Chelsea Reject ft CJ Fly & T'nah Apex | Go

New music from Chelsea Reject's upcoming album, 'CMPLX.' "Go" features CJ Fly of Pro Era & T'Nah Apex.

J Period | 10 Years Of Mixtape Madness | Hip Hop DX Interview

Blezz Da Messiah ft. Pharaoh Spook | WHAT YOU HATIN 4? | Directed by RR. (Prod. by LiteTro)

Blezz Da Messiah ft. Pharaoh Spook | WHAT YOU HATIN 4? | Directed by RR. (Prod. by LiteTro)

Blezz Da Messiah realease a gritty cinematic visual feat. Pharaoh Spook of M.A.D Empire and Directed by RR of GenuineBeingProd on a beat Produced by LiteTro...MIXTAPE COMING SOON!



DOWNLOAD SONG HERE: https://soundcloud.com/blezzdamessiah...

TWITTER: @Blezzdamessiah
INSTAGRAM: @Blezzdamessiah

CJ Fly | Ernee | Official Music Video

Pro Era Presents Ernee
CJ Fly featuring Dirty Sanchez



Director: Monster Movies

Story by CJ Fly

Download Thee Way Eye See It: http://theewayeyesee.it

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Cinematic Music Group

Lauryn Hill | Live At Brooklyn Bowl | Pay-Per-View and On Demand

L. Boogie has performed a medley of her greatest hits in two-hour concert special “Live From The Brooklyn Bowl.”

Fans can catch it airing throughout December on Pay-Per-View and On Demand. In the video below, watch Ms. Lauryn Hill’s live rendition of The Fugees classic “Ready or Not.”

Questlove & Chris Rock | Juan Ep

Questlove & Chris Rock on Juan Ep



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Divine | Let's Get It On | Official Music Video

'Ghetto Rhymin'' (iTunes Pre-Order): http://bit.ly/1tgKSxP

Ask any Hip-Hop savvy Brooklynite and they'll tell you that the East Coast is still birthing great emcees. Although the focus of contemporary rap may have deviated from the borough that 'keeps on taking it,' that doesn't mean that its artists have gone against the reputation built by the greats that have paved the way. While it may be premature to include Divine as one of Brooklyn's finest, make no mistake, the man is poised to make a name for himself.

From trading bars with Tragedy Khadafi, touring with and opening up for Rakim, to making Internet headlines for being co-signed by billion dollar tech venture capitalist firm Andreessen Horowitz, Divine's proved that he has the drive to succeed in the rap game by any means necessary. Now what better way to get in tune with Divine, than through his latest video for "Let's Get It On," as featured on his inaugural LP, Ghetto Rhymin', which dropped last week. With heavy bars and crisp production, the visuals help to capture the rapper's goal of doing whatever it takes to get ahead. No colors, no flashy scenes, and no special effects are present in this one for good reason:

Divine wants you to put your entire focus on the story being told. Peep the video and head over to iTunes or Fat Beats to support.



Credits:
• Artist: Divine
• Track: "Let's Get It On"
• Produced by: DJ Devastate
• Directed by: The Last American B-Boy
• Album: Ghetto Rhymin'
• Release Date: November 4th, 2014
• Label: Supreme Records

Album Pre-Order Links:
• iTunes: http://bit.ly/1tgKSxP
• Fat Beats: http://bit.ly/1pBmsdt

Tracklist:
01. The Wait Is Over: The Legacy Lives (Prelude) [prod. by DJ Whopper]
02. I'm Back (prod. by Prov P)
03. It'z War (prod. by Ill D)
04. Let's Get It On (prod. by DJ Devastate)
05. Hard Body (prod. by Bova)
06. Gun Talk (prod. by Prov P)
07. New York City Nights (prod. by Prov P)
08. Check It Out (prod. by Prov P)
09. Smooth Don (feat. Tracy Adam) [prod. by Godspeed]
10. Where The Club At (prod. by Mr. JPatt)
11. Embracing Eternity (Universal Love) [feat. Tracy Adam] (prod. by Jahgillaz)
12. Ghetto Rhymin' (feat. Sara Vahabi) [prod. by DJ Whopper]
13. My Dudes (prod. by Ill D)
14. Locked In The Stars (prod. by Mr. JPatt)
15. Nobody Does It Meaner (Prelude) [prod. by Ill D]
16. Brooklyn, Brooklyn (prod. by Ill D)

