Peep this now:

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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 7^th 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

This side

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

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:

1. Haters cannot themselves affect an artist by changing the art that they make. (Rule 2)
2. A hater can only inspire an artist to work harder to prove them wrong. (Rules 3 and 4)
3. This helps the artist in 2 ways:

• By creating press/buzz (which can never be bad) for an aspiring artist (rule 5)
• By creating new fans from this buzz.

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:

1. He’s not what i would call lyrical, but he’s good, im surprised to hear a Memphis cat on some hip hop shit, instead of the syrup sippin type of stuff i heard memphis, i love 3 6 mafia so its not a diss.

   Purp said this on February 1st, 2010 at 3:11 pm

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.

Follow Skewby on Twitter

Skewby on Facebook

My personal favorite track on PYWS88: “Searching”

FIRST LEAKED SINGLE: “Get Retarded”

Introduction: “When I was your age, I had to walk 10 miles in the snow just to watch YO! MTV RAPS”

I’m almost 24 years old.

Fish dicks.

Even though I haven’t had many (if any) of those feared, “What the fuck are these kids doing?!,” type of moments when I feel a complete lack of understanding about the generation below me, this makes sense.

Obviously, I’m not that far removed from teenage-dom and I am a genuine product of the “MTV boom” generation, the internet, and commercialized hip hop, so I love to hate Spencer and Heidi Pratt along with every other 16 year old in America, I tweet, and despite my personal love-hate relationship with the guy, I understand why millions of kids fuck with Soulja Boy.

Regardless of my age, the rise of social networking platforms has destroyed conventional mentalities on the old generation vs. new generation dichotomy thanks to Twitter, Facebook, and MySpace. Before these sites exploded in popularity, parents, teachers, grand-parents, name your “adult”— a majority of members from older generations openly mocked, criticized, and refused to embrace countless forms of communication taking place on the internet, dismissing most of them as social tools that only a younger generation could use to deploy various schemes of tomfoolery.

Flash forward to 2009.

Today, it seems like every news anchor, celebrity, or random conversation taking place on the street ONLY discusses the most banal aspects of these once feared and unappreciated trends.

Say hello to the NOW network, 3G technologies, Twitterverses and Facebook status updates from the whole world and their mothers.

Say goodbye to reliable news coverage of critical debates: Economic recession, Health Care Reform, Tension in the Middle East, Educational decline in America—all taking a back seat to the latest twitter updates from A-List celebrities.

P Diddy’s sexcapades.

Oh, how the world has changed.

All hyperbole aside, while this change in reporting style hasn’t killed off important news coverage as a whole, some disturbing trends have developed: the only thing worse than mass media outlets reporting unimportant tweets by celebrities are mass media outlets reporting unimportant tweets by celebrities tweeting about important things.

Despite this revision of mass media and its effect on the traditional age-based “clash of the generations”, I am not unaware of the massive differences between MTV kids in the mid to late 90’s and MTV kids now approaching the end of the first decade in the 21st century.

The following anecdotes should be read as my personal, “grandfather like” rants about the MTV of yore:

When I was still considered part of MTV’s key demographics, Kurt Loder and John Norris, routinely provided insightful updates about meaningful shit going on in the music industry in a non-tweet format that strangely, actually resembled the most respected news programs from major media sources like NBC or CBS.

I was only 9 years old in 1994, but Kurt Cobain’s suicide and the coverage that followed on MTV drastically changed my perceptions of the world, and ironically, has fueled my life-long obsession with the pursuit of the same exact lifestyles that not only drove Kurt Cobain over the edge, but also had a hand in the tragic culmination of the 1990’s Biggie East Coast VS. Tu-Pac West Coast rivalry (which has since allowed the mainstream commercialization of hip-hop to flourish; The “Ringtone Rap” era.)

MTV actually played music videos.

The “Real” World, was by all observations, actually real.

Hopefully, you understand where I am going with this:

A New Paperless World with the Same Old Yellow Journalism: The Beat Tweet

The crucial difference between MTV and the much larger institution of mass media, from then to now, (besides its shift in aesthetics, which can be attributed to a simultaneous evolution of culture) is due to the aforementioned advances in paperless, immediate, and wireless based technologies that have both enhanced AND popularized the most horrifying trend in American mass media since yellow journalism: the “beat tweet.” (Yes, I am coining this term RIGHT NOW….via Twitter)

In case you’re wondering, what are “beat tweets?”

