Homeboy Sandman, A Day In The Life

This one was fun. S/O to Homeboy Sandman and Jav Martinez with ThaReelness.tumblr.com

BHF '11 - A Day In The Life of Homeboy Sandman from BrooklynBodegaTV on Vimeo.

Shot by Javier Martinez
Edited by Victoria Ng

K-Salaam talks Freddie Gibbs, Big KRIT, Homeboy Sandman

K-Salaam of K-Salaam & Beatnick was featured on #BodegaRadio on PNCRadio.fm this past Friday and discussed the current state of DJs in Hip-Hop. “The real DJs, we keep it alive because we love the culture,” says K-Salaam. “We make our living from producing. I don’t make a living from DJing, really. You have to look a certain way. It’s not even a situation where I’m complaining about it because it is what it is. The culture’s always going to be there but the DJs are out there reppin’. Most of them are garbage.”

In recent years, many emcees, celebrities, reality show stars have leveraged their fame into high profile DJing gigs, replacing veteran deejays. “I spent hours and hours scratching until my arms got tired and there’s a new person and they look a certain way, male or female -- the pretty boy white kid or the good looking exotic girl -- and boom, all of a sudden they’re doing shit,” he says. “But I’m like, ‘OK, if that’s the DJ game, I’m still going to rep turntablism in my sets...’ What’s that say about our culture when the art of DJing has turned into water, like nothing?”

K-Salaam & Beatnick have made a conscious effort to reach out to and collaborate with international artists. They are currently working on an upcoming project with Emiciba of Brazil. “We’re working with a huge reggae artist from Amsterdam named Ziggy,” says K-Salaam. He’s the number one reggae artist in Europe. We’re trying to take it on a world wide level.”

While the production duo is reaching across oceans, they still have projects in the works with a number of US artists. “Obviously we’re not going to discriminate against America. We’re working with a lot of people. We're working with Freddie Gibbs. He just dropped a video, “Rock Bottom,” a track that we produced. You’re going to hear some more Freddie Gibbs, K-Salaam & Beatnick collabos. Big KRIT, we have a record with him coming out, it’s on the low. We’re just waiting for the right time to put it out. It features another major rapper on it, from the South. A legend. I won’t say who it is.”

K-Salaam also touched on the failed collaboration with Homeboy Sandman. “I don’t want to speak on negative things about anybody at all, but I don’t want to be a politician either,” says Salaam.

“It was a negative situation. We’re not working with him anymore. I wish him the best and we’re pretty much over it. It was a tough situation because we put so much time into it as producers. Like 6 to 8 months of hard work and he can spit his raps over somebody else’s beats and we can give our beats to other rappers, but the time spent mixing and mastering and putting scratches and all of a sudden it’s, ‘Oh, I don’t want to work with you no more,’ it’s a tough situation. At this point, we’ve moved on and like I said, me and Beatnick got a lot of stuff coming out.”

K-Salaam will spin at Southpaw on Tuesday, April 25th with Big KRIT, Freddie Gibbs, Smoke DZA and Jah C & The Antidote.

LISTEN TO THE FULL INTERVIEW ON #BODEGARADIO

Follow K-Salaam on Twitter @KSalaamBeatnick

Follow The Company Man on Twitter @TheCompanyMan

Brooklyn Bodega Interview's Homeboy Sandman

This was intended to be a news piece on the release of BHF Alum, Homeboy Sandman’s latest leaked single, “I Knew.” I texted him for a quick comment mainly to help fill space in the audio post. Gracious as he is, he called me right back. The next thing I knew (pun intended), the conversation traveled miles past “quick comment” and touched down in “interview territory.” The definition of a happy accident. Word to Bob Ross.

In this impromptu interview, Brooklynbodega.com spoke with Queens lyricist, Homeboy Sandman about “I Knew’s” origins, his next two already completed projects, The Good Sun 9 months later and the cancellation of his full length collaboration with K-Salaam and Beatnick.



BB: So tell us about “I Knew (Late Night).”

HBS: It’s just called “I Knew.” Somebody in the internet world decided to put “Late Night” on the title. The music is by a team that’s called The 24 Carat Black. The name of the song is called “Food Stamps.” I think it’s from an album called Ghetto Misfortune or something [Editor’s note: “Food Stamp” appears on Ghetto: Misfortune’s Wealth]. You know me, I’m a Roots fan. We talked about that a thousand times. I love def, stupid def live instrumentation that lends itself to def raps. I had heard it a while ago because Von [Pea] spit a verse over it on the [2 Hungry Bros], they’re [My Crew's All Thinner] tape and that’s when I first heard it.

BB: So you just put it out because you felt like [giving something away] or is this the beginning of some new music from you?

HBS: I got my music finished. I got two records. One of them is called Kool Herc the other one is called Jams About Love. And those are finished. The reason they’re not out right now is because right now I’m looking into some good opportunities to have people help me put the next ones out. I still have the option of self releasing these. I haven’t inked anything with anybody but I’m exploring some really excellent options and that’s the reason why I haven’t released anything in a while. But I got two records finished, and shoot man, by the time they come out I’ll probably have three other ones done. Right now, I’m exploring a couple of options. There’s not really too much I can say [about those]. I will tell you that there’s one label in particular that I hope it works out with because it would be slammin’ and mega, but you know that hasn’t happened yet. And even if that doesn’t work, which it should work, even if it doesn’t the releases will still be super slammin‘ and mega.



BB: So the K-Salaam album isn’t happening?

HBS: The K-Salaam joints are not coming out any longer. Shouts to K-Salaam and Beatnick. Those are excellent brothers and are very gifted beat makers. But we came to the conclusion [that] it’s best to [table the project]. It’s me really more than anything else. K-Salaam and Beatnick, I got nothing bad to say about those brothers. I don’t work well with others. It’s not that I don’t work well with others because I do on a certain level. But I’m a very hard headed individual and because of that, it just came to a point where there were some philosophical things we didn’t really see eye to eye on. It became the best move to just respectfully part ways.

BB: That’s one thing that you’ve always kept at the forefront and been real vocal about: [maintaining] how principled you are with your music and your work.

HBS: The music, those joints are slamming.

BB: Yeah. You rocked them right at Brooklyn Bowl [during the Talib Kweli/Bun-B show]. I personally thought the collaboration would’ve been interesting because it’s Homeboy Sandman rocking over more accessible beats for radio and [club] DJs. Like you pointed out on “I Knew,” about people saying this stuff can’t be played on the radio, I thought it would’ve been an interesting combination with K-Salaam and Beatnick because their sound is more radio accessible.

