Shout out to Caspa Narkz (East Brooklyn) who sent his official music video my way. The quality of indie music videos varies, but I think this video is extremely well made.
Peep this now:
You can download or listen to Caspa Narkz’s Mixtape “The Lottery,” here:
Earl Simmons, a.k.a. DMX, has brought so many different elements to Hip-Hop culture throughout his life, good, bad, and strange.
This feature focuses on the strange.
As the front man of “Ruff Ryderz,” DMX was at one point, undeniably the most respected, most feared, and most popular rapper in the entire world.
He had a string of albums to back it up:
It’s Dark and Hell is Hot
Flesh of my Flesh, Blood of my Blood
…And then there was X
These are albums that I vividly remember blasting throughout middle school. I remember a specific memory: this hyper-active kid in gym class, Michel, stuffing another 7th grader into a locker while screaming in a DMX voice, “WHATS MY NAME, GRRR ARF ARF.”
DMX’s success and his impact on the music industry and popular culture are well documented topics. STRANGE ENCOUNTERS OF THE DMX KIND will explore the stranger side of DMX’s legend:
This side:
I want to make sure that it’s understood, this feature is not some simple showcase of DMX’s legal troubles / arrests.
This is different.
STRANGE ENCOUNTERS OF THE DMX KIND documents the unbelievable personal encounters with the mythical figure: DMX.
These encounters happen on a day to day basis, on the golf course, in the grocery store.
DMX is a living legend.
His growling, yelling, “I don’t give a fuck” persona on each one of his albums is legit. The Proof?
Your stories.
If YOU have a strange encounter with DMX that you would like to share, even if it’s slightly embellished, please EMAIL your account and description of what happened, where/when it took place to hypothesisspits@gmail.com
Otherwise, enjoy hypothesisspits.com’s first account, the debut feature for
STRANGE ENCOUNTERS OF THE DMX KIND:
Name:
Artist A. [full name currently withheld for safety reasons]
Where:
The parking lot of The Hit Factory
When:
Late at Night, Early-Mid 2007
What Happened?
Hip Hop artist AA was recording material for his new album at notorious Miami studio, The Hit Factory. AA had recently received a mixtape of beats to write to for this recording session. AA was blasting the different instrumental tracks out of his car’s sound system.
This was all part of his pre-studio ritual.
At the time of this strange encounter, AA was alone. The rest of his team had already checked into the studio.
Everything was business as usual.
AA was relaxed, pulling on the end of a blunt, when a shadow began approaching the left side-view mirror of his truck. Because of the poorly lit parking lot, AA couldn’t see what, or rather who, was making the shadow.
Awkwardly pretending he didn’t notice the approaching stranger, even with the song still blasting, AA was startled, when out from the dark came the low pitches of a man’s voice, growling:
Ay Yo.
What are you listening to right here?
AA immediately recognized the voice and thought to himself,
No, it couldn’t be?
Is that….DMX!?
And like a ghost becoming human once again, DMX moved into AA’s focus. The streetlight that was previously keeping his image a secret began flickering on and off. AA’s heart started to beat a little bit faster and he silently worried to himself,
I don’t know whether the fuck to invite him into the car or drive off.
What the fuck, is this mutherfucker trying to rob me right now?
DMX moved a few steps closer, crossing his arms over the open window of AA’s driver-side door. AA returned DMX’s initial question,
It’s a beat CD for my upcoming album
DMX growled back,
Ay yo I like that beat.
I think you gonna have to give me that beat man.
AA couldn’t believe what was happening. His mind raced,
What the fuck is going on. Is DMX trying to get on a track with me right now?
AA snapped out of thought thanks to the slam of a car door. He was horrified to see that DMX had just circled around the front of his whip and sat down right beside him.
DMX was inside the car.
He continued,
I don’t think you understand me right now.
I like that beat I just heard.
You gonna have to give me that beat so I can kill it!
I want that beat. You understand?
AA panicked with the realization that DMX was in fact, trying to rob him.
