Archive for the ‘Bruh’ Category

BET AWARDS '14 - Backstage And Audience

When Busta Rhymes announced that his latest single for Extinction Level Event 2 – the sequel to his 1998 third studio album that’s best known his collaboration with Janet Jackson – will feature Eminem, a bittersweet feeling trickled around my heart. Sure, this is not the first time the two have knowingly worked with one another* and the two are still lyrical giants that tower people in awe. Yet it felt like a newsworthy note that felt on deaf ears for a collaboration that’s 15 years too late.

Back when I was a child, I along with much of the rap world saw Busta Rhymes and Eminem as two of the most colorful and dynamic rappers in the industry. Their charisma was off the charts and the way they intricately mixed humor and their bombastic personas with their technical prowess made them all-time greats at their craft. Ten-year-old Mac always wondered when the two would connect to make something epic and tear the very fabric of space and time. Now at 23 growing up to a genre that has changed drastically, the news of a Busta and Em collab felt contrived.

Listening to “Calm Down” left me empty on the number of levels; an unfulfilling trip back into nostalgia complete with a flip of House of Pain’s “Jump Around”. It is not a bad song per se, but it wasn’t entirely great either. Busta and Em show that they can tip-toe as effortlessly as anyone laying down bar-upon-bar of furious six-minute lyrical shadowboxing. Not to mention that the artwork is fucking phenomenal, but something was still very amiss. The two really did their best to turn back the clock and while that was nice and all, it lacked the authenticity it should have had.

There was a time where Busta at his most maniacal and visually creative tag-teaming with Slim Shady at his most ridiculous would have made for a superb moment at the height of their careers. The only other rapper I can think of that had highly exuberant qualities as a lyricist and entertainer at the time was Ludacris, whose triumphant triumvirate of albums put him on top of Atlanta’s hottest rappers in the mid-2000s. Another common ground I can find with that is throughout time detractors critiqued their flash over their substance, in particular to the latter. With Luda being a Southern rapper, the deck was stacked against him tenfold and his subsequent efforts in adapting to the times left him broken.

His counterparts found ways to combat them in numerous flashes of brilliance at their disposal. Busta began to simmer down a bit and connected with Dr. Dre with Aftermath, seemingly aligned with Eminem but still haven’t come in frequent contact with one another. Out came The Big Bang, a criminally underrated record in its own right and the last really great effort Busta has created in a full body of work. Eminem on the other end rode the success of the Slim Shady persona long enough to kill it off (somewhat) with his two outings The Eminem Show and Encore. From that point on, he focused on rapping and rapping well along with cleaning himself up personally.

While he attempted to make a resurgence of the bleach blonde psychopath on a few occasions (Relapse, The Marshall Mathers LP II), it was more nauseating than charming hearing a 40-year-old make dick jokes again. And that’s what I was looking at listening to Busta’s new single: sad, dejected, and confused with what has transpired. Things just aren’t the same with those two musically and no matter how great they can bend their syllables in 2014 as they could in 1998, I’ll always feel robbed of something special.

So instead of tearing the track apart, I’m just going to cherish it for what it is and that’s two favorites just rapping for a long time.

* I will say that “I’ll Hurt You” is as good as a collaboration we will get from the two and is much better than their most recent one. Crazy how that song was kept off of The Big Bang final cut. 

Paul Cantor wrote a strong piece on Busta Rhymes’ recent career steps and explained it better than I ever could here. He’ll always be great to me and he can do whatever he wants. I just wasn’t feeling it here. 

 

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Okay, okay, I’m a little late on this but this is amazing. At the height of the 2012 London Olympic Games, TNA Superstars Kurt Angle and Rob Van Dam partake in this hilarious video for Funny Or Die. Angle, popularly known for his eight-year run with WWE as the Olympic Hero, decided that it was time to go for the Gold Medal once again. In actuality, he was training for the London Olympics for Wrestling only to get injured in the process. But with encouragement from his buddy Rob Van Dam, Angle’s dream for another Gold Medal was not to be thwarted. What ensues is a throwback to the Attitude Era, highlighting the humorous nature of both wrestlers.

The wrestling mark in me wants to see Angle and RVD return for one more run with WWE before they retire, as they are awesome.

How awkward can you really get? As part of Noisey’s “Back & Forth” interview segments where two very different personalities clash, Gambino and Keef talk about their stacks, tattoos, and a bunch of stuff in between the awkward pauses. I really want to know who got the idea of even pairing these two together?

Boy got paid.

Marc J. Spears of Yahoo! Sports reported that The Denver Nuggets re-signed Center JaVale McGee to a multi-year deal. The contract will consist of McGee receiving $44 Million for four years.

The Nuggets recently acquired McGee during the 2011-2012 season on the Trade Deadline from the Washington Wizards and has proved to be a solid commodity to the team. It will be interesting to see how far he can improve as a player with him and Kenneth Faried in the frontcourt.

Get your money, JaVale. I know mama is proud.

Via Real GM

This absolutely made my day. During a show for their European Tour, Rock band and Rapcore pioneers Faith No More took their crack at The Throne’s “Niggas In Paris”. It is only fitting as the band is know for covering Soul and Hip-Hop classics and with the recent buzz the song his been receiving. Mike Patton saying “nigga” had me in tears by the way.

Earlier today while scoping out the Twitterverse and timelines, I end up coming across something that had my mind boggled.

This is Lil Mouse: a 13-Year Old Chicago rapper that is highly influenced by the current Drill scene. As the music itself never been a problem, it is the fact seeing a kid a young as he is rapping about gun toting, popping pills, and throwing “Hella Bandz” in the club. It’s the themes and content suggested in this song, with the video itself displaying even more disparaging images. Here Mouse is rolling in a car with a girl, which clearly he wouldn’t be able to drive because he can’t see over the wheel. I can’t even fathom thinking that this boy really does what he says in his lyrics nor him actually writing this.

It’s clear that there is someone else behind the scenes here, making a profit off of a sound that is popularize by the likes of Chief Keef and his Glory Boys Entertainment stamp. Mouse just happens to be the one that could give it attention, especially with a provocative presentation that would get people talking. As with the aforementioned Keef, it’s even wilder knowing that these two herald from a city notorious for its violent string of shootings in the Summer. Even yesterday there was 15 shootings in span of 6 hours during the Independence Holiday. The exploitation of these kids rapping about the violence in their city brings a grim realization on how the media perceives Hip-Hop.

When is it too much? Has this gone too far in letting much of this slide because “it’s only music”? The beat is hard, we can nod to it, but do we not see a problem with the true issue at hand? Or is it the fact that we as an society love capitalizing on anything in order to gain a quick buck?