Archives for posts with tag: #hiphop

If you know me, you know that I’m inspired by reading about others’s creative processes, and I’m always fascinated by articles about music in general. This Rolling Stone piece covers both, and focuses on two of the best to ever do it, NoID and Jay-Z, whose collaborative album 4:44 just came out on June 30th. My review will likely follow, but I can tell you this much: I haven’t liked an album this much upon first listen in a long time.

Jay-Z and No ID in the studio.

Conversations“, via @cubansoze

What strikes me about the described process is that NoID explains the process in a way that I always imagined it working best, especially how he reflects on the creation of a musical playlist, intentional use of samples, and a true dialogue between artists that pushed Jay to stretch his voice. I’ll let you read the rest, but suffice it to say I really want to get creative. ASAP.


Anybody else feel like Schoolboy Q’s “Groovy Tony/ Eddie Kane” deserves its own holiday based on how dope it is? And that Jada verse is the unexpected highlight of 2016. Fire.

While we’re in the subject, lemme get that beat.


Alright, so I’ve got this bag of old t-shirts that I just CAN’T say goodbye to, including a classic Atmosphere godlovesugly shirt (the one on the left). People have made quilts out of old shirts, but I’m looking to do something a little different. I think I might have just found my solution.

Instructables – Expoxy vs. T-shirt.

More later, hopefully.


2 very pressing questions for my Hip Hop heads:
1. Why did we like Noreaga? I was listening to “Banned from TV”, and he obviously has the weakest verse considering the lineup, but I mean forreal – his verse is miserable. I need to re-listen to N.O.R.E. and Melvin Flint… to see if there was ever anything there. 

2. Did anyone else dig on Cormega? For me, his first and second (The Realness and The True Meaning) were dope, and they knocked for a long time. I got a little tired of the subliminal Nas disses, so I stopped coping his solo albums, but the lyrics were tight, his flow was varied, and the beats were dope. He was distinctly Queens, and repped it well. The albums came out right around the time Nas and Jay went at it, so you could argue he was trying to capitalize, but diss records or not he sounded fresh and energetic even though he’d been benched by Def Jam years before. 

Answer in the comments!