Beat Tweets are the often ridiculous, most always unimportant, irrelevant and sometimes maliciously used twitter updates by [insert @ person here] that are determined to be news worthy by mass media outlets, then reported as news on any topic covered by the outlet—as a viable source.

MTV reports tweets by musicians. ESPN reports tweets by athletes. E! reports tweets by celebrities. Currently, the media operates under the following standard: If you tweet it, then we can and we will report it. While the constitution protects the freedom of press, the obvious removal of any sort of context from these tweets frequently puts the media at the risk of infringing upon their ethical responsibility to remain unbiased, a la, the “Beat Tweet.”

Beat Tweets serve absolutely no justifiable purpose for many media outlets.

Beat Tweets routinely infringe on privacy.

Beat Tweets spread unreliable rumors.

Most importantly, Beat Tweets influence public opinion.

My point is that the inherently flawed characteristics of “Beat Tweets” raise far too many ethical dilemmas. Twitter is essentially a brand new form of communication that no one has questioned. So I will play devil’s advocate here.

How should it be used? What kind of responsibility do media outlets have when pulling information from a source as subjective as twitter?

The debate is nearing a mainstream conversation based on a shocking escalation in the number of case studies which have highlighted exactly how malicious the powers of the Beat Tweet can be.  These cases prevent any logical rationalization of why Beat Tweets should be reported in the first place.

News is supposed to be balanced, fair, unbiased, objective. Right? (and left)

Case Study: The 2009 MTV Video Music Awards.

And then, there was Kanye.

Now that I’ve had some time to think about it, I simply still don’t understand why seemingly most of the entire nation responded to Kanye West’s interruption of Taylor Swift’s award acceptance as harshly as they did.

Summary of FOX NEWS coverage after the show:

[some douchebag in a bowtie] “It’s just an absolute shame what has happened to American principles! What happened to respect! What happened to being polite! Here’s a tweet from @billoreilly on the subject

Is it me, or did the entire institution of American mass media somehow forget they were watching the VMA’s?

This is an “award” show that has featured (and PLANNED no less) a laundry list of events that have hit levels of “rudeness” way higher then Kanye Wests outburst of emotion:

Howard Stern as Fartman.

The “Kiss”

A cocaine/alcohol influence Courtney Love interrupting Madonna’s interview (okay, this wasn’t planned either)

Reacting strongly to this event ignores the notion that in reality, Kanye West probably shouldn’t have been invited to the VMAs if this was how the public was going to respond in the event of another “What did Kanye West do NOW?” moment–As if his calling out of George Bush on TV counts as an outrage based on Bush’s handling of the Hurricane Katrina Disaster.

Even after considering Kanye’s history with outrageously rude public actions, the guy was openly chugging cognac before the show:

While I can relate to acting outrageous/rude/and ill-advised when under the influence of too much alcohol, I am not condoning his behavior–Obviously, Kayne didn’t make a wise or carefully planned decision by stealing the microphone during Taylor Swift’s speech, but, really? This event necesitated a previously unscheduled apology on the prime-time debut of Jay Leno’s new show? Was this rant worthy of a prime-time morality check complete with an ill-advised reference to his mother?

Correct me if im wrong here. But I’m sorry, that was quite possibly the most polite interruption I have ever seen in my entire life.

Your (our) personal stance(s) on the matter is irrelevant now, in fact, it never really was in the first place.  Kanye West was thrown into the fire for his actions—and the media didn’t even flinch a muscle: using biased, disrespectful, and sensational  tweets in order to somehow enhance the idea that what Kanye did was wrong, as if the world/american public didn’t get the memo.

Summary of MTV “NEWS” coverage after the show:

[Carson Daly Clone #56]
“Millions of tweets! A new VMA tweet record!!!!! Let’s see what @pink has to say: OMG KANYE WEST IS SUCH A FUCKING DICK!!!!! OMG I WILL NEVER BUY HIS CDS AGAIN!!!!  HOW RUDDDDEEEEE!!!!

Hold on here. Pink? You were really that pissed off?

Are you the same musician who was also nominated for a VMA thanks to your epically boring single, “So What?,” Don’t you profess in the song:

I wanna get in trouble, I wanna start a fight
So What? I’m just a rock star!

