By Head-Roc

There’s this repetitive Inaccuracy that DC Urban culture and New York Urban culture are Rivals.

The only lane where that is true is when it came to the drug game. Nowhere else.

When it comes to each city’s Black Culture and entertainment – what’s at the core (Grassroots) for each – let me be clear:

Go-Go and Hip-Hop are twin cousins of magical and intense black expression, A continuance of the black resistance movement, anchored in the cities of Washington DC and in New York City.

New York being the financial capital of the US. 

Washington DC being the political Capital.

Both cities controlled by a classic American mindset that menaced their black populations economically and politically.

Foundational Hip Hop and foundational Go-Go spoke to those abuses. 

At the ONSET we here in DC Hip-Hop recognized that and showed love to our New York and New Jersey and Philadelphia families. Facts.

Like the great Rakim said, it ain’t where you’re from it’s where you’re at. I don’t remember any New York cats acting all crazy on us as DC hip-hop cats. Once they heard us show and prove, that was it. We became family, immediately!

I Remember New York cats loving us and US loving them. Us staying at their people’s houses when we went to NYC to Showcase DC hip-hop through all those goddamn talent showcases we used to do back in the day. LOL!

That’s why there are so many of those folks included in DC hip-hop! You don’t have DC hip-hop without cats from these regions being a part of the foundations of it.

Enough with the Bullshit. 

Grassroots knows the truth and has the answers to the questions.

Not the radio DJs and not these nonprofits. Stop going to them to answer questions about the history of DC Hip Hop. They didn’t do anything to support it. They were in a position to play our music and they did not play it. They could not play it. They were controlled by program directors who were devaluing DC culture.

S***, only in recent years that they started playing Go-Go on the radio in a steady rotation. That should tell you everything.

What these non-profits of Hip-Hop are doing is even worse. Executive Directors living and eating well, cause they ain’t putting no REAL money in the grassroots resources their grant applications refer to as the target of their Benevolence and Advocacy.

But I digress…

DC Hip Hop and Go-Go…

Don’t forget what you already know, have lived through, and who WE are!

Head-Roc is DC Native and DMV proud father, son, brother, and Black Lover. Every now and then he is referred to as the “Mayor of DC Hip-Hop”, but rather prefers…

Pharaoh of the Potomac River Valley MC’s

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All Head-Roc Music and Merchandise available for Con$cious Dollar$ $upport at www.blackrockstarsuperhero.com 

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By Brendan Bell

     When the 2000s began, hip hop was starting to change. Eminem was on his way to becoming the next big thing, Jay-Z almost went to jail for stabbing someone, and hip hop affiliated clothing brands like Phat Farm and Sean John were starting to take over the fashion industry. At this time, hip hop was starting to become more than music. Audiences began to see hip hop and hip hop artists everywhere. DMX and Eminem were starring in movies, Snoop Dogg had his own short-lived MTV show and a reality show, and video games started to use hip hop songs as a part of their soundtracks. Hip Hop was well on its way to becoming a pop culture phenomenon thanks to all of these crossovers and collaborations. Arguably the biggest of these collaborations has to be the beloved video game series Def Jam.

     Def Jam’s origin is interesting because the game was originally something completely different. In the early 2000s, Electronic Arts (EA) had been working on a sequel to their critically panned wrestling game WCW Mayhem. This sequel was then canceled once the WWE purchased WCW in March 2001. Video game producer Josh Holmes helped the team behind the canceled game come up with a new pitch that involved hip hop. This idea eventually snowballed into what we now know as Def Jam.

     The first game in the series, Def Jam Vendetta, stayed very close to its wrestling roots. Characters, or in this case rappers, performed all the basic wrestling moves you would see in wrestling games such as Irish whips, suplexes, and clotheslines. Every fight also takes place inside a wrestling ring. The team behind Vendetta’s gameplay was AKI Corporation, creators of the beloved Nintendo 64 games WWF No Mercy and WCW/NWO Revenge. This made the game popular not just with hip hop fans but wrestling fans as well.

     I don’t think the Vendetta would have been as popular as it was if it weren’t for the rappers starring in the game. Obviously, they made the game popular just by being in the game but their input and advice to the developers helped shape the game. There’s a behind-the-scenes video that shows DMX telling the game’s developers what he would want his character’s finishing move to be. If you’ve played the game, then you’ll know that it is exactly as DMX described in the video. Here’s a quote from DMX about the game: “They used my music throughout the whole fucking game, and I’m the hardest character to get to. It’s pretty much my shit.” 