His forehead began to sweat, he nervously laughed and tried to cut the tension by breaking the silence,
That’s what’s good, look, let’s swap contact info and then we can set up something in the near future.
AA’s answer didn’t please DMX, whose growl became increasingly more aggressive.
Well that’s a problem right now,
Because, I want that beat, right now.
DMX’s kept his eyes madly staring directly into AA’s. Meanwhile, his left hand pointer finger moved closer to the eject button of the car’s CD player.
AA had no trouble making the decision to let DMX have the CD.
At this point, AA just wanted DMX to get the fuck out of the car.
Fortune smiled on AA when a group of dimes walked into the studio before DMX had pressed the button.
The women had caught the attention of DMX, who with one final growl opened the car door and exited, without taking AA’s CD.
Ay yo…
I’m outta here
And like that, DMX vanished into the night once again, leaving only with AA, the memory of the Strange Encounter.
With no introductions given, Artist A. nearly had his mixtape album instrumentals jacked in the Hit Factory parking lot, by DMX.
Only DMX.
Share your strange encounter!
Send Email to hypothesisspits.com@gmail.com
Logic Proof that Haters Help (by Hypothesis)
The “Haters Help Me” Law for all aspiring artists:
Conditions and Statements:
1. For an upcoming artist, no press is bad press
2. “Hate” has no effect on an artist or the art they produce.
3. If somebody says something negative about you, then you grind harder to prove them wrong.
4. If you grind harder, then they hate harder.
5. More hate = more press
6. Real recognize real
7. Artists make statements on reality or produce work which somehow engages the world in a realistic or unrealistic fashion.
8. Haters are by definition not keeping it real
9. Hip Hop prides itself upon artists who are real.
From these rules and conditions we can therefore conclude the following:
CONCLUSIONS:
An artist is by definition working within parameters of reality. If real recognize real, then a person who is exposed to the press created by the hater automatically associates the hater as not real, and the artist as real.
This leads to 2 outcomes:
1. A new fan is gained and the old hater continues to help the aspiring artist grind harder and gain more exposure to real fans or,
2. A new hater is created and immediately falls into their designated place as a simpleminded, unreal individual who does nothing but help accelerate the careers of real artists who make art for real listeners.
So next time someone hates on you, Smile and say, “Thank you !”
www.hypothesisspits.com
UPDATED on: (1/29/10)
If you needed yet another reason, check out this recent plug 9th Wonder gave Skewby
1) Skewby IS the next big thing
For my official first post of 2010, I am proud to present ten reasons why the year 2010 will go down in history as a turning-point for the rising Memphis based hip-hop talent Skewby.
(As I write this, Skewby is most likely still amped up after opening at two arenas on Lil Wayne’s Farewell Tour)
If you haven’t listened to Skewby’s debut (of sorts) yet, you’re missing out on one of 2009’s best mixtapes:
Proving You Wrong Since 1988 (FREE DOWNLOAD)
I highly recommend taking a listen before reading my endorsement.
I’m rarely overconfident when it comes to picking a “sure-thing”, but in this post, I will assert that we (those who have listened) are all witnessing the rise of the next big thing.
I had the pleasure of visiting Skewby and most of his team while visiting Memphis for the New Year’s celebration (my brother, DJ Charlie White, was a major contributor for the PYWS88 project).
The trip validated all of my first impressions of Skewby.
This dude is the real thing.
2) Skewby is a gifted songwriter
If you go back to my interview from late 2009 with DJ Charlie White (who provided cuts/samples/production/engineering work on Proving You Wrong Since 1988), you will see Charlie White touch upon a sentiment that I also truly believe:
the notion that it takes songwriting ability to (realistically) make it as an artist in the dog-eat-dog world of the music/entertainment industries.
While gaining respect as a sick lyricist or emcee can certainly earn hip-hop artists (luck is often a factor here) the chances to “make it,” these opportunities traditionally develop after long-winded grassroot campaigns within underground scenes.