Of all the people that reacted via twitter that night, you would think that Pink might have sympathized with Kanye’s “rock star” move.

But once again, that’s not the issue here.

I mean isn’t this precisely what twitter was designed for?

The problem is the perpetual emphasis that media outlets like MTV, E!, FOX NEWS, etc have placed on celebrities, which has reached new levels of danger with  the development of the BEAT TWEETS, which are in Kanye West’s case slanderous.

Millions of Pink fans had their opinions swayed against Kanyes rude, but human reaction.

Kanye is one of the most respected artists in the music industry and despite his celebrity status, I won’’t support the idea that, “just because he’s Kanye,” he felt comfortable enough to walk onto the VMA main stage during its live broadcast and make semi rude and semi confusing confessions about his inner most feelings.

Here are a few theories that no one (to my knowledge) has explored yet:

Maybe Kanye west was so gone, that he accidentally forgot he was on Live TV.

Maybe he lost his blackberry and instead of projecting his angst onto his twitter account, like everyone else was doing, he mistakenly decided to tweet via microphone.

I think his outburst would have fit into 140 Characters

The most disturbing thing that no one has seemed to mention (or tweet about) at this point, is that there is a strong, realistic possibility that even if Kanye never got on stage, but had made a similar opinion accessible on twitter or his blog, people still would have been upset about it….

and it would have ended up on the MTV post show coverage in some sort of expose on what Kanye West tweeted about and how his opinion was outrageous.

The Bottom Line: This kind of reporting needs to end.

Conclusion: Why Do You Got to be so Heartless?

Dave Chappelle is a fucking prophet.

I don’t know if he will ever grace America with a full length, publicly broadcasted stand-up special ever again, but he really is a genius.  Chappelle’s views/discussion on mass media its emphasis and borderline dangerous obsession on celebrity statuses is now remarkably apparent more than ever.

Remember his joke about 9/11 coverage and MTV going to the phones with Ja Rule on the line as if anyone really cared about what Ja Rule was thinking about the tragedy of the attacks?

Nothing has changed.

Dave Chapelle’s brilliant mind and amazingly short career as a celebrity icon was tragically ended by the unchecked practices of American Mass Media.  With constantly evolving communicative technologies and the recent mainstream emergence of  the once misunderstood web-based social networks,   Beat Tweets, as defined,  must remain the opinions within there peer-to-peer based frameworks.

Here’s my nightmare:

Taking the prophetic advice from Dave Chapelle,  Kanye West, a gifted but flawed musician, willfully ends his career early based on his fall from public grace, which was influenced by mass medias reports on how musicians like Pink felt about his actions.

Now that’s a truly frightening scenario.

–Hypothesis

So without further ado, in a HYPOTHESIS SPITS exclusive interview, enjoy some real talk.

Then, be sure to scope the Mixtape, which is being released at an exclusive party on September 25th in Memphis, TN (where the talented trio has spent months working on the project).

Name 3 artists who inspire you, and why?

Regarding production, TIMBALAND has always been one of the most influential producers for me. He has no limits. He is able to take any sound and produce something that makes you wonder how he created it.

An artist that inspires me is JAY. It’s 2009 and we are still getting that dope material from him. It’s unheard of for an artist to have his kind of legacy/career.  I really like THE DREAM as a songwriter and TRICKY STEWART is killin it.

A Dj that inspires me is A-TRAK. Not only is he a dope turntablist and tour DJ, he is able to rock a party and runs his own roster of artists. DJ Z-TRIP is another one of my favorites.

What do you think about the current state of hip hop?

Hip Hop gets a lot of criticism today. I feel that while there is a lot of unoriginal, shitty material, there are still artists who inspire me. Music is still being produced that makes me want to go to the studio immediately after hearing it.  I love it all…no demographics for me. Love music from all over the world.

Who is your favorite artist right now, and why?

I’m really anticipating the newest movement of artists. You got WALE, KID CUDI, DRAKE, J. COLE, B.O.B.….Can’t wait for new material by OUTKAST and LUDACRIS. I Just want to hear good music. Period.

What certain aspect(s) of music influence you?

Melodies and lyrics definitely influence me as far as music is concerned. I want the music to take me somewhere. I want to hear music that will stay relevant. The production has to make me rewind the track. I want the music I hear, to inspire me to create.