Ludacris also gave his input to developers: “I had input as far as what I wanted to wear and my moves and what I wanted to call them. So, with that being said, I was very happy about that, ’cause you know having creative input on something being animated is definitely [cool]. I mean it’s like how many people can say that they’ve been turned into a video game character? That’s great all within itself.”

     This reliance on rapper input continued as a sequel to Def Jam Vendetta was released in 2004 titled Def Jam: Fight For NY. This time around the game’s story mode received a huge upgrade. In Vendetta, players would select a character and fight various fighters and rappers until they got to the final boss D-Mob, a criminal kingpin. In Fight For NY, players create their own character and join D-Mob’s crew. Customization was a new addition to the series as players could dress their character in real clothing brands such as Phat Farm, State Property, and Sean John. There’s even clothing and shoes from the Nike Jordan brand. There are also tons of celebrity cameos that are pretty random. Rockstar, comedian, and actor Henry Rollins acts as the player’s trainer as they learn and purchase new moves. Danny Trejo and Ice-T are boss characters similar to DMX in Vendetta and they are almost impossible to defeat. The game’s final boss is Crow played by Snoop Dogg. He and every other rapper who did voice acting for the game did a great job. There’s just something incredibly endearing about hearing Redman aka Doc tell you “Imma take ya tongue out and like my ass wit it!”

     The gameplay in Fight For NY changed slightly as the wrestling ring was removed and there was an emphasis placed on crowd interaction. You could throw Ice-T into someone holding a bottle and they’ll smash him over the head with it. The crowd could also push opponents towards you if they got too close. This game is the embodiment of “If it ain’t broke, don’t fix it.” It took what the first game did well and built upon that foundation. I wish I could say the same about its sequel.

     By 2007, the EA BIG brand which previously published Def Jam, NBA Street, and NFL Street, was dead. Fight For NY’s sequel, Def Jam: Icon ended up being published by EA itself and was developed by EA Chicago rather than EA Canada. Honestly, the less said about the game, the better. It was a terrible follow-up to a beloved game that undid pretty much everything that other games created. No more wrestling moves or unique art style. This game looked like a really bad knock-off which is sad since an actual Def Jam knock-off like Urban Reign is way better. Remember all the rappers that were consulted for the other games? Guess how many were consulted for this one? None. The game lacked the feeling of care and passion that you could feel in Vendetta and Fight For NY. They gave Method Man a check just for suggesting they add a tutorial to Vendetta. He’s in Icon but that’s it. He was just there. It doesn’t feel like he or any other rapper had an influence on this game. Then there’s the really awkward mechanic that lets players manipulate the background music to damage their opponent. No one asked for this feature and everyone who played the game hated it. It is also worth pointing out that this game came out in March 2007 and EA Chicago closed in November of that same year. If you wanted proof that this game was a colossal failure there it is.

     This was the last Def Jam game and there hasn’t been any concrete news of a sequel since. Every year it seems the Def Jam Twitter account tweets about making a new game but nothing ever comes of it. I think I speak for everyone when I say I’d pay top dollar just to play a brand-new game or even a remaster. The games were the perfect way to bring two audiences together and make one into hip hop fans and the other into gamers. We probably won’t get a new one unless EA figures out how to pay for all that music and those likeness rights. With hip hop being compared to WWE more frequently, now is the perfect time for a hip hop wrestling game.

By Steven X

To be an effective leader in the community there is an innate sense of selflessness that is needed to connect with people.  Lady Sii is an entrepreneur that possesses that quality to the T and utilizes her gifts to help other creatives bring their ideas to life.

In addition to being the owner of her own company SiThaVision, Lady Sii is a teacher, DJ, and recording artist.  The Durham, NC native now resides in the DMV and used her innovative talents to start the SiThaVision Rolling Mobile Studio. She earned high accolades with several communities due to the brilliant setup and the mobile studio serves as a one-stop shop for anyone looking to bring an event to life. 

In the past year and a half, Lady Sii has devoted a majority of her time to developing a winning formula for SiThaVision as a brand. Since SiThaVision’s inception, Lady Sii has garnered attention from Fox 5 News for her efforts and was featured in a segment highlighting her endeavors in educating and empowering young creatives.

