deez. Deez discusses his relationships with Sir Jinx and Mitchy Slick. Sean Deez talks the importance of having style and flair as a artists and his current project "Ballin’ vs. Rich vs. Wealthy".

**TO LISTEN OR DOWNLOAD SEE THE END OF THE SHOW DESCRIPTION!** On this windswept overthrowing of tyranny we have: Pete Rock steps onto the show in one of the most coincidental and fortuitous ways possible, exploring his forthcoming releases in 2011. We dig deep regarding his album with DJ Premier, his full collaborative album with Nas, an all new Pete Rock & CL Smooth album, a potential collab long player with Madlib and his forthcoming self-produced Smif N Wessun album. In addition to all of this he expresses his desire to work on something more substantial with fellow-guest, Nottz as well as hos own solo releases this year. A true Conspiracy moment that's too good to miss. Nottz drops onto the episode to reveal all about his future work with a who's who of hip hop artists. As the world patiently awaits any glimpse of news regarding one of hip hop's most anticipated albums, Nottz takes us on an informative journey regarding the creation of Dr Dre's Detox. We talk track names, track order, featured artists and those producers who are handling production on the soon-to-be released Detox album, including himself, Jake One and DJ Khalil. In addition to revealing that he produces the first track on Detox, featuring The Game and Busta Rhymes, Nottz talks us through hearing the original, now shelved version of Detox, an album Nottz claims was created from literally 100s of finished Dr Dre tracks. Want to know how Detox was made? Well here is your answer. Smoke DZA was one of the most refreshingly prolific artists of 2010. He joins us on this episode, full of character, to explore his career including the successes of an independent artist, hip hop's tendency to stereotype,possible future collaborative albums with Devin The Dude, Pete Rock and of course his current work on an EP with Alchemist. 2011 is sure to bring the world a whole sack full of Smoke DZA and it was our pleasure to share this one. What a Kush! MC Eiht is an absolute accomplished pillar of West Coast hip hop. His new album with DJ Premier is set to be one of the most diverse adventures in his massive career, so it was our true honor to welcome him onto this episode to discuss the creation of "Which Way Is West". As wise as you would expect, Eiht analyzes the current West Coast scene, citing socio-political and economic factors as reasons for the hiatus so many artists have taken. He tells us in detail how this is all set top change and with his new group 1st Generation (comprising of himself, Kurupt, King T,Jayo Felony, The Chill, Sir Jinx, Gangsta from The Comrads)and their forthcoming album. Showbiz drops onto the show to talk about the creative process of his new album with KRS One, including the way that KRS always turns up to studios with a briefcase packed with rhymes. We also take a massive exploration of his beat history, the sad news that DITC are now officially no more and the way that Flavor Unit rejected the classic beat that then became "Sound Of The Police". Enemy Soil's epic producer C-Lance takes time out from his busy production duties to discuss all of the projects that he has an active role in producing this year, including Ill Bill * Vinnie Paz "Heavy Metal Kingz", Jedi Mind Tricks "Violence Begets Violence", Diabolic's new album, Doap Nixon, Sicknature and much more - this one is for the hardcore! AND THAT'S NOT ALL! If Verbal Kent’s only long-term interest is to become part of hip hop history, then his latest offering, Save Yourself, simply adds his signature to his application letter for Hall Of Fame status! Whether its collaborations with legends such as Masta Ace, Sadat X, Edo. G One Be Lo solidify his comfort zone or dropping complementary flows over soundscapes from favorites like Pete Rock, Marco Polo, Apollo Brown, !llmind, Verbal Kent is on a mission. In this accomplished and ambitious interview, Verbal Kent reaches out to you, the listener, to salvage yourself from sleeping on his work, addressing such topics as the making of Save Yourself, collaborations, time management versus quality, fans. He also leaves the interview with the promise to bring UK legend Blade, back out of retirement. That's the gifted and talented Blade, not that retarded council estate, slime faced playground grime artist that's just emerged using the same name. PLUS! BONUS PODCAST-ONLY FOOTAGE On a cold winter's night Virtuoso took time out to speak to us prior to this live episode and explore his long-awaited album, his relationship with fans of hip hop and much more including a live acapella. Included here as podcast-only bonus footage, this is as sharp as it gets. Enjoy our epic hard work! Contact us at conspiracyworldwide@gmail.com Blackberry Messenger: 22192BE3 Mista Montana - http://www.montanauk.com Menace - http://messengermenace.blogspot.com

**TO LISTEN OR DOWNLOAD SEE THE END OF THE SHOW DESCRIPTION!