What do you think the “mixtape” has done for the “DJ?”

The mixtape has allowed the DJ to break artists like never before. It’s an avenue for artists to get their music heard. It’s even pushed the DJ to a celebrity status. Although the over saturation of wack DJ’s has increased, the mixtape is a staple of Hip Hop.

How, and more importantly, why, is turntablism an art form?

Turntablism is a form of musical expression. You have syncopation. You have creativity. It allows the DJ to speak with their hands just like any rapper freestyles. It’s pure.

How do DJ’s, like yourself, stay relevant in 2009/2010?

Best advice. Find an artist that is talented and you believe in. Plain and simple. Put everything into this artist and invest. But…find an artist—not just a rapper.  Someone that can make songs. Don’t start DJing because you can make a quick dollar spinning a frat party. Do it because you love the art form. Money will come if you invest.

DJ’s need to be multi-talented and do more than they ever have. They should be able to rock a party for any crowd, tour with an artist, and have a personality. DJ’s should want to put artists on before themselves. Study the history of the DJ and its multiple forms.

Name some projects that you have been involved with in the past year?

My main focus has been on “Proving You Wrong Since 1988”. This project is a collaboration with DJ CRUMBZ and SKEWBY. It pays homage to the classic sounds of the “golden era” of Hip-Hop, but it also blends with the new sounds of Hip Hop. I’ve been working with FREE SOL as well as a number of other artists out of Memphis.

Where do you see yourself in one year?

Performing on the road for a variety of artists. I love taking the music to new places. After “Proving You Wrong Since 1988” drops, I’m onto the next project. More material than ever before. I got the ENFORCER DJ’S doing big things as well as a few placements in the works. Continuing my relationship with Red Bull and other sponsorships. I’m focused man.

Why should we fuck with your upcoming project with SKEWBY and DJ CRUMBZ?  Pitch it:

It’s raw Hip Hop at it’s finest. You will be getting a little bit of everything when you pop in the tape. If you want that DJ Premier ‘Slap You in The Face” snare—it’s there. If you want an 808 to turn heads—it’s there. Samples, drum breaks, scratching. It’s all there…so get ready.

Best album of 2009?

The album that inspired me the most is KID CUDI’S “Man on the Moon”. I think Blueprint 3 is probably my favorite overall album. Dope shit. J.COLE’S “The Warm Up” was definitely my favorite mixtape overall….that or DRAKE’s “So Far Gone”.

Worst album of 2009?

Not going to name any names, haha, but there was some serious garbage coming out in 2009. I wasn’t really feeling much at the beginning of the year. I really liked Rick Ross “Deeper than Rap” though. J.U.S.T.I.C.E League are some of the best producers out there.

Kanye or Taylor Swift?

Definitely wrong what KANYE WEST did. Simple as that.

More on this project to come….

Stay Tuned.

E One Letter, hailing from Fort Washington, Maryland, adds another strong mixtape into the DMV circuit.  NOW OR NEVER (Volume 1) hits you with 17 tracks that at first glance might come off as unoriginal (Money Don’t Stop, My Fly) but don’t be fooled, this mix-tape has a real heart to it.  E One Letter has a sick flow, which is evident right off the bat in NOW OR NEVER:

I move with precision to avoid all collisions
not to mention all the tension make em all wanna listen
got em clinching makin money, make decisions, no provisions
don’t be mad you bullshittin hit a J, then listen. (Couple Million or More)

This shit isn’t arrogance.  As an aspiring artist in Charlottesville, VA, I know what its like hearing everyone around you talking about how much money they’re going to get and why they should be getting paid, etc, etc. Sometimes its necessary as an emcee to give this kind of stern advice.  Especially because complaining, whining, and all other bull-shitting affects other people then the person who really just needs to hit a blunt and relax.

I look around see everybody stressin/they say it’s a recession/it’s only if you let it

Despite calling out those who don’t hustle properly, E One Letter remains positive and uplifting on most, if not all, of NOW OR NEVER.  His words move fluidly from auto-biographical anecdotes from his own personal struggles to the sites and sounds that he’s witnessed that most will vibe with.  The main focus of NOW OR NEVER highlights how a good attitude and undeniable work ethic keep ones (and more specifically, E One Letter’s) head up in the dog-eat-dog music industry.  In the opening track, “Success,” E One Letter, when speaking on his grind thus far, claims:

If I could do it all again, I would probably do it twice, if you aint movin forward, then what you doin with your life?