To truly become known on a national level, an artist must work lyricism into the songs which they create while simultaneously focusing on narrative.
Storytelling.
Skewby has shown that he has this ability, and that it comes naturally as a byproduct of his experiences.
Proving You Wrong Since 1988 is a skillfully painted canvas of Skewby’s young life in all aspects of its composition (a rare, almost unthinkable feat for a mixtape):
the struggle to find a mentor growing up:
my favorite rappers went rich, just to go poor
my favorite actors found needles, got they thumbs sore
i used to watch T.V. like, “I want more. I want more“
(Searchin’)
getting hurt for the first time by a female:
you don’t know what you did to me /
i remember walking home with my Snoop CD /
I always wondered, what’s a bitch? until I felt like this
(She Likes Me)
pushing his music on the internet as a “cyber” drug-lord (we all know hip-hop heads are fiends):
by the time I hit the stage the whole place overdose
(Dopeman)
dreaming of making it to the main stage to please his grandmother and force his parents into an early retirement:
[regarding watching music videos as a kid]
I would memorize songs, say everything they’d say /
then perform in the kitchen when my parents worked late /
I guess it worked out, see me work a show? /
you can tell that I dont want em workin no more
(Sunday Morning)
While these themes are commonly shared experiences in many voices of hip-hop culture, we (the listeners) don’t simply hear Skewby’s words, we see them.
This is a testament to the strong powers of Skewby’s word choice/flow/imagery/concepts—all working hand in hand throughout his carefully constructed songs.
3) Skewby has the perfect supporting cast
Countless hours of time, energy, and networking go into the pursuit of a career in the music industry.
If you happen to think that unsigned artists get by on talent alone, then you need to stop watching American Idol so much.
For every Kelly Clarkson or Chris Daugherty there are thousands of artists who share Skewby’s dream.
Skewby, however, is one of the few fortunate musicians who have developed an extremely positive group of friends, musicians, and industry folk alike who believe in him fully.
They all understand perfectly their specific and vital roles.
They’re always ready to chip in wherever and when its necessary.
They all share a collective goal.
I witnessed first-hand the interactions between Skewby and his team. They look out for each other, they’re smart, and because of these characteristics, they will all play an integral role for Skewby’s career aspirations in 2010.
The key ingredients of mutual respect and understanding are there.
4) Skewby recognizes (and values) the importance of honesty
Proving You Wrong Since 1988, “Honesty” (CLICK TO PLAY)
5) Skewby makes smart decisions
It takes one bad decision, one poorly worded blog-entry, or one misguided MP3 megaupload file to negatively impact the buzz of an artist on the verge of success.
This is a time when every skeptic is waiting to jump on your flaws
when ex-girlfriends are waiting to battle slap the shit out of you (Charles Hamilton).
Skewby is widely known as a perfectionist in all aspects of his work, both in and out of the studio:
I built a studio and after that I never surfaced /
getting my verse perfect, its worth it
(WorldWide)
While perfection is something that most musicians strive for, it can often bring negative results if the musician becomes popular and is hit with an overwhelming demand to perform underneath the often scrutinizing public eye.
Despite re-tracking, re-writing, or re-producing beats many times until he achieves satisfaction with a final product, Skewby’s management team is always 3 steps ahead of the curve when it comes to his next move.
You can bank on 2010 as a year when Skewby will get involved with many, many projects.
Each time Skewby steps into the booth or makes a career-based move, its carefully designed and acted out with a meticulously organized business strategy.
I’m already aware of a few of the upcoming surprises (which I’m not at liberty to discuss publicly quite yet) on Skewby’s menu for 2010, but I can vouch for his team’s decision-making abilities.
6) Skewby has skills
Despite working with a team of gifted musicians, DJ’s, producers, and engineers alike in the Memphis, TN area—Skewby himself has a capacity to:
write, record, engineer, produce, market, blog, network, design a graphic and create a layout for his website, all the while working a 9-5.
Enough said.
