3 Ads from 3 sites that make you go…WTF??! – And yes, you’ve heard of them!

3 in one day? That’s just too much for ANY bloggger not to blog about. No matter how long these sites have been in existence, or how much you may have heard of them, I saw this as a sign from God that I saw this much ridiculosity in one day because I needed to spread the word and share with the unaware.

And speaking of Signs from God,

this leads me to the first of the 3;

So I’m driving right? and I see this bus peel around me with this big-ass ad on it, And what are the first words I see? “Fatwa on Your Head?”


The ad is for a site called RefugeFromIslam.com, which is just as hilarious as it’s taglines, but apparently, it’s an answer to a campaign promoting Islam. The brainchild of  known feather-ruffler, Pamela Geller (Who also wrote an anti-Obama administration book) and Robert Spencer, refugefromislam is a response to a series of bus ads that circulated around Miami from a website promoting Islam called gainpeace.com. The ads listed the names of Popular religious figures and prophets such as Abraham & Moses but also Jesus and Muhammad and asks“Got Questions? Get Answers”

Using a similar backdrop as the gainpeace ad, Geller and co. take the got questions? get answers tag and turn their ad to a direct slap in the face. Of course the Muslims took offense to this and organizations took action to get the ads removed in Miami at least. What religion wouldn’t? But of course refugefromislam knew this, and they clearly aren’t about to stop seeing as to how the ads have made their way to New York. And as we all know, if you can make it here…

How fucking crazy.

The second is one that is just as designed to garner attention, negative or positive. I saw this one from an ad as I was browsing the net. It’s clear the people behind this agency don’t give a damn as long as you’re talking about them.

There was actually a television spot for the website that was slated to air during the superbowl but rejected due to the nature of it’s content. God knows we’ve seen the other oh-so-classy ads that take place during the Superbowl. But never-the-less, what the site, AshleyMadison.com actually does promote is a place to put up personal ads for married folks with the express purpose of cheating. Yes, this is a social networking and dating site that is all about infedelity.

I’m sure by now, half of you have seen this conundrum of a commercial with these blue people and wondered what the fuck was going on? I thought it was some kind of sister-girl ghetto book author offering couples’ advice a la my old pal Ms. Smallsfrom What Chili Wants. But noooo, it’s something way more sinister than I could have ever fathomed. “Act like an adult, Have an Affair for once”

Last, but certainly not least, I had to end my day by seeing a damn infomercial on regular primetime mind you, for underwear that enhances the posterior! And if I’m not mistaken, I’m pretty damn sure that my television was on a ‘Black’ network. I know, I know, not ALL Black women have ass, but I’m thinking, really? somebody really just made a Million dollars off of this product. Thanks, BuyBootypop.com

The ads are sooooo cheesy! I felt like I was in 1987 and a commercial for roll-on deodorant was about to come on right after. Of course you know this stirs up all kinds of questions in my mind…Who’s buying this? And do I know any of them? How would I know? They even have Lace ones! 

Fuckery at it’s finest folks…Enjoy your day.

The Soup takes shots at Diddy’s “Inside The Actor’s Studio” spot

I’m sorry,

But as a passive television viewer, I must say that E! network’s The Soup is the only program that I make a point to watch according to it’s airing schedule.

So how great did I find it that my most avidly-watched show was taking sarcastic jabs at a former avidly-watched show of mine, Inside The Actors’ Studio on it’s website?!

Keep in mind, ITAS was one of my top choices to make T.V. time for back in it’s heyday of quality Journalistic review and revered Hollywood talent. I was amazed that this small network called Bravo, that started out as an independent film champion was able to pull such star power as the likes of Deniro and Tom Hanks. Imagine my chagrin to see guests names widdle down to Anthony LaPaglia and Martin Lawrence – but they are actors right? I guess it was dope in itself that the same place that could put Oscar winners in it’s seats, could also extend the invitation to small screen actors and comedians. I scratched my head at the now-legendary Dave Chapelle and Conan O’Brien episodes, but I understood it’s significance.

But I stopped really watching a while ago. After the show stopped taping at The New School in New York City (shout to TDJ – I see you!), I always felt like something was missing. Perhaps it’s original intimacy. It’s journalistic sincerity and ambition was gone.  And because I stopped watching, I was totally taken off guard when I walked into Mike Gordon‘s apartment yesterday and witnessed a rerun of what was the most recent episode, featuring the voicing cast of Family Guy‘s main characters. I had to really think on that one. It was a case of popularity over integrity, ratings and need to attract a wider demographic. I get it. But none of this could have prepared me for what I saw flash across the screen indicating what would air next.

Yes, Diddy, made his way on to – and I repeat; Inside The Actors studio. Of Course this is fuckery at it’s finest, no need to debate. Who knows how long Diddy has been pining for this. I’m sure you’ll hear plenty comments from naysayers who have done my job for me, so I shant waste any breath ranting on about how ridiculous a notion this is. I’m sure Bravo knew what it was doing and what attention this would garner, even If James Lipton didn’t. Besides, no one captured the sentiment of everyone who feels like I do better than The Soup did on it’s website. They took the words right out of my mouth. I love the biting wit, and the music quote. Anyone who knows me, knows that I’m not the greatest Notorious B.I.G. fan, so I thought their emphasis on this portion of Sean Combs’ interview was bright!