HBS: Yeah, it would’ve worked. It definitely would’ve worked. But you know, K-Salaam and Beatnick, they’re going to go on and they’re going to produce fantastic records that are going to work. Like I told you, [the tracks we made] it’s great exercise. You do joints. You write joints. Writing makes you a better writer.

BB: We’re approaching a year almost after The Good Sun. How are you feeling about the project a year later?

READ THE FULL INTERVIEW @BROOKLYNBODEGA.COM

FOLLOW THE COMPANY MAN ON TWITTER @THECOMPANYMAN

The Company Man Hosts Brooklyn Bodega Radio, NYC UNDERGROUND EDITION

Friday, May 21st

New York City Underground Edition

BrooklynBodega.com staff writers Navani Otero, Run_P (The Free Safety) and host The Company Man discuss the status of New York City Hip Hop and its deficient presence on the national landscape, while rocking tracks from some of the dopest Emcees in the NYC Underground.

Special guests Homeboy Sandman stops in to join the discussion and preview his upcoming album The Good Sun (rising June 1st). DMV collective Gods’illa, fresh off its rollicking Show And Prove debut, also drops by to kick knowledge on the subject.

Microphone check…check…check…check…

BROOKLYN BODEGA RADIO AIRS EVERY FRIDAY FROM 1-4PM ON WWW.PNCRADIO.FM



DOWNLOAD HERE

READ THE-QUOTABLE'S EXCLUSIVE INTERVIEW WITH HOMEBOY SANDMAN HERE

READ HOMEBOY SANDMAN'S GOOD SUN ALBUM REVIEW HERE

Homeboy Sandman, The Good Sun Album Review

"Fresh."

Ironically, one of the earliest and most overused modifiers in the Hip Hop lexicon is rarely exhibited in modern Rap projects. Throughout the underground and the mainstream, originality is scarce.

Stakes is high in a slumping music sales environment. A staggering number of rappers and record labels -- both indie and industry -- are more focused on tapping into strategic markets than tapping into the artist. YouTube hits are valued over ubiquity. Creativity is frequently kicked to the curb in hopes the next status quo offering will somehow snag market share. The result: a plethora of one-song-sensations, heard-it-all-before-LPs, and a stagnant frequency of freshness.

Queens emcee/DXnext alum Homeboy Sandman is acutely aware of the current creative climate, using his third full length project (and official label debut), The Good Sun, to drastically detour from convention.

CONTINUE READING @ HIPHOPDX.COM

READ THE-QUOTABLE'S EXCLUSIVE INTERVIEW WITH HOMEBOY SANDMAN HERE

CAN-I-BUS RECAP - FAREWELL FOREVER FRESH

Its been quite a journey for The Greatest Rapper That Never Made it.

The journey continues for Jah C, the mind behind the increasingly popular Forever Fresh concert series.

Canibus came into the game with Nas-like buzz, blitzkrieg-ing mixtapes and battle cyphers in the mid to late nineties like a German offensive — terrorizing would be lyrical foes metaphor after metaphor. Had his fortunes been different, had he never brazenly blasted LL Cool J on the infamous diss track “Second Round KO” or teamed up with Wyclef to drop one of the most disappointing debut albums in Hip Hop history (Can-I-Bus), perhaps his legacy would be more substantial. Perhaps we would remember him less for his untapped promise, and more for those 7 other — rather obscure — albums he dropped over the course of the last decade.

Frontman for Underground jam band The Antidote, Jah C has financed, organized, and promoted Forever Fresh, a steadily growing, consistently reliable Brooklyn based Hip Hop concert series. Since 2008 he’s hosted legends like KRS-ONE, Nice & Smooth, Talib Kweli, Styles P, to popular under the radar rappers like R.A. The Rugged Man, AG & OC, to rising stars such as Homeboy Sandman, Wordspit, YC The Cynic. Had his fortunes been different, had Forever Fresh been less successful and not opened additional doors to more conflicting responsibilities brand managing events for Red Bull, perhaps he would be able to continue crafting and adding to the Forever Fresh legacy.

This past Monday, Canibus headlined the Forever Fresh Finale, the concert series’ final throw down.

CONTINUE READING @ BROOKLYNBODEGA.COM

Homeboy Sandman - "NOT POP" An Artist Profile

This just in from the good homies over at Highwater Music:

HOMEBOY SANDMAN "NOT POP" from TONE on Vimeo.

"One thing that really bothers me is everybody calling Hip Hop "The Game". Words are very important. I seek to be meticulous with my words. When somebody calls something "The Game" it seems like a joke....Games are played. Little kids play games...it aint real. It aint serious. This Hip Hop is serious business." -- Homeboy Sandman

FACT.

The Mayor always comes through with the content. Ill insight from an iller Emcee. Props to TONE on this profile. Somebody please send me this track ASAP! I need that bass line bumping in my iPod. 'Preciate.

CLICK HERE FOR THE-QUOTABLE'S EXCLUSIVE INTERVIEW WITH HOMEBOY SANDMAN.

DEAD!

"Its 25 to life. / Or at 25 you die." - Top $ Raz

Top tier video here from Top $ Raz. "DEAD!" is the lead single from the Far Rock representing Emcees quality LP, Spilled Milk. (Download HERE). Much respect to director Lee Walker. If I was an artist, I'd hit him immediately...



Real quick, The Company Man's 146 word review of Spilled Milk.

(Cue the Ladies Man octave) And I read:

While still in his early 20s, Top $'s old soul is full frontal on Spilled Milk. Title track "Spilled Milk", "No Tears", and "DEAD" set the overcoming-adversity-at-all-costs tone straight out the gate, while posse cut "Far Rock 95" catches Raz flexing his Golden Age lyrical dexterity over an ill, bounce friendly beat reminiscent of 1995. The scratch-tastic cypher cut "Cold Blooded" is arguably the most radio ready track on the album, and "Perfect Strangers" vivid storytelling of corrupt cops and crooked preachers is enough to make you pray a video is on the way. Although a quality listen throughout, Spilled Milk lacks in originality and Top $'s tendency to convey more with through his emotive delivery than with his actual lyrics feels out of balance. Mic to plug, Spilled Milk rides the Speed Limit -- rarely going above, never falling below. Success in itself for a newer artist.

RATING: QQQ

Look at that. Who would've thought The Company Man could be so succinct? Either way, nice clip here for Top $ Raz. Shouts to Homeboy Sandman, Cyph Diggy, K Gaines, K Kash, J Monopoly, Jessica Estevez (Ms. iHeartDilla herself) -- all making cameos. Only thing missing is Prezzure biting into a cheese slice a la FinaL OutlaW's "Hip Hop 4ever" video. I know, I know...completely different concept, I'm about 87% sure it would've worked.