Online:
• Twitter: https://www.twitter.com/4thlettermusic
• Facebook: https://www.facebook.com/4thletterfor...
• https://www.divineghettorhymin.com
• https://www.the4thletter.com

Ready To Die 20 Year Anniversary | Brooklyn

ThatsEnuff.com own Jameer took a trip around Brooklyn on the 20th anniversary of Biggie "Ready To Die" album. He spoke with a couple of locals on the historic album and how it influenced their upbringing. Check out the video and make sure to share some of your moments.

Tricky ft. Tirzah | Sun Down

Sun Down' feat. Tirzah is taken from the new Tricky album 'Adrian Thaws' - Out Now!

iTunes: http://smarturl.it/TrickyATI • Amazon: http://geni.us/TrickyAdrianThaws

With his latest album Adrian Thaws, out now on his own False Idols imprint, Tricky unveils the striking music video for the single 'Sun Down', which features guest vocals from Tirzah. Actor Norman Reedus of the hit television show 'The Walking Dead' co-stars with Tricky, along with actress Mizuo Peck (Night At The Museum, A Case of You).

The music video, which Tricky directed himself, was shot in Brooklyn and features Reedus and Tricky playing fictionalized versions of themselves dealing with the ugly fallout of a domestic dispute.

The introduction to the video is soundtracked by the Young Fathers remix of Tricky's "Nicotine Love."

Video credits:

Director: Tricky / Adrian Thaws
Co-Starring: Norman Reedus, Mizuo Peck
Camera: Jay Sprogell, Lee Jaffe, Patrick Carroll, Jordan Levine
Production: Risa Knight, Lee Jaffe, Stephen Bolles
Production Assistant: Marrissa Williamson
Editing: Patrick Carroll, Mike Macalincag
Post Production: Jordan Levine, 11th Dimension Media

Club scene interiors shot at Cameo Gallery, Brooklyn:
http://www.cameony.net/ • https://www.facebook.com/cameony

--

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Follow Tricky online:
Facebook: http://po.st/trickyfb
Twitter: http://po.st/trickytwitter
Soundcloud: http://po.st/trickysc
Website: http://www.trickysite.com
Instagram: http://po.st/trickyinstagram

20Grand Pikaso | Smoke and Mirrors

The Story is deep the message is clear and the artist is 20Grand Pikaso. The Brooklyn Emcee drops his new Visual Smoke and Mirrors produced by Banga and Throow and directed by Joe Cap. Stay tuned for NO NAPOLEON this year its worth the wait...



www.20grandpikaso.com

cicorecords@gmail.com

Pinned x Stitched: AFROPUNK'14 FASHION

At this year’s AFROPUNK music festival at Commodore Barry Park, in Fort Greene, Brooklyn, artists like D’Angelo and SZA took the stage. And as in previous years, festival goers did not disappoint with their unique and colorful style. Here are a few looks like that caught our Fashion Forward Duo Meron B & B-Hawk of "Pinned x Stitched" eyes.

Filmed by
@rocko_trillex_zilla
@andreuncut

NehruvianDOOM | Caskets

The teenage Brooklyn rapper Bishop Nehru has teamed up with the masked underground rap eminence DOOM to form a duo called NehruvianDOOM, and their self-titled album is coming out later this year. We’ve already heard two of the LP’s tracks, “Darkness (HBU)” and “Om,” but we haven’t heard one thing from the LP yet, and that’s DOOM delivering a proper verse on the album. But on “Caskets,” the latest track from the EP, DOOM opens things up with a nicely grizzled appearance before Nehru takes over the track with young-scholar energy. DOOM also produced the track, and it’s got his woozily melodic dusty jazz-influenced fingerprints all over it. Listen below.