Lady Sii was gracious enough to share some of her insight with me regarding how she came up with the idea for a mobile studio and who the studio is purposed for:

What was your initial reasoning for wanting to own a mobile studio?

“ In the process of me being an artist, I always had moments where I didn’t want to leave my house and I wanted to be in a comfortable setting.  One day while having a Vision Board party with my friends, I saw a bus and I literally put on my Vision Board to turn a school bus into a mobile studio…. I thought how cool would it be to put a studio on wheels”

The SiThaVisionRolling website shows that there are many services offered outside of recording music, what else is offered to potential customers?

“ It goes with exactly what the name of the company is, I just like to SiThaVision.  Any type of vision that a customer wants (to me) I want to bring it to life. 

We have a total of three TVs so you can have a gaming party. We can do Netflix and chill. I want to get a chef (for the bus) to offer date night for couples.

I have used it for music videos and photoshoots as well… It’s just a comfy space, anything you can think of we can make it happen.”

In modeling your blueprint for SiThaVision, who was someone who inspired your entrepreneurship?

“P. Diddy (is my inspiration), I call myself P. Diddy’s daughter all the time. As a child growing up I always watched his shows…The way he extended his heart to help people that’s what I do… Nothing stops him, he’s always looking for what’s next and that describes me to the T.”

What are your future plans for SiThaVision? Are there any plans for expansion in relation to the mobile studio?

“ SiThaVision is about to be everywhere, I don’t want to get into too many details but expansion is definitely in the works.  A lot of good partnerships are being formed… I’m able to hire more students, I have three students working with me (at this time)… more physical buildings and employees are in the future that’s what I can tell you.”

Do you believe that your time as a teacher has impacted your choice in starting up SiThaVision and making it something that students can take advantage of?

“To be honest, yes not only that, I went from teaching math the past three years to be the music teacher (this year)… I created a Powerpoint and presented it to the CEO of my school and the admin team explaining what SiThaVision was before it even happened… The same thing I do on the bus I do in the classroom. I’m teaching kids how to make beats, how to record, and to do podcasting… Why not give kids the opportunities (if students are interested).”

What advice would you give to your students or other people who are interested in following a path similar to yours?

“ The best advice I can give is to just keep going… there are so many hiccups that tried to prevent the start from happening that no one sees… you will question yourself but you have to sometimes take a second and soak in your own greatness.”

Lady Sii’s SiThaVision Rolling mobile studio is a great example of a creative person putting the needs of their community in front of their own personal agenda.  Her selfless demeanor and wealth of knowledge make her the perfect candidate to hold her position of leadership.

To learn more about SiThaVision and book your own session visit www.sithavisionrolling.com and follow Lady Sii on Instagram @lady_siiii and @sithavisionrolling.

By Palak Jayswal

Canadian rapper Drake has been coining social media trends and cultural movements through his music long before the invention of Tik Tok — despite the recent success of trends like the “One Dance” challenge, the “Flip the Switch” trend, and the “Tootie Slide.” 

In truth, these recent trends are only the most recent pieces of evidence that Drake, and by extension, his music has a timeless quality to it — which is best captured through his second studio album, “Take Care.” 

The 20-track album was released almost 10 years ago in November 2011, yet it remains my all-time favorite rap album. The album is a step further from Drake’s debut in a number of ways — but especially sonically, production-wise, and content wise. It isn’t shy in exploring a number of themes like romance, wealth, the price of fame, family, and friendship in depth. The album even won Drake his first Grammy for Best Rap Album.

But what is it that makes this album so timeless? 

Is it Drake’s vocal range throughout the songs? From the slow tempo of songs like “Shot For Me,” “Take Care,” and “The Real Her” to the raw emotion in songs like “Marvins Room,” “Look What You’ve Done” and “Hate Sleeping Alone.” It could very well be the timeless quality to some of the more popular singles, like “HYFR” and “The Motto” which launched the coining of the ever popular YOLO (“You Only Live Once”) throughout the decade. Is it the heart-wrenching, but carefully constructed lyrics? 

It’s all of that and more. 

What makes “Take Care” timeless reflects back on a large examination of what makes rap, as a genre, timeless as well. It’s the ability to transport its listeners back to how they felt listening to that album, or track, for the very first time. 