Carry on...

Homeboy Sandman - Its All Happening

Everything seems to work out for Homeboy Sandman.

A couple weeks off a cleverly arranged West Coast tour, the six-foot-five-inch Queens lyricist swags across the Fifth Avenue veranda of the New York Public Library’s Stephen A. Schwarzman Building exactly on time for this interview. Its a blazing ninety-one degrees outside. Midtown banker’s and lawyer’s and other corporate citizen’s decked in business suit pants and rolled up button-downs or those fancy T-shirts women get away with wearing to the workplace; sit sporadically around the two of us, escaping the office for a too brief bite to eat.

Trademarked Fu-Manchu reaching from his chin, unshaven head revealing a young man’s George Jefferson-style bald spot, walking like a ball player. Visually, Homeboy Sandman is the picture of earnest confidence. He smiles when he talks to people. He speaks with a calm yet shifting cadence, complete with detailed sidebars and supportive tangents, always managing to bring the conversation full circle.

After a quick exchange of ‘what ups’, we migrate down 40th Street towards the library’s backyard - Bryant Park - this conversation’s location.

Armed with a perpetual positive attitude, hater-proof humility, and an inherent charisma designed for the bright lights; one would expect the artist born Angel Del Villar (Jr) to be successful in any field of human endeavor. His boarding school education at New Hampshire’s Holderness School (part of New York City’s Prep For Prep 9 program) taught him the value and breadth of perspective. His Ivy League experience at the University of Pennsylvania reinforced the fact that, in life, “things are the way you see them.” His father, prize fighter-turned-lawyer, Angel Del Villar Sr., instilled the virtues of relentless determination. With that type of pedigree, supplanting a legal career for a life rocking the mic wasn’t a risk for Homeboy Sandman. It was a necessity.

“I withdrew from law school to be an Emcee. And I can’t even fathom...I say to people do you think it would’ve been more crazy to stay in law school and become a lawyer when I wanna become an Emcee? I mean, I WANNA BE AN EMCEE! How can I stay in law school? But people are very nervous and stuff.”

Such a loaded decision came rather matter-of-factly for Boy Sand. His combination of seemingly limitless confidence, self actualization, and an envious work ethic has yielded an impressive amount of success in a rather short time frame. In the two and a half years since The Pterodactyl first took flight he’s already graced The Source’s Unsigned Hype section, the Chairman’s Choice column in XXL, Loud.com’s $100,000 Rapper Challenge finalist, and received critical praise for his two full length LPs (Nourishment Second Helpings and Actual Factual Pterodactyl). “I love [my career trajectory], man. Everything’s going according to plan. Everything that I’ve expected to happen is happening. All I’ve expected from the beginning is to make Hip Hop music that I would love to listen to. I know that people who love Hip Hop are going to love this.”

Stylistically, Homeboy waits for the beat to dictate the delivery. Where a rugged, tongue twister flow, on the rumbling “Comrade Punski” for example, screams of Big Pun, a melodic, beat embedded delivery such as the one mastered on the jollily genius “I-tunes Song” or “Kain News” embodies Eminem. Even his slow flow has Internet commentators kicking JadaKiss comparisons. The irony is that none of those legends truly rhyme like each other. So when Sandy states that he’s “a poet with no flow in particular. / Lines of parables parallel, / perpendicular,” that's exactly what he means.

But whats most refreshing is the conscious blend of style and substance. Neither is sacrificed for the other. Every panache laced lyric is loaded with contextual relevance. Hilarious tales of impromptu Mambo dance offs; or “Extreme Measures’” detailed depiction of a radio station hijacking; or “City Darker’s” vivid image of the New York City under belly; or scathing, braggadocio cypher rhymes like “Us and Them” or “Lightning Bolt. Lightning Rod” all connect directly with the listener. All flow like a cascading fountain full of words. This marriage between rhymes and style is intentional. Homeboy describes it as “lyrics so dope you don’t need the flow; flows so dope you don’t need the lyrics.” And as he sees it, as long as his records remain fresh, then nothing else matters.

“The only way you can lose what I’m building up is by putting out wack records. I don’t have to worry about anything else. I don’t have to worry about how I dress. I love wearing comfortable clothes everywhere. I don’t have to worry about what I say...The first song of mine that Peter Rosenberg ever spun was “Airwave Air Raid.” And he spun that on HOT97. The first line of that song is “First you got your HOT97 arsenic.” I don’t even have to change that! The first time I did the S.O.Bs. “Whose Next” I did that song. I don’t have to change anything. I could go straight up to people and say ‘Yo, I’d love to do your showcase but I’ma diss your thing’ cause my music is what I fall back on. People want to be strategic. I’m not for all that. [Fear of] ruffling feathers is for the birds.”

Now stepping into the next career phase; shifting from necessarily seeking out opportunities to show case his talents to his talents bringing opportunities directly to his inbox; Homeboy Sandman has reached the point where his raps clock revenue. Word of mouth and a live live show has generated constant growth in online and in-venue CD sales. The name Homeboy Sandman is now large enough to ensure audience turnout, allowing him to include a performance price. And his rhymes calculate enough buzz and Internet hits that he now charges for verses. “Its not untrue that featuring me on a song is gonna get people excellent exposure because people that love real Hip Hop are gonna wanna listen to it to see what I did on it. That's a valuable thing. And I’ve always said that I won’t charge for verses, I’ll charge for time.” But the biggest contributor to his finances is the influx of private investors.

“This is where a lot of my income has come from, this is why I was able to go to SXSW, this is why I was able to get my trademarking done. And this works for stuff that costs money. This is why I was able to get a computer. When you believe in yourself and you’ve proven yourself to be an uncompromising person, that inspires people so much that people want to fund some of the stuff you’re doing, man. I’ve not had to worry about so much of the money that's involved in this because I have people that literally contact me from hearing me on Squeez [Radio]...being impressed enough to do more research, being impressed enough by the research they did to say, ‘this guy is different from everybody else, anybody else. If I can help this kid, I’m going to, man.’ I have a couple of people that help me on a regular basis.”

Two and a half years in, write ups in the two major Hip Hop magazines, two critically praised LPs, four rap related sources of income, one uncompromising positive outlook; it is all going according to Sandman’s plan. “He doesn’t feel avarice.” He’s certainly not average. Everything seems to work out for The Mayor. Even potentially devastating situations are intersected by the forces of favor and opportunity.