E One Letter’s NOW OR NEVER never gets stale with its content.  How many artists make songs about spittin game?  Who cares.  The “Spittin game” track never bothers me unless the content is far fetched.  When an emcee boasts about pullin dimes, threesomes, and stealing girlfriends, they better have at LEAST the chain to back it up.  E One Letter’s girl tracks come off as realistic portrayals of the male experience.  On “Stand Out”, E playfully details his type of chick:

I need a type that get cash, real fast
Make it last, when she walk past, whip lash

E One Letter is also a gifted storyteller.   NOW OR NEVER’s best overall track is a gem entitled, “Court TV,” a compelling story that narrates the paradoxes of standing trial when your moral code of the streets clashes with being under oath.  The story follows an acquaintance of E One Letter, who gets snagged by the cops unexpectedly for an investigation and ends up facing a steep charge: 25 years in prison.   Because of his pact not to snitch there is an internal struggle that takes place.  The song begs the question, “What would YOU do?”  E One Letters pacing of the verses effectively creates suspense.  The entire song,  you will be wondering how its all going to end.  The song attacks the main unspoken issue of the “Stop Snitchin” motto:

Easy to scream stop snitchin if it aint happened to you

NOW OR NEVER is a solid mixtape that shows of E One Letter’s skills in all areas.  You should definitely check him out, especially if you rep the growing DMV scene.  Since I rep DMV, I will support accordingly.

You can listen to and download NOW OR NEVER here:

Follow E One Letter on Twitter
E One Letter’s Myspace Page

Who the fuck does Quentin Tarantino think he is?

Did he really make this film?

It’s been one week (insert annoying Bare-Naked Ladies noise here) since I saw INGLORIOUS BASTERDS.  If you haven’t seen this film yet, you clearly don’t understand what you’ve been missing.

Quentin Tarantino has never given two shits about what anyone thinks about his movies.

Thank God.

Because of QT’s selfishness, arrogance, and insanity, our world has access to some of the most ridiculously offbeat, genre defying, humorously violent, dialogue driven, classic-cinema cut and pasted monstrosities of exploitative film making that one could argue posses no real cinematic value at all.

But they would be wrong. Very wrong.

I can’t stand how the opinions of all die hard admirers of QT (I myself being placed into this category) are immediately dismissed due to the  “fanboy” label.  Its as if I would willingly jump on the dick-riding bandwagon of any film Tarantino happened to breathe on.

Look, the dude makes really smart, really funny, and really entertaining films that have never let me, or any of his other “fanboys” down.

Hey, I’m sorry if you mess with M Night Shyamalan and/or George Lucas. Come find me when QT drops something even remotely close in awfulness to the self-respect killing wunderfilms like THE PHANTOM MENACE or THE VILLAGE.

With INGLORIOUS BASTERDS, Tarantino’s sixth and most intriguing film to date, QT takes everything you have ever been taught about World War 2 and throws it all out the open hatch of a B-52 bomber patrolling the European skyline. When your knowledge ends its free fall, shitting its pants, it hits the earth and somehow catches that rare, “jackpot” type of lucky break by falling into a large haystack, which keeps it alive…

but only long enough so it have that brief moment of clarity when miracles are recognized, then the payload of bombs catch up. Boom.

My terribly inarticulate point is that INGLORIOUS BASTERDS is set in a World War 2 universe that is completely (removing the cinematic influences which QT pays homage to) envisioned by the mind of one man, Quentin Tarantino. If you failed to enjoy KILL BILL, DEATH PROOF, or PULP FICTION, well, first of all I don’t like you very much, but to be honest, I think that even the biggest critics of Quentin Tarantino will most likely love the shit out of the majority of this film.  Real talk.

The few critics who have taken aim at IB have essentially called Tarantino out for his intentional abuses of the historical record and the lack of empirical truths that manifest from his films ending.

The only question that I have is, why?

Why should anyone care about the historical validity within the framework that QT has established for this particular film? Isn’t the premise of Nazi-hunting/scalping Jewish soldiers behind enemy lines or Brad Pitt’s ridiculous accent enough to tip viewers off that this film might not be attempting to tread in the same cinematic waters alongside Stephen Spielberg?