I can still remember being 13 and lying on the floor of my room, listening to these tracks on my blue iPod nano over and over and over again. 

Drake’s introspective and melancholy reflections from “Take Care” had barely touched the surface of emotional range for 13 year old me, but even then, I knew there was something about this collection of tracks. It’s the same to this day, whenever I’m shuffling the music in my library, and come across a track from that album I’m compelled to stop and listen and reminisce. 

“Take Care” was monumental in its release for a number of reasons, but for me, what makes this my favorite rap album is Drake’s ability to be frank with the conflicting emotions he dealt with at the time and capturing those emotions in his songs in a way that make them universal for listeners.

It is this album out of his entire discography that I feel Drake is most honest, most unfiltered, and most relatable. This album is a testament to the changing face of rap and hip hop as a genre, and even a decade later it still has the same impact it did the first time I listened to it. 

By Derrin Writes for ADST Media

We all love the classic posse cut made famous by the Juice Crew with ‘The Symphony’. Ever since the Marley Marl classic we began to see a monster trend from Scenario, Da Headbanger, Banned From TV, and 4321. I know there are others that I could mention. It’s the anthem track that sets the tone and allows for the emcee to display their wordplay and creativity. Enter Sticaboo: He and his CAPSTOWN ENT. have quietly been building their sound and audience in the DMV. 

So we had to ask. Who is Sticaboo? Also, can you tell us how the name Da Carrier was created?
Sticaboo is an MC name I had given myself in the early 1990s. My style is spiritual and lyrically insane from another realm of Hip Hop. (Stica) is sharp with words and unseen as the soul (Boo) is but felt while being heard. Da Carrier was given to me from the streets. A homie of mine by the name “Cono” started calling me that after an incident outside of a club one night. However, I decided to make it known for the one who carries the mic and the one who carries peace and love no matter the hell storm I have felt.

Your new single “Feeling It” features production by New Jeruse. How did you link up?
New Jeruse is a good homie of mine whom I have been doing music occasionally with since the ’90s. I was in a rap group named “Nights of the Round Table” from Blair High School and during this era I ran into New Jeruse.

Can you tell us a little more about CAPSTOWN ENT?
CAPSTOWN ENT started out moving forward by connecting with artists that were already in the music circle around me. CAPSTOWN is the motivation of brothers and sisters that wanted to rise above and use their talents to gain success in a much more positive manner. CAPSTOWN represents capitalizing from the inner city of D.C.

How have you navigated through the pandemic? Do you feel it has helped and developed your sound and creativity?
The pandemic has given me time to hone in and focus on my entire music career and what needs to be executed. I have had time to actually master and grow spiritually in my creativity within my music.

What else can you tell our listeners regarding your forthcoming music and where can they find you?
I am currently mastering and creating a new album that will definitely be a ride of life with all original sounds from another realm, the Alpha and Omega of Hip Hop.

My web link is www.capstownllc.com

My IG is @capstown5029

My twitter is Twitter_@Dacarrier

You can subscribe on Youtube @capstown

By Nigel Jamal

Kapital Magazine thrives on connecting fans of Hip Hop with the artists making Hip Hop music. In my travels in Baltimore promoting the magazine I linked up with M.I.C. Ruckazz of S.W.O. This brother makes things happen. His newly released video for the “Hierarchy Cypher” features 5 Baltimore Emcees with bars that you won’t believe. I almost guarantee you’ll watch the video more than once. 

After you check out this interview, take a look at the video for yourself.

What’s your goal with these cypher videos you’re releasing?

Mic Ruckazz: My goal with the cyphers is to help unknown artists with talent to get recognized on a platform that challenges them lyrically amongst other artists in their area.

How do you choose which artists will be involved in the project?

Mic Ruckazz: It’s funny because most of the artists I choose for the cyphers I stumble upon in the streets or on IG and Facebook.

How would you describe the Baltimore Hip Hop Scene?

Bryan Lyrics: The Baltimore scene has a lot of artists with a similar vibe but if you look in the other direction, there are also gangs of ladies and gentlemen that are on a different wave… on a different planet. Those are the superstars. 

Rodd Isreal: I describe it as resilient, because of the things that we’ve been doing and how we put it into our music. I also think that it’s oversaturated with people trying to copy mainstream artists.