Unbeknownst to most in attendance at this year’s Brooklyn Hip Hop Festival, Homeboy Sandman was abnormally unprepared for his solo set. “I had to do these Shawn J. Period records...I got the beats a week before and...didn’t get to finish the verses up until 1AM the night before the Brooklyn Hip Hop Festival. I’m never nervous before a show, but before this show I was nervous because I was like ‘dag, I don’t know if I know this stuff.’” After spending the hour and a half between Second Stage hosting duties and Main Stage show time attempting to learn the lyrics to his songs, he persuaded himself to attempt an extremely risky strategy. “Maybe I’ll just read out the book, yo...I said to myself ‘would Black Thought do this?’ And I was able to visualize him doing it. I was able to visualize him doing it! When I told myself yes he would do it, I answered the question for myself, I was 100% gonna do it.”

As celestial intervention would have it, on his way back to the festival grounds while practicing how he planned to open the rhyme book without dropping the mic, Sandy improbably crossed paths with his mic idol, Black Thought himself talking to DJ J. Period. “When I saw him, I couldn’t believe it! I didn’t expect to see him. Fifteen-seconds ago I made a decision based on thinking, ‘what would Black Thought do?’ Here’s Black Thought standing right here on this corner!” He quickly interrupted the conversation and posed the question to The Roots’ legendary Emcee.

“He’s like ‘aight, whats the situation?’ and I broke it down to him. He said, ‘I don’t think I’d do it. And I don’t think I’d do it given the type of show it is and given the grand stage of it. I wouldn’t do it. Don’t let me tell you what to do.’ I said, ‘Yo, you ain’t telling me what to do. I just asked for you to be here and there you were. I’m not going to spit in the face of destiny.’ The only thing in the whole world that could’ve stopped me from doing that was Black Thought telling me not to do it.”

Then theres the time he was nearly evicted from his Queens apartment. “The first time I was supposed to be evicted...I owed over $4000 and I was about to give up in court.” Taking advice from the court clerk, he decided to fight a little bit more. “I got until the next month [to pay the back rent]. I got home that day, saw the email for the Tag Records competition in Harlem that I did and won a $5000 prize. That same day! I kind of knew...that I was going to win $5000 that day.” Not only did he pay off his debt, but once he returned from his west coast tour, a friend offered a great rent on a house in The Bronx. “I’m getting a crazy deal on two floors. I’m living larger than I was before! Granted I need to take the train to the bus and its a little ways, but that don’t bother me. I’m writing rhymes the whole time anyway. Everything always falls into place, man.”

Success seems to be in the cards for Homeboy Sandman. From his upbringing to his education to his innate confidence to his sonic originality to rocking as a cornerstone of one of the hottest online rap teams (the AOK Collective); luck intervening before disaster strikes is a product of preparation uniting with opportunity. His laser aimed focus on growth supersedes the burden of besting himself. “Doing new things is whats very important. I’m not trying to best what I did yesterday. I’m trying to grow.” He’s even rocking mics and interviews without hiding his bald spot these days, a visual testament to his maturation. Whether its his unique rhyme technique, or his crowd drawing live show, or his critically praised albums, The Mayor has “Mixed and Mastered and mastered all the disciplines”; bringing rhymes to life while making it seem routine. In the world of The Good Sun, there truly is no spoon.

As we bid our ‘Peace Outs’, simultaneously exiting this interview and Bryant Park, Homeboy noticed that his wallet (containing his cash, ID, and Metrocard) was missing from his mesh camouflaged shorts. The two of us urgently searched the park grounds, retracing our steps for seven minutes or so, all to no avail.

Scratch that. Most things work out for Homeboy Sandman.

Read The-Quotable's review of ACTUAL FACTUAL PTERODACTYL HERE

Brooklyn Bodega's Show and Prove - Making History

Brooklyn Bodega President, Wes Jackson highlighted a startling fact midway through the third leg of the Show and Prove series: the Brooklyn Hip Hop Festival is the only annual Hip Hop Festival in New York City.

Click here for April Show and Prove Recap

Now, we're talking about festivals of size, all-day-Hip-Hop-events. Festivals with local and national artists. International acts. Cats like Ghostface Killah, KRS-ONE, Big Daddy Kane, Fat Joe, Lupe Fiasco, etcetera, etcetera. Festivals like the legendary HOT97 Summer Jam. Or the ubiquitous Rock The Bells festival series.

I'll say it again...just to make sure it sinks in. The Brooklyn Hip Hop Festival is the only annual Hip Hop Festival in New York City.

FACT.

Lets put it into perspective: HOT97's Summer Jam is held annually at Giants Stadium in East Rutherford, NEW JERSEY. Rock The Bells festival series is held each Summer in Jones Beach, LONG ISLAND. And that’s dope. Both organizations host premiere events. Live Hip Hop is a blessing anywhere you can get it.

But this is New York City. Hip Hop's birth place. The Mecca. Logic would dictate that this City, complete with a history as rich this one, would have Hip Hop festivals littered in parks and venues throughout the 5boroughs. Ironically, and unfortunately, that just isn't the case.

Despite the fact that BHF is the lone Hip Hop festival within The City limits, fiscally speaking, three major festivals within the tri-state area is serious competition for any ambitious promoter - especially in this economy. People are stretching duckets as far as possible. How many fifty-bucks-plus tickets can the average head afford?

And thats what makes Brooklyn Bodega and its endeavor to further The Culture so significant. The Bodega Fam has managed to assemble the top shelf Brooklyn Hip Hop Festival for 5 years - gaining in notoriety while maintaining an emphasis on affordability. A ticket to this year's BHF - featuring Pharoahe Monch, Dead Prez, DJ Premiere, Styles P, J.Period and a "group of Emcees that are gonna fuckin blow your mind", Marco Polo, Brown Bag AllStars, and who knows who else - is only 10 bucks. And the Bodega just started charging anything at all a couple years ago. Back in the day, you could register online, wait for the confirmation email, and pick up your ticket - FOR FREE - at Halcyon, or Fat Beats. The BHF has been a labor of love since its inception. Brooklyn Bodega is the only organization in The City doing it this big, in this manner. That you must respect.

That you must support.

What's most appreciated is that Bodega shows are no longer limited to the annual BHF. The Show and Prove series is now one of this region’s most consistent underground events - providing a venue for the next wave of hungry Emcees to show skills. What started as a three-part competition series awarding the right to rock the main stage at this year's festival, looks to evolve into a regular event even after the festivities. April was quality. The collection of artists did not disappoint and The Mayor, Homeboy Sandman, shut it down as featured artist. Only great things have been said about March (which TQ missed). And May may be the tightest competition yet. Sleepwalkas, Brokn.Englsh, Those Chosen, and 8thW1 are all noticeably talented. All four came A-game equipped. Each act deserves a presence at this year's BHF.