But while I’m on the subject,

Did it seem like Michael Bay truly gave a shit about historical facts when he made PEARL HARBOR, a WWII movie titled and based upon one of the most significant tragedies in American history?

I mean, has any WWII film ever released been completely authentic with the historical facts upon which it was based off of?

Fuck No.

Don’t forget, this is Hollywood. QT created the BASTERDS in order to tell tales that QT has envisioned for this era. Despite this subjective approach to film making, in my mind, INGLORIOUS BASTERDS has features that actually make it MORE authentic than most generic WW2 dramas: The characters speak in their native tongues! (be easy all you Clint Eastwood fanboys)

Yes, much of the film is subtitled, but please don’t let that deter you from going to see it. I actually heard someone utter this statement when I was leaving: “I didn’t know I was going to have to read that much.”

If that’s the first thing that comes out of your mouth when this movie is over, then you misread your ticket stub.  SHORTS: ADVENTURES OF THE WISHING ROCK was in theater 2.

Why don’t you discuss the brilliant dialogue that carries long, tense scenes without ever becoming stale or unintentionally awkward?

Why don’t you discuss the ridiculously complicated and multi-layered characters, chiefly the films main villain, Col. Landa (in a performance that’s worthy of an Academy award)?

Why don’t you discuss the connections and tropes that are prevalent in all QT films?

Why don’t you contemplate and analyze the films ending in all of its glory, thinking about what-ifs, could have beens, and should haves that it asserts?

Despite its tongue in cheek title, this film is a glorious entry from Tarantino.

The Final Exam

How does the movie compare to other films from the director?

INGLORIOUS BASTERDS is on par, if not better, than anything that QT has ever created. His enthusiasm and love for the characters that he illustrates is highly evident in the film. Its got all of the trademarks of a QT film but at the same time, I think IB stands alone in some way. While I have yet to put my finger on what I mean exactly,  there is something remarkably original about this movie when comparing it to Tarantino’s previous 5 films.

Is the movie effective?

The answer to this question will vary from person to person. I think everyone will react differently to the content of IB, which is in its own way, amazingly effective. The horrors of the German occupation of Europe during the mid 20th century is a widely known facet of world history. QT never abuses or bombards the viewer with clichéd images of Nazi terror. The film is effective because it will make you grin, laugh, and root/cheer for individual characters making their way through the WW2 landscape that QT evolved. Its fascinating to watch. Effective is an understatement.

Would I watch the film again?

Yes, this is one of those rare films that will seemingly never lose its appeal. There is so much going on in such a short span of time. Watch closely. Every little detail in this film can be analyzed.

Best aspect of the film?

The dialogue is crafted so amazingly well that the characters, as fictitious as they might be, become memorable, individual pieces of a larger universe that QT has clearly spent countless hours crafting. The acting is phenomenal; a tip of my cap goes to the excellent casting choices that allowed lesser known, equally gifted actors shine in a “fake” WW2 universe that feels real somehow in its own way. It’s been said many times before, but Christopher Waltz’s performance is astounding. I’ve never seen a villain quite like Col. Landa.

Worst aspect of the film?

There are a few edits that intentionally remind the viewer that Tarantino is making the film.  Unfortunately, they are quite jarring and feel out of place. Most viewers should recognize QT’s wit in the sharp and hilarious dialogue. INGLORIOUS BASTERDS doesn’t need voice overs, vintage cuts, wipes, and fonts from the 1970’s to cue to the audience that it’s a Tarantino film. The Basterds do just fine with that assignment

Final Grade + Viewing Suggestion?

94/100 “A“The ending of this film left me overwhelmingly satisfied and yet, I never wanted it to end. This is a remarkably bizarre film, but its fucking badass and when it goes off into territory where most filmmakers would fail miserably, it excels at levels that only QT could manage. Fanboys unite! This movie shits on 9 out of 10 WW2 movies that rely on the clichéd emotional responses to images of War in order to make a statement on the human condition. Everyone knows war is an awful thing when the camera is removed. INGLORIOUS BASTERDS achieves its greatest successes by reminding us that War, much like human beings, has a broader spectrum of feelings, thoughts, emotions, and consequences and most notably, a good sense of humor.