What do you think it takes for people around the country to take note of how dope Baltimore emcees are?

Diddle (WoppBoyz): It’s gonna take an artist or group with that one standout record to go world wide for the country to take notice.

Cosa Rona: It’s gonna take us getting together, networking, and pushing each other. We really need to start taking our music out of town to bring it to ‘em.

What do you think makes one artist stand out from other artists?

Jay Gotti: Every artist has their motivation but it’s all in how you do things.

Bryan Lyrics: Personality, style, swag, and uniqueness. Anything that makes you look different makes you stand out from the crowd.

Do you feel as though Baltimore is a part of the DMV?

Rodd Isreal: Yes and no. I feel like we have created our own light within the city and separated ourselves from our neighbors in different counties.

Cosa Rona: We don’t really consider Baltimore as a part of the DMV. To us, we are a whole nother world out here. No shade thrown at those who rep the DMV. Salute to y’all.

How would you describe the response you’re getting from the “Hierarchy Cypher” video?

Jay Gotti: Positive …always. It’s good to be a part of it.

Rodd Isreal: I feel like I’m getting a great response. People love the originality, the energy, the flow, and that feeling they once got from earlier stages in hip hop.

Will there be live performances scheduled to promote this video? If so, when? Where?

Bryan Lyrics: I’m definitely ready to perform this live. With the world opening up and masks starting to come off, I’m hoping we can rock out to this really soon.

Cosa Rona: I hope so. That would be cool. I would love to perform live anywhere anytime.

By Jason Collins

The comedy world is mourning the loss of groundbreaking comedian Paul Mooney. My heart goes out to his loved ones. It’s with great sadness that I write this article. The second time in one year that I sit writing about a legend that’s gone. Born Paul Gladney, he passed away on Wednesday, May 19, from a heart attack at 79. His cousin, Rudy Ealy, commented that Mooney’s health was deteriorating leading up to his death. TMZ caught up with Dave Chappelle and got a few words of tribute to Paul Mooney. Chappelle said, “I want to shout out every comedian on Earth. One of the best that ever did it passed away today. His legacy will live forever. He’s one of the first Black people ever in the Writer’s Guild. Paul Mooney will be sorely missed and wildly remembered.”

Paul Mooney has a rich comedic career that included writing, stand-up, and acting. He started writing for Richard Pryor and worked on classics like The Richard Pryor Show, Sanford and Sons, In Living Color, and Good Times. We have Mooney to thank for Homey D. Clown and Negrodamus. He unapologetically used his comedic voice to tackle the hypocrisies and idiosyncrasies of white people in America. I mean, who can forget the SNL skit he wrote for Richard Pryor and Chevy Chase? The escalating racism makes you laugh but also leaves a nasty pang of grief. Mooney also acted in a few classic films including, The Buddy Holly Story and Spike Lee’s Bamboozled. In 2007, he released his memoir titled Black is the New White and continued touring until 2010.
He later began acting and writing for The Dave Chappelle Show. He delivered some of the most memorable comedic skits in history. While it was a short-lived comedic stint, it will live on for all of us. Let’s honor this legendary comedian by looking at three of his classic moments from The Dave Chappelle Show. The last entry isn’t from the side-splitting show. Yet, it perfectly represents everything that makes Paul Mooney a comedic genius. I had to end with a bonus throwback video from 1977. Paul Mooney has a long history of bringing laughter into our homes.

Negrodamus

Mooney created Negrodamus as a reimagining of what Nostrodamus would be like if he were African American. Negordamus made some fascinating predictions about Hillary Clinton, Arnold Schwarzenegger, and Maria Shriver. Check it out below:

https://www.youtube.com/watch?v=LYnTfZ_mE5k

Ask A Black Dude Skit

Who can forget to Ask a Black Dude? The classic character answered all the ridiculous questions that people had to ask. He even takes a tiny stab at Whitney and Bobby. Watch it below:

And for a little something extra, watch these Ask a Black Dude deleted scenes. Classic.

Paul Mooney on Movies

Paul Mooney’s take on movies is one of my favorite skits. He sits with two white women to critique the latest movies of the day. He starts with Gone with the Wind, eviscerating the white plotline. He shows the hypocrisy of white reporting when they introduce Barbershop and The Last Samurai. Check it out.