And here it is – click on the link to see what I mean…


Dj Enuff co-signs My First Single!!!

The first of my 2 singles  off of my very first original music project just dropped today. It’s called “College Girls” and is produced by my longtime collaborator, The Politician. It’s dedicated to all the young, educated women out their graduating, this year, and every year!

Dj Enuff was kind enuff to set off the movement via his site, http://bit.ly/9WjGAC

Follow the link and show your boy love. I need a good amount of feedback to see this joint move up. I hope you do more commenting on this link than you do here. Ha!

No, but seriously show me love and look out for the second single.

(4) Classic Sounds…


Since I’ve spent the last 2 weeks doing all of this female rapper coverage, it only makes sense that my next classic album review would be of the feminine persuasion.

Now even tho Lyte is my favorite female rapper of all time, I’m not quite sold on whether I think her debut album is better than her sophmore effort, Eyes On This. As a matter of fact, I don’t know which album of hers is her best.

I imagine the beginning is the best place to start.

I remember always liking Lyte for some reason as a kid. I would get hyped when her part came on for the “Self-Destruction” compilation cut. It’s almost like no one patronized her for being a woman, she was just that confident and made you a believer. Certainly, in my young mind, there was no difference. She was just another fly rapper with an unmistakable voice. I don’t ever recall anybody crying nepotism because of her brothers in the Audio Two. She came thru flawlessly with an ill rep and the best geometric hairstyles this side of 80’s pop music.

I wasn’t so much aware of her singles at the time or the top selections off of her album, because none of them were super radio smashes like Rob Base‘s “It takes 2” and me being a child, I wasn’t able to experience the thrill of hearing dj’s crank “Lyte As A Rock” at the Latin Quarter or The Rooftop. What did seem to trickle down to young me, however, was the impression that she was pretty raw and spoke her mind like her male peers. I got the hint that I wasn’t supposed to be listening to her music just like Kool G Rap and some of Big Daddy Kane‘s records with curse words in them. Heavy D and Doug E. she was not. But hey, she’s a Brooklyn Chic – it’s to be expected.

Now as an adult, going back into the crates to hear the largely touted classic from Ms. Moorer has a mildness to it. I can see how this was a big deal in it’s 1988 glory. Besides, at this point, a female rapper with a major release was unheard of. She broke records by going gold. Her acceptance in the game has always been monumental.

It’s almost as tho she was aware of this going into her album, as she sets the stage with an intro track that isn’t even a song!(“Lyte vs. Vanna White”) Just a damn-near 3 minute track of beat with slight scratches and voiceovers concluded by a halfway humorous and rare comedic moment of role-play by Lyte at the end. From here, we go into the title track which we all have come to know and love; if not by growing up on it, then surely by it’s reintroduction and rise in popularity on the soundtrack to the much over-rated but now Black-girl-classic, Love & Basketball. Her now Iconic, KRS-1 like inflection is cemented here, and the big deal aesthetic is continued as she drops one of the best 80’s rap videos ever, to accompany her song.

The voice is one thing. The flow is another.

The defining thing about this album is the varying of her delivery. And not necessarily in a good way. Much like how Biggie‘s first album showcased his growth of style and a time lapse, leaving an album comprised halfway of his more nasal, projected delivery and his more calm, big poppa cadence, Lyte vacillates between having an on-point, fluid 80’s flow, to a more prose-like, run-on flow that doesn’t exactly catch the beat in the right places. No matter how much you like her, this can get annoying after a while. I could only imagine if this album was 15 tracks as opposed to the perfect 10. For every “Lyte As A Rock”, where she seems to attack the beat with matching energy and pace and slickness, there’s a “Lyte Thee M.C.” that falters a tad.

Fortunately, what made this album a classic was it’s singles and the way in which they came to the public’s attention. The singles are actually the best songs on here. The ones that you probably know or have heard of, all came out in a way that would give you the impression that Lyte is a multi-layered emcee. The truth is that if you cop the album it’s all a boom-bap laced pile of diatribes of her uniqueness and superiority, which is surprising considering the era that she came out in, where socially conscious themes were the trending topic. Her approach was more typical of early to mid 80’s rap realeases, where it was all about bragging and boasting. Although Lyte’s brand of braggadoccio is much more cool calm and collect than the guys’ (which always made her cool), knowing the Lyte we’ve come to know by now with all of her insight and cautionary tales, it’s a little disappointing that none of that is present on her seminal release. But then again, taking into account that this is her coming out record (no pun intended) and the fact that she was in fact the first female rapper with a major release, I’m assuming that proving herself amongst the big boys was more important at the time than talking about the crack epidemic, or domestic violence.