FACT.

"These dudes up here, these are our Stevie Wonders. These are our Marvin Gayes. These are our Teddy Pendegrasses. All that shit that yall grew up with that yall parents listen to - we are creating it right now. This is history making right now." - Wes Jackson at the May 21st Show and Prove

Sleepwalkas


The "Best Guerilla Marketing Campaign To Get On Brooklyn Bodega's Show And Prove" award goes to the Thoroughest Borough duo, Sleepwalkas. Along with their bourgeoning reputation, Brooklyn Emcees K.Gaines, Cyph Diggy, and DJ Polarity hustled into the showcase by distributing lime-green fliers at the March and April shows, urging people to email BrooklynBodega.com, demanding their inclusion in the May Show And Prove. Some ‘old school street-team’ shit. "Grind" is synonymous with their name. Sleepwalkas have rocked everywhere from the Iguana Lounge, to EODUB, to the Knitting Factory. And from the moment they touched this night's stage, it was clear they were here with a purpose.



Sleepwalkas opened with the head-nod inducing, "Take That" - kicking ill cypher-rhymes over a thumping, horn-heavy soundscape - commanding the crowd to DJ Polarity’s beat. "Number 1 contender. / avatar-word bender." These cats were lyrically ready, locked and loaded with energy. By the time K.Gaines' exclaimed "Put your hands up for the hood sensation" on the closing verse to the nostalgic "Holiday”, drinks hit in the air like money shots. And chances are most of those in the house had not previously heard the song. Add that to the fact that they opened the showcase! Every audience is sleepy (pun intended) in the beginning. Not a problem for K.Gaines and Cyph Diggy. Dope beats plus dope rhymes equals immediate attention. Sleepwalkas captured the crowd from jumpstreet.

I gotta say this though: Sleepwalkas truest example of showmanship came when the duo guided the audience through a brief tour of BHF history, MCing over beats from performances past (Fat Joe, KRS-One, etcetera) while providing a glimpse into this year's festival (Pharoahe Monch).



"If you wasn't there something's wrong with you!! " – K.Gaines

Whether or not this is comparable to kissing up to the teacher is irrelevant for two reasons: (a) nostalgia plays well with live audiences, especially when rocking crowds unfamiliar with your music; and (b) in a broader context, their tribute highlighted the growing legacy of the BHF itself. A 5th-annual-anything is a significant milestone and a testament to vitality. The down side, like any other interlude, crowd energy was lost due to the break in the action (Sleepwalkas picked it back up on their final track, “Nuff Said”). That aside, their tribute was necessary and appreciated for many reasons, regardless of the motivation. Dope shit.

Brokn.Englsh



Brick City’s Brokn.Englsh continues to make a name for itself within the 5boroughs, having rocked the Knitting Factory and Sputnik Bar this side of the Hudson. The-Quotable.com first met (1/3 of the trio) Myk Dyaleks during the April Show and Prove but had yet to experience a live performance. Judging from their entertaining BE Diaries webisode series – Dyaleks, Cion Buris, and Lyriq2Go ooze chemistry – they genuinely enjoy kicking it with each other. As if they’re actually having fun together. Hopefully that translates into their live set.



Brokn.Englsh jumped in with the soulful, bass-heavy “Right About Now” (Cion Buris suitably crooning the hook), raucous energy and natural chemistry on full display. The tone carried through the sublime “I Remember My First Time / First love was kinda my first rhyme” before peaking on the anthemic “Make Some Noise” (the audience erupted immediately as BE broke it down into a back-in-the-day House Party dance. Not the classic Kid and Play dance from House Party. But the Kid and Groove dance where Groove passes out drunk right after the spin move. Again, nostalgia plays well to live audiences).

All set long, BE seemed to innately play off one another, complimenting each other on stage. Clearly these three enjoy rocking together, making their performance more engaging to watch. Unfortunately, there is such a thing as too engaging, and BE reached that point near the end of “Make Some Noise.” Following the dope old school dance break down, Lyriq2Go jumped down audience level to kick his last verse. Now in a stadium style venue this would translate more effectively. But in Public Assembly, where the audience is all on the same level, those in the back can’t see the action and therefore can’t feed off the energy. In fact, I looked away as Lyriq first left the stage and surprisingly couldn’t find him when I looked back. At one point I thought he was on stage lying down!



With that aside, the crowd felt the performance. BE commanded a high energy show complete with memorable songs and memorable moments. And their overall style is a great fit for the BHF. Stiff comp. Stiff comp.

Those Chosen



Those Chosen certainly made the longest commute to Public Assembly. Hailing from Los Angeles, California, Japetto, Kornbread, and Foreshadow trekked cross-country to compete in this night's Show and Prove. Watch out for these cats. Those Chosen has a sizeable following out West and continues to work with major industry players. Not only have they rocked stages along with Slick Rick and Little Brother, but their upcoming mixtape - Steamulis (The Watts Riot Effect) - is hosted by Mick Boogie (available June 15th).

"Don't speak on how I live / and our grind ain't the same." - Those Chosen



Those Chosen probably had the night's most balanced performance. No interludes. No choreographed dance moves. A solid show nonetheless. Set openers, "Own Lane" and "All In All" felt like classic boom-bap-type-tracks, and "The Feelin'" fulfilled the night's nostalgia quota. Dope. All three. TC wrapped with the thumping "Soundclash," rounding out a well assembled performance.



To be honest, The Company Man was a bit surprised at the crowd response, or lack thereof, during TC's set. I mean, their energy was consistent. They went hard all the way through. Songs were dope. The beats were dope. Rhymes were dope. Something just didn't resonate. Don't get me wrong, no one in the audience threw tomatoes - Sandman didn't sweep them off stage Apollo-style or anything. The crowd was certainly receptive. Heads nodded throughout.

No doubt.

It’s just that given the overall quality of their performance, a greater crowd reaction would've been expected. Maybe it was because their performance didn't yield more opportunity for participation. Maybe regional bias. Maybe their set was too balanced in comparison to the two previous acts. Who knows the reason? Nevertheless, Those Chosen did their thing. Anyone not checking for them in the future is starving themselves.

FACT.