Oh, the Queen

This next one isn’t from The Dave Chappelle Show. However, it does offer a beautiful representation of who Mr. Mooney was as a comedian. He wasn’t afraid to voice the inequities that came from the intersection between black and white people, and nowhere is that clearer than in this piece from his stand-up comedy. Watch it now.

BONUS: The First Black President

The First Black President is a classic from his days working with Richard Pryor. He answers all questions addressing everything from the unemployment rate to football. It’s hilarious. Check it out below. 

Our hearts are with Paul Mooney’s family in this time of grief. We are eternally grateful for everything he contributed to the world. He’ll live on as a comedic legend through the ages.

By Head-Roc

Lord have Mercy!

I’ve tried to stay away from talking about and/or giving my 2 cents on the Operation Warp Speed produced Vaccines. As best I can, I will continue to bite my tongue about the outrageous marketing of guilt toward people who are skeptical of injecting themselves with the fascinating medical technology that preemptively protects humans from the COVID-19 virus and its variants. 

Without revealing my decision on whether or not to partake in the CDC emergency authorized “trust the science” injection treatment – designed to have my body create a “fake” virus, so that my immune system can be activated to create antibodies, so when the REAL COVID-19 shows up, it will be defeated – I am going to share what I think about the growing popularity of people asking:

“Have you been vaccinated?”

Now, before I share what I think, I do want to provide the CDC Guidelines link here. 

I’ve read them best I could and based on what the CDC says – not the News, Celebrities, your Momma, your Pastor, and Err’rry Bahdee with an opinion – The question to ask is not whether or not anyone has been vaccinated. 

From what I have read on the CDC’s own webpage, it doesn’t matter that you’re vaccinated when it comes to still being able to become infected, ill, and transmit COVID-19.

And so, perchance, the question to ask, if you’re gonna be so bold as to ask another person about their personal health to make a determination as to whether or not to commune with them, is more…

“Are you feeling well?”

And if it must be asked, then it should be asked as politely as possible: not in a prejudging tone or with condemning inflection. If the occasion where such an intrusive inquiry is required for entry to a home or business, then perhaps a sign, conspicuously posted, reading “If you’re not feeling well, You May Not Enter at This Time.” may be appropriate. Certainly, in this example, if possible, advance notification given to guests and patrons would be called for, yes? Perhaps? 

In the wake and continued grip of the COVID-19 pandemic, the interest and lobbying for wellness check mandates by the private business sector and citizens are somewhat understandable. I mean, who wants to test positive or get sick with COVID from being at an event where someone had COVID? Here in Chocolate City, an owner of a popular club is lobbying the Mayor and Council Members to legislate the requirement of a Vaccine Passport to enter businesses. By my observation, such a mandate will never happen. Why not?

Let’s go over it:

We’re talking about passing laws that will prevent people from free movement to and fro, in commercial, private, and public spaces, due to potential health risks caused by possible exposure to the COVID-19 virus.  Though it may sound like a plausible approach to keeping people safe from spreading the COVID virus at events where people gather, the suggested implementation of this manner of population “control” makes me wonder why it has never been done for other potentially deadly viruses like… yep you guessed it… The Flu.

The Flu is a deadly virus to humans. The Flu kills tens of thousands of Americans a year, and while COVID puts the Flu to shame in terms of the deaths per year, comparing the deaths and/or the death rate between The Flu and COVID is not my point. My point is, traditionally, when people in our society are sick, we don’t do nearly enough personally to: 

1.) recognize that we are actually “sick” or “ill”
2.) isolate to help prevent others from catching the “cold” we have
3.) give our bodies the nutrients, minerals, vitamins, and hydration needed to help our immune systems fight the invading virus (and/or bacteria).
4.) rest our bodies (and minds) for the duration of time needed to defeat and recover from illness.

I know. I know. I’m all crunchy granola Homeopathic with this one! But peep game, before the economic shutdown and 2020 declared public health emergency:

How many People feeling “Under the Weather” still came to Work? School? Dinner Parties? Concerts Church/Mosques/Synagogues et al Houses of Worship? Sporting Events?

Yes. You’ve seen sick people in Public and Private places, and you’ve frowned upon them for bringing whatever they were sick with/from into the presence of others. Furthermore, YOU too have been that Person.