To Lyte’s credit she tries a little. There’s moments where you can see that it’s important to her to wave the female flag high as indicated by titles like “Iam Woman” and “Don’t Cry Big Girls”, but it seems her focus isn’t quite there. On both songs, she starts off strong but then ends up trailing off into her usual spiel, making what seemed to be a possible rally for women everywhere just a guise to bring the spotlight back to the one-woman show. So the feminist ethos is sprinkled in there loosely, but ultimately lost.

The only time Lyte breaks out of self-aggrandizing mode is to take the heat off of sucker mc’s and place it in the face of corny 2-timing men and would-be suitors. This is why the singles off of this project made such an impact; You got what is now the modern formula for most successful rap releases, a party song (“Lyte As A Rock”), a Street hit (“10% Dis”) and 2 songs geared towards the opposite sex (“Paper Thin” & “I Cram 2 Understand U”). The latter 2 contain some of the best flowing and lines of Lyte’s career.  She was classy, but blunt, and the lyrics were easily relatable. These songs did wonders to quell any notion that she wasn’t interested in men, and helped her establish a female audience whereas she might’ve already proved herself to the male crowd already. This is pretty much the reverse of most female rappers’ entrances into the game. Another memorable video for “Paper Thin” took it over the top and made it an instant classic – not to mention one of the best simple beats in hip-hop history. From hearing only these joints, you would hope the rest of the album sounded like this.

“Kickin 4 Brooklyn” is another track that remains one of Lyte’s most popular, tho not an official single. In a narrative style, over a stuttering drum beat, it’s the rare instance where you get a touch of Brooklyn from the female perspective, before it became super-commonplace to shout it all over hip-hop records. Lyte may actually be responsible for adding to making that a norm. She exuded Brooklyn pride like none before her. This added to her street cred, but what really set it up was the incredibly infamous “10% Dis” where she devotes a whole record to then-contender Antoinette. As I mentioned in the previous post about forgotten female rappers, Antoinette’s career got put to bed early by not one but 2 songs directed toward her by Lyte. This one being the most clever and amped up, had to be the most pivotal. She murders her with lines like “30 days a month your mood is rude, we know the cause of your bloody attitude (a reference to Antoinette’s static-charged single “I got an attitude” and an all around female to female classic dis) and “Unlike Rakim, you are a joke”. In fact, how many lines from this song have actually been used and re-used??! This is one of the best battles of all time. In effect, Lyte also changed the game slightly by raising the bar for battles.

And that’s what it really boils down to. This album is classic undeniably for where it stands in both hip-hop history and female rap history, not for it’s sonic presentation, or depth. It is the dream introduction for any female aiming to make her stamp, and the kind of entrance every spitter strives for.

Having that said, my favorite tracks are the Prince Paul produced “Mc Lyte Likes Swinging” ,

which would have a whole different connotation given today’s interpretations and the longtime talk of Lyte being a proud lesbian. And also “I Cram 2 Understand U”, “kickin’ 4 Brooklyn” and “Paper Thin”.

And due to the fact that this fellow Libra made an album that perfectly evens out with flaws and miss-steps as well as Milestones and breakthroughs, I give Lyte As A Rock 4 Candles out of a possible

4812 or 16.

4(Classic Just because where it stands in Hip-Hop, whether it be the time of it’s release, it’s influence, or the popularity of it’s singles overall)

8(Classic because it was solid for it’s time, but may be a little dated or less than amazing by today’s standards)

12(Classic as a complete release and probably celebrated widely on the surface, but possibly lacking one key element – be it one song that doesn’t fit, a wack guest appearance, lyrics, lack of depth or beats)

16(Classic all around)

Bobby challenges Esso to rap faster!

By now, you should know of my GemStars fam and my Group, The Have-Knotz. If not, you will after the summer. Well, the trio consists of me, and my boys Bobby and Komp’L, 2 young Spitters reppin’ Uptown making their own way.

So Last night, we’re doing some of the last bit of writing for our debut project and Esso slides thru to lay a couple of Verses. Now, I’ve known E for a minute but there’s shit I haven’t heard him do yet musically. So as the night winds down and we’re talking industry shit and rap blah blah blah, I ask him if he’s ever rhymed faster than his normal pace in what the people call “Double-time” style. He says yes, but then Bobby swats that down with a disbelieving “I can’t see it“. To this, Esso responds almost immediately as if slapped across the face with a glove and challenged to a duel. He asks my boy Marv xx to throw on the Gucci Mane “Lemonade” instrumental and then stands up to set the record straight. I couldn’t miss this moment, so I break out the iPod and start filming. Then Komp’L steps up and digs through some of his rhymes to end the whole experience with a flurry of bars.

It’s moments like this, when I appreciate being around rappers. otherwise…

Black & White (Episode 1 PT.6) – The Greatest Show That Never Was

The last part of Episode 1.  Keep Bouncin’!

Black & White (Episode 1 PT.5) – The Greatest Show That Never Was

Part 5. And we keep rollin’