8thW1



Arguably the least known member of the AOK Collective, New Jersey native 8thW1 left a significant mark on Show and Prove. Hitting the stage with an aggressive, unapologetic, b-boy demeanor – 8thW1 was the only non-group competing tonight. Decked in D&G reading glasses, white T-Shirt flashing the logo for his most recent LP (LoveMoneyandMusic) across the chest, and khaki cargo shorts – 8th roamed the stage like an Emcee is supposed to. Each syllable spilled confidence. Every lyric spit with a purpose.

“My name’s 8thW1 and I’m tired of wack shit!” – 8thW1

From mic to plug, 8thW1 maintained ardent energy and animation throughout the set. Opening track “Some say its vision / some say its sight” (not sure of the actual title) provided a head-knocking lyrical introduction, and his ensuing sick acappella-16 garnered instant crowd reaction - "35 and older say we need 'Pac. / I listen to me. I think not!"

“My name’s 8thW1, and don't put no fuckin sugar in my food!” – 8thW1



Eighth displayed his ability to command the crowd at the beginning of the impressive “The Pressure” – where he (presumably) botched the lead-in to the first verse and started off beat. Before it became obvious to the audience, 8th stopped the DJ, turned to crowd as if we did something wrong, and initiated a commanding call and response – “When I say Pressure, you say ‘WHAT’!” The crowd complied immediately, and then it was back to the track as if that was part of the song. Tragedy averted. The audience remained unaware. Exactly how its supposed to be done. Bravo.

“I don’t gotta dumb it down, this is how I talk! / Passionate! / with a lisp. / I use / literal figuratives / to make a point like a finger tip!” – 8thW1

Along with displaying professional crowd command, 8th delivered diverse song selections, both lyrically and sonically. "Sugar", with its anthemic production and infectious hook ("They claim we sellin' crack / but you be doin that!"), touches on the addictive level of sugar found in just about everything we consume ("Sugar sugar sugar won't you give me give me more / of your sweet elixir until my liver gets sore"). Ironically, the HARDEST track of the night. And "Drunken Saturday" is a happy ode to his favorite buzz-inducers, complete with a hook Professor X couldn't remove for your dome if he tried. Ill. Simply ill.



"I'm the favorite. / Fuck pretendin!" 8thW1

8thW1 shut it down. And he knew it. You could tell by the way he vacated the stage. No salutations. No shout outs. No 'hit me at whateverwhatever.com'. He simply placed the mic back on the stand and exited stage left - only leaving behind audience adoration. 

And deservedly so. 8th's lyrical one-man-show was packed with energy and diversity. His track choices were on point. His delivery and word-play translated clearly throughout this live performance.  He was the only solo artist and the only one without a nostalgic track - distinguishing himself from the comp. Honestly? The total package. This was the type of show that forces you to immediately buy the performers product. And thats exactly what The Company Man did (LoveMoneyandMusic review coming soon).

The Wrap Up

Brooklyn Bodega has done it again. Another good night. Another quality array of talent. Again, asking for anything more is straight Bernie Madoff (greedy).

Seriously though, choosing a winner out of tonight's performers is not an easy decision. There's so much to consider. All four maintained high energy throughout. All four came lyrically prepared. Sleepwalkas hit hard with 'Take That' and 'Holiday' and somehow fit in an absolutely necessary BHF tribute. Brokn.Englsh arguably had the most energy of all, earning the loudest crowd response with the House Party break down. Those Chosen's overall balanced set was more than Worthy (like James). And 8thW1's stellar song selection, lyrical creativity, and brash showmanship shut it down. Tough choices.

Queue the Jeopardy theme music.

From our perspective, its a push between Brokn.Englsh and 8thW1. BE's live performance, crowd appeal, and flare for the nostalgia would play well at the BHF. 8th's overall creativity plays well with people in general. Both deserve the opportunity to be pitted against previous Show and Prove winners, Children of the Night and Brown Bag Allstars.

But since this is a competition, there must be a winner. And the winner is...

Brokn.Englsh. 

Based primarily on live audience appeal and ability to jump start the crowd for the rest of the day's festivities, Brokn.Englsh's high octane performance, dope track listing, and flare for the nostalgic is a perfect fit for the Brooklyn Hip Hop Festival.

As for the overall winner of the Show and Prove series - and I say this without witnessing Children of the Night's March performance - has got to be Brown Bag Allstars. Like we said before, "The crew's highly energetic live set and crowd command is bred for rocking live shows. Theirs is the type of show that the Brooklyn Hip Hop Festival is now known for." BBAS will make sure the BHF starts off correct.

FACT.

Once again, we leave you as Show and Prove left us...with an ill cypher featuring Homeboy Sandman, Prezzure, Brown Bag Allstars, Mr. Beatz, and several other of tomorrow's best.

***Editors Note:  Congratulations to Brokn.Englsh for winning the May Show and Prove as well as Brown Bag Allstars for taking home the overall Show and Prove Crown.  No doubt these fellas will represent.***

End of the Weak - As Dope As It Gets (FREE DOWNLOAD)

"This is the part where you all show love! / When we say E-O, Yall say DUB!!!"

Lurking in the midst of Manhattan's East Village lies The City's livest Hip Hop open mic night - End of the Weak. Rockin' every Sunday night at The Pyramid (Avenue A between 6th and 7th), End of the Weak, or EODUB, showcases top flight lyrical talent from across the 5ive Boroughs, Jersey, CT, etcetera.

This isn't some novice shit. These cats can spit. The name, End of the Weak, perfectly fits.

Since 2000, EODUB's held it down for endeavoring Emcees, providing a weekly platform to show skills. And with EODUB chapters in Brazil, France, Germany, Spain, The UK, Argentina - their movement has gone global.

Aight Quotable Nation. I can't front. The Company Man is inextricably embarrassed about this one. New York City's longest running Hip Hop open mic has jumped off weekly for the past NINE YEARS and I'm just now hearing about it!! Honestly, I was first introduced to EODUB while preparing for The-Quotable's Niles Interview (All Ready A Success Story). And had I not into my man Mars Jupiter last Tax Day, I probably wouldn't have attended when I did. How could I have missed this for so long?? I feel like punching myself in the face!

Cue the Leon Phelps voice

"Yeah that was the stupidest thing I ever said."

Nevertheless, in honor of this fundamental discovery, we here at The-Quotable have decided to deliver our first Top Whatever List of 2009. See, everybody wins at The-Quotable.com.