7) Skewby is currently unsigned
It is now conventional for one to assume that in the digital music era, when an upcoming musician’s classification is an independent or unsigned artist, it’s simply one of the crucial components for their career.
This is not to say that major labels aren’t putting in time on developing artists from the ground up, it’s just an observation on the fact that since CD sales have been practically non-existent well before 2010, major-label record deals are being given most often to artists who have already developed fan bases independently before they sign.
To craft a poor analogy: record labels are now viewing record deals the way that credit companies handle loans.
In order for an artist to get this “loan”, they must establish credit first…yeah, I know it’s not the best metaphor, but Skewby’s status as an unsigned artist is nothing to discredit his buzz—it’s simply the way that the music industry currently operates.
What it really means, is that when Skewby does get the offer/deal he can’t refuse, his mission to “put Ferrari’s in the driveway” will have become a reality.
8.) Skewby is rising out of Memphis
With this segment, my intention is not to make any disparaging remarks regarding the Memphis hip-hop scene (past or present). However, when it comes to Memphis and hip-hop—Skewby stands out.
Big time.
Memphis rap, on a national level, is widely known for its “southern” sound which has been perfected and brought to mainstream audiences by acts like Al Kapone, 8 Ball & MJG, Yo Gotti, and the 3 6 Mafia. (along with films like Craig Brewer’s Hustle and Flow)
(from left to right: DJ Charlie White, Skewby, DJ Crumbz)
(Hence the clever tee shirt design here by Memphis boutique/avid Skewby supporter Sneak Peek).
Skewby rises above the listener’s expectations by not falling into the stereotypical sounds coming from many local rappers in the Memphis scene.
It’s extremely interesting to hear Skewby reflect with bars like
I tell em i’m from Memphis, Tennessee /
and they look at me strange like I need I.D. /
fly with me we can do Beale street /
hit Wolfchase mall, get somethin to eat
(Talk 2 Em)
I’m sure that on more than one occasion, Skewby has felt pressured to make songs featuring chants, strong 808’s, and single lined hooks about getting fucked up.
I’m not suggesting that Skewby has intentionally distanced himself from the classic Memphis sound, but I believe his roots in the Memphis area will be a factor that contributes to his successes in 2010.
For example, I think many listeners will hear his music before they find out he hails from Memphis and will find it interesting that he isn’t making tracks that one expects when picturing Memphis rap.
UPDATE: proving my point is a comment posted on Skewby’s Mixtape on 2dopeboyz:
9) Skewby has instant credibility
Hip Hop heads are notoriously difficult to win over.
This isn’t because listeners of hip-hop are pretentious, stuck-up, pitchfork reviewing haters by nature.
No.
It’s because hip-hop culture (by its definition) requires a level of dedication, realness, and respect for the mic/craft that too many artists have forfeited on their rises to fame and fortune.
The jaded, cynical, and now clichéd phrase “Hip Hop is dead” is nothing more than a marketing scheme to sell tee-shirts.
You can’t kill culture—but you can evolve what early hip-hop pioneers established. This was an underlying theme of Proving You Wrong Since 1988.
By taking the themes/concepts/beats/sounds from the golden era of hip-hop and creating an entire mixtape dedicated to an age that inspired Skewby to do what he does, he now has an instant reference for any skeptic wondering whether or not Skewby can be classified as a hip-hop artist.
He can.
10) Skewby has cross-over appeal
You can’t really place a value or statistic on the “it” factor…but after one listen-through of Skewby’s mixtape, you hear it.
Bloggers have heard it.
Fans have heard it.
If you haven’t heard it….then 2010 is your year to catch up.
My personal favorite track on PYWS88: “Searching”
Its been a hectic few months. Sadly, I have not been posting as much as desired. But these days are over. New Blog posts coming soon.
PROVING YOU WRONG SINCE 1988
FIRST LEAKED SINGLE: “Get Retarded”
 | Q.Montana on (UPDATED) 10 Reasons Why the 2… |