Yes, you HAVE been The Sick Person who should have stayed home but because there was something YOU wanted to do or feel like you had to do, YOU decided it was okay to jeopardize the health of others. Right?

Yes, and You were Selfish to do so.

(Rubber on the Road right Here.)

Okay, so You’re Vaccinated. Congratulations and I Will (not wish) you The Blessed of Health moving forward. Oh, you’re not vaccinated and have zero intentions to allow Warp Speed Approved health technology to be injected into you, not even in the face of intense pressure from family, friends, and business owners? Cool, and I absolutely respect that position and decision.

Either way, if you’re Sick – with anything, please stay home until you’re better. Yes, that goes for everyone.

(That’s how I feel about the growing popularity of people asking, “Have you been Vaccinated?”)

Yours Truly,

Head-Roc

Head-Roc is DC Native and DMV proud father, son, brother, and Black Lover. Every now and then he is referred to as the “Mayor of DC Hip-Hop”, but rather prefers…

Pharaoh of the Potomac River Valley MC’s

Follow Head-Roc Twitter.
Follow Head-Roc on Instagram
Follow Head-Roc Facebook.

All Head-Roc Music and Merchandise available for Con$cious Dollar$ $upport at www.blackrockstarsuperhero.com 

#blackrockstarsuperhero

By Derrin Writes of ADST Music

Over the past few months, I have been searching for what is hip hop but more importantly, what is hip hop and its identity here in Washington, D.C. My first time finding it was in Northwest, D.C. specifically U St. Seeing shows and cyphers at Kafa House to State of The Union. D.C. has a rich history. One of those is from a group called Infinite Loop who has spun into a new form, MERIDIAN. Interestingly enough the definition of MERIDIAN is pathways in which energy flows through the body. I think this is very fitting for when I took a listen to their new project ‘VACCINE Social Experiment’. Also, you can’t go wrong when D.J. Premier is playing your single every week on Shade 45.

We all are saying it. MERIDIAN is here! Who is Meridian and let’s talk about your deep rooted history in the DC Hip Hop Scene.

The 5 members are Dimensions (MC/Producer), Noyeek (MC), BenOfficial (MC/Producer), Lord Betta (MC), and Theory (Producer/Engineer/DJ). We have decades of experience in this art. We’ve played an integral role in building and maintaining the DMV hip hop scene since its inception.

Right now the stand out single which is getting played here with us is ‘Uncaged Animals‘. There is something special about that one. The hook is infectious while the trumpets and laid back guitar lick gives it a groove that anyone will love. Talk about the concept and also the video.

Uncaged Animals is just about raw skills and delivery. No real concept. We wanted to showcase the art of MCing. True skool shit. Bars and Beats!!

Can you let us know what’s next from the camp? I am hearing rumors of a R.Y.E. Bred 2.

True, there is R.Y.E. Bred 2 coming. This is a musical collage chained together creating a series , highlighting the tremendous talent in our area. R.Y.E. Bred stands for : Respect Your Elders Brederen . All the artists are 35 years and older and champion the mantra “Death to Ageism”.Too long in this culture, artists of an older age bracket are marginalized . But this series aims to play a role in  reversing that stigma.

How can the fans connect and find you?

Glad you asked. BADHUMN_ARTHAUS on IG. / Badhumn Arthaus LLc. On FB / BADHUMN.com for all things MERIDIAN and more! You can also hit me direct @thereadimensios on IG for booking, features, etc.

Links:

https://badhumnarthaus.bandcamp.com/album/vaccine-social-experiment

By Jason Collins

Swizz Beatz and Timbaland transformed COVID entertainment when they started VERZUZ in March 2020. Their battle series is one of the most-watched events of the pandemic, and the latest installment did not disappoint. The Redman vs. Method Man 420 Special VERZUZ had it all. Surprise guest appearances, DJ Scratch throwing out our favorite hits, a Wu-Tang Reunion, a weird call with Russell Simmons, and loads of classic Red and Meth banter. The best part was the Derek Chauvin guilty verdict for the senseless murder of George Floyd. Redman and Method Man paused the jokes to commemorate the moment. Red said, “You get what you put out there. He deserved every f***ing bit of it.” 