THE-QUOTABLE PRESENTS: THE TOP 4 REASONS WHY END OF THE WEAK NEEDS TO BE ON YOUR WEEKLY ROTATION

4. The Venue

Narrow, indistinct, corridor. Dim, red hue highlighting a thirty foot bar hoisting alcoholic favorites, littered with bar stools. Two dollar Rolling Rocks. Five Dollar Heineys. Blackened back room bumping DJ Vinly Richie's ill soundscape. The Pyramid feels alternative. It feels like the East Village. It feels like Hip Hop. All at the same time. Its one of those spots that you picture being smoked out in the late 90s. Or early 2000s. The good ol' days. Back when puffin' in the spot wouldn't get you kicked out. Sorry non-smokers. Live shows are better with haze in the air.

The back room is where the ill spills. Any lights present are turned off, except for those igniting the stage. Ceiling low like a basement party. Acoustics are off the chain. Although there are a few low seating tables along the right side of the cut, by 10pm, its standing room only. And really, thats what I want in an underground event. Someplace that captures the energy of hungry Emcees. The Pyramid aces this requirement.

3. The Format

On the typical Sunday, theres two parts to EODUB - the Open Mic and the Rhyme Off. Artists come early, sign the list, and rock whatevers ready in their arsenal. Thats the Open Mic. During the Rhyme Off, two heats of four Emcees kick their best 16, rhyme javelin' for that night's victory. On every fourth Sunday, the the previous Rhyme Off winners compete in the monthly MC Challenge. Now, this goes on in each EODUB chapter mentioned previously. The winners from around the world toss their lyrical fitted-hat into the ring and compete for the global crown. It doesn't get any doper than this.

MC Challenge

"Hip Hop you havin' a good time, say 'Hell Yeah!' (Hell Yeah!) So right now we're about to jump off with MC Challenge #41. This is the ninth season of the International MC Challenge. The World Championship is currently held by Jack Flash out of the UK. So, what up Jack Flash? And this season we tryin' to win the championship for America. Are you with that shit?! Make some fuckin' noise in here!!" - EODUB Host, Pro-Payne during the MC Challenge intro.

No doubt, EODUB's MC Challenge is the iPhone of rap competitions. Talent wise, think 8 Mile - off-the-domes so dope that they must be written. Except there are no personal disses. You can't just grab the mic and shit on the next man's kicks or rhyme about 'yo'mama'. Which is why hosts Pro-Payne, Vice Verses, and Big Zoo emphasize repeatedly that this is a challenge, not a battle.

You have to appreciate that.

But what makes this Challenge the iPhone of rap competitions is that it includes each element of Emceeing. I'll break it down like this:

Lets say you think that an Emcee should have an ill written verse ready to flex over a dope beat - original or otherwise. Theres an event for that.

Lets say you think that an Emcee should be ready to represent with an ill written acapella. Theres an event for that.

Lets say you think that an Emcee should be able to freestyle off the dome about random objects or words or whatever, while maintaining a dope flow - proving that its an actual freestyle. Theres and event for that.

Lets say you think that an Emcee should be able to seamlessly rhyme over ever changing production - juggling various beats, catching it every time. Theres an event for that.

Lets say you think that an Emcee should be able to rock in a cypher, trading bars with a fellow Emcee. Theres an event for that.

The MC Challenge separates the rappers from the Emcees. You can't be average and compete here. Weak heads won't survive. The wack will be exposed. Theres no place to hide. It doesn't get any doper than this.

The iPhone of rap competitions.

DOWNLOAD MC CHALLENGE #41 HERE

This night's Challenge pits ferocious Queens Emcee, Am Zilla, Lansing's finest Niles Davis aka Alias, Woodside Queen's own Prezzure, street lyricist AP the Great, and Jigsaw the Puzzler head-to-head in a lyrical battle royal.

The Highlights:

"HANDS UP! (OH!) / EVERYBODY!!! (OH!) / LOUDER!!! (OH!) - Contestant Number 1!"

- Jigsaw the Puzzler's Written Round verse from his track "Spazzz Out". Not only was this cut mean, but Puzzler was the only Emcee to spit over original music. He even came with a hook. Smart approach. The verse was effective and distinguished him from the rest. Dopest Quotable (5:33 into the download):




"You don't write rhymes / you write scripts. / The problem is / you're the star actor in the script / smokin' clips. / You talk real reckless / with a pen and pad in your hand. / Knowin' your whole life / you never held a gat in your hand. / Am I the only one / who ceased to be bamboozled? / Most of these killas is fake, / don't let them confuse you."

"HANDS UP! (OH!) / EVERYBODY!!! (OH!) / LOUDER!!! (OH!) - Contestant Number 5!"

- Prezzure's verse in the Acapella Round. The gruff voiced, heavy-set Emcee kicked ill lyrics while smoothly changing cadence throughout the rhyme. He's on his Sunday shit, yall - End of the Weak! Dopest Quotable (14:35 into the download):

"A lot of cats wanna see Prezzure on top. / I got the haters feelin' Prezzure if they like it or NOT! / I'ma claim my spot. / Then the lames gon' flop. / Got ladies lovin' me, screamin' 'please don't stop'. / Cause I give em' / orgasms through they ears. / Similar to the one when I'm hittin' their rear. / 'OOOOOOH YEEEEAH! / Macho / Savage. / I do / DAMAGE! / HIP HOP FOR THE FUCKIN' PLANET!! / And / I'm / straight outta Woodside. / Kill yourself if you can't ride."

"HANDS UP! (OH!) / EVERYBODY!!! (OH!) / LOUDER!!! (OH!) - Contestant Number 4!"

- AP the Great's Acapella Round verse. Straight up, AP the Great can spit. So much so, that The Company Man felt compelled to drop his entire verse direct for Quotable Nation. Dopest Quotable (16:46 into the download):



"Even if the time on your watch stop, haters still gonna be ticked off. / Niggas is so backwards, they got the game Kris Krossed. / I'm a New Edition. / You Lost Boyz need to get up on a new mission. / Bullets don't start friendships. / This shit's The Game, but see, I don't like to play around. / I'd rather 'rock a knocka chick boots ' off in H-Town. / For that loucini watch your Camp get Lo. / Even a Bone Thug can end up walkin' up and down them Crossroads. / I was smart in school, your boy got intelligence. / Police love to see me as an Arrested Development. But, / I'm just another young Nigga Wit an Attitude. / 'Makin you' say Ugghh' cause I rhyme like a Master (P) do. / I ain't a flashy dude. / Look at my chain. / You would start thinkin' that I feed my diamonds fast food. / Shit, even Wu-Tang taught us that Cash Rules / so why you bloggers gettin' mad cause we talk cash and jewels? / If you ain't got it, don't hate, just congratulate. / I'm 'bout Strictly Business like an EPMD tape. / I can't see straight. / Maybe its the haze up in me. / I Get Around like 'Pac, keep razor blades with me. / I ain't a Crip or Blood, but you can Color Me Bad. / Shooters don't give a fuck about the color of your rag, nigga. / My Shock G got a Sure Shot principle. / I love it how Underground was the first to go Digital. Bitch!"