** On this windswept overthrowing of tyranny we have: Pete Rock steps onto the show in one of the most coincidental and fortuitous ways possible, exploring his forthcoming releases in 2011. We dig deep regarding his album with DJ Premier, his full collaborative album with Nas, an all new Pete Rock & CL Smooth album, a potential collab long player with Madlib and his forthcoming self-produced Smif N Wessun album. In addition to all of this he expresses his desire to work on something more substantial with fellow-guest, Nottz as well as hos own solo releases this year. A true Conspiracy moment that's too good to miss. Nottz drops onto the episode to reveal all about his future work with a who's who of hip hop artists. As the world patiently awaits any glimpse of news regarding one of hip hop's most anticipated albums, Nottz takes us on an informative journey regarding the creation of Dr Dre's Detox. We talk track names, track order, featured artists and those producers who are handling production on the soon-to-be released Detox album, including himself, Jake One and DJ Khalil. In addition to revealing that he produces the first track on Detox, featuring The Game and Busta Rhymes, Nottz talks us through hearing the original, now shelved version of Detox, an album Nottz claims was created from literally 100s of finished Dr Dre tracks. Want to know how Detox was made? Well here is your answer. Smoke DZA was one of the most refreshingly prolific artists of 2010. He joins us on this episode, full of character, to explore his career including the successes of an independent artist, hip hop's tendency to stereotype,possible future collaborative albums with Devin The Dude, Pete Rock and of course his current work on an EP with Alchemist. 2011 is sure to bring the world a whole sack full of Smoke DZA and it was our pleasure to share this one. What a Kush! MC Eiht is an absolute accomplished pillar of West Coast hip hop. His new album with DJ Premier is set to be one of the most diverse adventures in his massive career, so it was our true honor to welcome him onto this episode to discuss the creation of "Which Way Is West". As wise as you would expect, Eiht analyzes the current West Coast scene, citing socio-political and economic factors as reasons for the hiatus so many artists have taken. He tells us in detail how this is all set top change and with his new group 1st Generation (comprising of himself, Kurupt, King T,Jayo Felony, The Chill, Sir Jinx, Gangsta from The Comrads)and their forthcoming album. Showbiz drops onto the show to talk about the creative process of his new album with KRS One, including the way that KRS always turns up to studios with a briefcase packed with rhymes. We also take a massive exploration of his beat history, the sad news that DITC are now officially no more and the way that Flavor Unit rejected the classic beat that then became "Sound Of The Police". Enemy Soil's epic producer C-Lance takes time out from his busy production duties to discuss all of the projects that he has an active role in producing this year, including Ill Bill * Vinnie Paz "Heavy Metal Kingz", Jedi Mind Tricks "Violence Begets Violence", Diabolic's new album, Doap Nixon, Sicknature and much more - this one is for the hardcore! AND THAT'S NOT ALL! If Verbal Kent’s only long-term interest is to become part of hip hop history, then his latest offering, Save Yourself, simply adds his signature to his application letter for Hall Of Fame status! Whether its collaborations with legends such as Masta Ace, Sadat X, Edo. G One Be Lo solidify his comfort zone or dropping complementary flows over soundscapes from favorites like Pete Rock, Marco Polo, Apollo Brown, !llmind, Verbal Kent is on a mission. In this accomplished and ambitious interview, Verbal Kent reaches out to you, the listener, to salvage yourself from sleeping on his work, addressing such topics as the making of Save Yourself, collaborations, time management versus quality, fans. He also leaves the interview with the promise to bring UK legend Blade, back out of retirement. That's the gifted and talented Blade, not that retarded council estate, slime faced playground grime artist that's just emerged using the same name. PLUS! BONUS PODCAST-ONLY FOOTAGE On a cold winter's night Virtuoso took time out to speak to us prior to this live episode and explore his long-awaited album, his relationship with fans of hip hop and much more including a live acapella. Included here as podcast-only bonus footage, this is as sharp as it gets. Enjoy our epic hard work! Contact us at conspiracyworldwide@gmail.com Blackberry Messenger: 22192BE3 Mista Montana - http://www.montanauk.com Menace - http://messengermenace.blogspot.com