The duo broke from the VERZUZ tradition of battle to put on a concert. Both put out a disclaimer that they wouldn’t get stuck in the chit-chat. Sure, they spent a little time reminiscing on their epic 30-year friendship, but they blasted through their iconic hits, only skipping a few on the lineup. Red and Meth bounced songs off each other like school kids playing basketball. Redman aptly began the 420 VERZUZ with his epic 1992 hit “How to Roll a Blunt.” Method Man swiftly hit him back with “What the Blood Clot.”

They swept through their other classic hits with unrivaled expertise. The chemistry between these two legends is a constant inspiration. Redman effortlessly performed “Hardcore,” “Can’t-Wait,” and “Tonight’s Da Night.” And Method Man showed off his lyrical prowess in his performances of “Bring the Pain” and his GZA collaboration, “Shadowboxin’.” DJ Scratch begged the Red to perform “one of the greatest chick songs” ever. You guessed it “Soopaman Luva 3”. At one point, Method Man held Red’s cape in the wind helping Red bring his 1992 superhero to life. Sooperman Lover was unleashed on stage given wings by Method Man. The pair also performed some of their collaborative works like “Diz is For My Smokers” and “1212.” 

Red and Meth didn’t spend much time sharing anecdotes from their hip-hop journey together, but every now and then they gave us a real gem. Like the time they were on Tupac’s 1996 “Got My Mind Made Up” track. Redman also made jokes about having an Epsom salt bath after the show because he’s 51 now. Despite that, he started the show with a push-up and was all over the stage during his performance. They only had one short intermission. It was a jam-packed battle of a concert. Reginald Noble, aka Redman, and Clifford Smith, aka Method Man, took a few moments to honor the hip-hop legends who are no longer with us. They paid homage to DMX by performing their 1997 song “4, 3, 2, 1”, which saw the duo collaborating with DMX and LL Cool J. 

They also paid respect to Black Rob who passed away eight days after DMX. They honored A Tribe Called Quest’s Phife Dawg by performing “Nutshell pt. 2.” He passed away in 2016. A music video for the song was released five years after his death and featured an appearance from Busta Rhymes. It wouldn’t be a 4.20 VERZUZ special if Redman and Method Man didn’t take a moment to discuss the National Cannabis Party. They wanted to get the word out there. DJ Kool ramped up the heat when he joined Red and Meth on their hit “Let Me Clear My Throat.” 

The night included many surprise guests and announcements. Def Squad’s Keith Murray popped in to lay down his hit “Get Lifted.” A Wu-Tang reunion later ensued when Red and Meth brought Inspectah Deck and RZA onto the stage to perform their iconic “Wu-Tang Clan Ain’t Nothin’ to F*** With.” After the performance, RZA and DJ Scratch announced a new album they’ve been working on during lockdown. They are hoping to release it soon.  Method Man also made promises about a Blackout! 3. Red and Meth’s 2009 Blackout! 2 was epic, so we can’t wait for the next installment. Redman also teased us with hints about the summer release of “Muddy Waters 2.” “80 Barz” came out on April 15, and the video premiered after the VERZUZ battle. Dupre “DoItAll” Kelly from Lords of the Underground performed “Funky Child.” Kelly also made a big announcement. He’s running to be the councilman for West Ward and is a founder of the nonprofit 211 Community Impact. EPMD swooped in to give a powerful performance of “So Wat Cha Sayin’’ and “Head Banger.” The strangest guest of the night was Russell Simmons. He did a FaceTime call with Red and Meth while lying in bed. Simmons is facing 20 counts of sexual assault and misconduct charges. Fans were perplexed by his appearance. The final song of the night saw producing legend Rockwilder join them on stage to perform “Da Rockwilder” from Blackout!.

There were so many more hits, like Method Man’s performances of his classic collaborations, namely the D’Angelo track “Break Ups 2 Make Ups” and The Notorious B.I.G.’s “The What.” He also threw Mary J. Blige’s classic hit “I’ll Be There For You/You’re All I Need to Get By” into the mix. Red did his best Mary J. Blige rendition only adding to the flavor of the performance. The Redman vs. Method Man 420 VERZUZ special was exactly what you’d expect from these two “How High” stars. They revealed the timeless nature of their rhythmic flow and lyrical acrobats. The two didn’t give us a battle, they gave us a show that celebrated hip-hop, justice, marijuana, and collaboration. Redman and Method Man brought a refreshing energy to the stage. You can check out the official 420 Special VERZUZ on Tidal.