"HANDS UP! (OH!) / EVERYBODY!!! (OH!) / LOUDER!!! (OH!) - Contestant Number 3!"

- Niles' verse in the Acapella Round. Niles continues to impress with his lyrical dexterity. Quotable Nation is already familiar with the Emcee-formerly-known-as Alias, but this the first time we've peeped him in a battle, er, Challenge setting. Once again Niles Davis represents - this time kicking an ill rapid fire flow during the Acapella Round. The beauty is that every syllable is completely distinguishable in a live setting. Extremely difficult to pull off clearly (Jigsaw had difficulty with this style during his acapella). Dopest Quotable (18:20 into the download):

"You followin' trends. / Yall are pretend. / You'll never will win. / You wanna be ballers and drivin Impala's but live with yo' mama. You gotta be kidding me. / The enemies lettin' me win, call it a victory. / You simp with the lyrics. You simp from the ink from my pen on the ceiling. The remedy. / Know it is I. Don't even try. Don't even focus on mine. I know that you're hoping I fry. My flow will put an 'O' in your zone like the hole in the sky."

"HANDS UP! (OH!) / EVERYBODY!!! (OH!) / LOUDER!!! (OH!) - Contestant Number 2!"

- AM Zilla in every single round! PERIOD. Straight up, Am Zilla is a monster! Lyrically aggressive. Lyrically clever. Lyrically complete. Am wrecked shop in every round, torching the mic each time, leaving only a pile of ashes in his wake. The entire night, it was as if he was on that Manny Ramirez (performance enhancers). The difference between his off-the-domes and his writtens is negligible. Everything Zilla kicked was masterfully dope, but his Grab Bag round performance was most impressive (32:37 into the download). Grab Bag objects in (parenthesis):



"Yo, I'm about to jook the bag up, take that stash. / See what I got up inside this Grab Bag. / First off, dog, I'm bustin like ratchets. / I'm lettin off the fire and I ain't use the (MATCHES). / Yeah nigga, that nigga AM-spire. / I'll save this shit for my freestyle camp fire. / Then I come through and go into the bag again / pull out the (BAT) again. / Dog, I call up you dogs and you catsman. / I'm the most powerful nigga in the line up / so I'm the 4th batsman. / Yo this freestyle is off the dome, son. / Yo throw me the pitch...thats a homerun. / Now, we go back to bag. / Nigga tell I'm comin' through. / Am's the shit! / Oh my god, nigga, yall niggas can't stomp me. / Niggas wanna look at my style. I rep New York, B. / And I do it. Yall niggas can't do this hardly. / This looks like a Queens detect (WALKIE TALKIE). / Niggas is listenin. Dog try to battle me. / Fuck get close, yall niggas can't bag me. / How many obects I got left? 2 more? / How the fuck is my flow? I think its too raw. / And yall niggas know / I got the righteous shit. / Oh, this is the (NAPKIN) I give your girl to wipe her lips. / Stand up. Zilla's nice. / I got one more object / Ill for your life. / And the last thing I pull out, oh I'ma catch wreck. / The bud I smoke is even more bright green the (SHREK)!"

ALL FREESTYLE! RIDICULOUS! Zilla is special. And not surprisingly, he won MC Challenge #41.

2. The Hosts

End of the Weak hosts Pro-Payne, Big Zoo, and Vice Verses alone are reason enough to check out EODUB. They manage the mic like Joe Torre, tag teaming like The Legion of Doom, guiding the audience through the event. Atomic energy. Crazy chemistry. Kicking freestyle rhymes between each performance, demanding crowd participation. Because of them, EODUB feels more like a concert than an open mic. No doubt, this trio rocks a party.



1. The Emcees

Top to bottom, mic to plug, most of this night's Emcees sport top tier talent. Whether its song writing ability, lyrical skill, creativity - these cats are Worthy. Like James. Its enough to give you hope for Hip Hop's future. The majority of the list consisted of radio-ready jams wrapped in lyrical ferocity. And if commercial radio wasn't saturated in Payola payments, you would actually hear the majority of this music. The standouts:

- Sick Brick City lyricist, Khalil Kash's ill track, "Pay Day." Kash's conversational-early-two-thousand-Jay-Z-esque flow commands the head knocking boom-bap soundscape.

- Ryze's anthemic "I Get Moolah". This was probably the most radio-ready track of the night. Ryze's raucous performance demands audience participation, and his tounge twister delivery over the synth heavy production is reminiscent of Mystical in his prime (but less nasaly) or something out of late nineties ATL (thats a good thing). "I Get Moolah" forces you to bounce. Why this song isn't knockin' in every club in everywhere America I don't understand.

- "Since I Was A Minor" by Class President's. Honestly, I'm not sure if thats the actual name of this track, but the hook goes "Since I was a minor, I've been doin major. / I be gettin' mine, tryna grind for this paper." This feels like something to smoke and ride to, or drop down into mack mode to. Infectious. Perfect for the Summer.

- Connecticut Emcee, The Rising Sun Quest. Homeboy wrecked shop in the Rhyme Off, advancing to the final round. And although he fell to Am Zilla (like everyone else on this night), he was dope enough to win an invite into an MC Challenge later this year. Dopest Quotable:

"Yo, its pretty obvious I'm not a novice and not a suprise. / Not a lot of people pick up what I'm puttin down / when I rhyme. / Vision fine, but they mentally blind. / I expose what your disguise was designed to hide. / You and I are like the sun and the moon / lighting the sky. / 'Til the lunar eclipse proves that only one shines. / Line after line, I boggle the mind. / All rise when the honorable Rising Sun preside. / With a dirty flow / comparable to a hill slide. / When a volatile incline produce a mud slide. / A dangerous threat unbenounced to the human eye / like a tumor that was diagnosed unbenign."

"This is not the beougie shit! We're not serving apple martinis!" - EODUB Host Big Zoo

Mic to plug, EODUB is official. The hosts are live, locale is tight. The format's dope. The artists are worthy. The talent level and overall energy make this event feels equally club and concert-esque. "Its the evolution of Hip Hop competition." And at $10 at the door - EODUB is a steal. Now thats whats poppin' during a financial crisis.

Check these vids and much more dopeness at http://www.youtube.com/user/justhunte.

Niles



Niles Cypher Round



AM ZILLA



AM ZILLA Beat Jugglin'



Prezzure



AP the Great