NehruvianDOOM is out 10/6 on Lex.

CASKETS is taken from NEHRUVIANDOOM, the forthcoming album by Bishop Nehru & DOOM.

Available to pre order now and released on October 6th UK / 7th US

Amazon: smarturl.it/NDOOM_amazon
Best Buy: smarturl.it/NDOOM_BestBuy
Lex Shop: smarturl.it/Nehruviandoomshop
Bleep (limited edition green version) : smarturl.it/NEHRUVIANDOOM_BLEEP
Resident Signed CD: smarturl.it/NDOOM_Resident

SA-ROC | DC X BROOKLYN | Produced by: DJ Premier

It's Sa-Roc, that means competitions finished.

Junglepussy | Nah | prod. By Shy Guy

Early into the second song on Junglepussy’s excellent debut album 'Satisfaction Guaranteed,' she raps, “How dope is this?

Teach you how to grow and live.” The line—rapped quickly, with her rollicking flow, kind of like a slinky expanding and contracting with each breath—also works as Junglepussy’s motto.

She’s here to please you, help you, teach you, and, most importantly, introduce you to her tropical lifestyle.



*******************************************************************************

Brooklyn Street To Be Named After Spike Lee’s Do The Right Thing

by Trent Clark/Hip Hop Wired



Somewhere in fictional movie heaven, Radio Raheem is smiling.

Spike Lee’s prized film, Do the Right Thing is turning 25-years-old later this month and is reportedly receiving a historic honor on the very same streets it was filmed on.

This past Monday (June 2), Brooklyn’s Community Board 3 voted to rename Stuyvesant Ave, the block between Lexington Ave. and Quincy St., “Do The Right Thing Way.”

Lee took to his Instagram account to share the good news and pose with an already-made sign of the new street name. “Good Morning People.Great,Great News Today The City Of New York Has Changed Stuyvesant Street Between Lexington And Quincy In The Brooklyn Hood,” he wrote.

The announcement may have been a tad bit premature, seeing that City Council has the final say-so on approving the name change. Councilman Robert Cornegy told the NYDailyNews that the process was much harder than posting on Instagram saying, “It’s a bit complicated, because the City Council’s standards for co-naming focus on people and organizations, not works of art.”

The Beastie Boys saw their fan’s hopes of getting a street renamed in the honor rejected by a Lower East Side community board, so nothing is promised when it comes to these procedures.

Nonetheless, the thought alone is enough to make a celebration about.

“I Know Ya Want It- Will Be On Sale.Soon Come And Dat’s Da Truth,Ruth.YA-DIG SHO-NUFF,” Lee continued on his social media as he promoted memorabilia from the movie.

Check out the pictures of Lee’s new street sign and the aforementioned apparell in the gallery below.

CJ FLY x J HART | The Way Eye See It interview #BBS

Cj Fly sat down with DJ J Hart to talk about his last mixtape " The Way Eye see It ". In addition , the Pro Era Mc spoke about his goal, how he works his lyrics and more... Enjoy & Share!



FOLLOW : @FLYestintheeEra I @iamjhart
Get more @ http://www.iAMJHART.com

Video Shot at the Vintage Room , 85 Stanton Street, NYC https://www.facebook.com/topshelfpremium

FILA + Lemar & Dauley Unveil | MojitoCage

Brooklyn-based streetwear brand Lemar & Dauley were known for creating Hip-Hop-inspired pieces in fresh, summery color palettes prior to their hiatus around the turn of the decade. However, they’ve since made a resurgence and with their return comes a new collaborative shoe with FILA.

Coined the “#MojitoCage,” the sneaker is a fresh take of one of FILA’s classic basketball silhouettes — The Cage. Its mint-toned upper is sure to turn a few heads, but after a second look, it’s clear that these kicks were carefully crafted. Credit that to a buttery smooth pigskin suede upper, as well as a matching rubber sole, EVA midsole, and distinctive memory foam. The seasonal theme is brought together by the floral design on the inside trimming and insole.

The Lemar & Dauley x FILA “#MojitoCage” can be found exclusively on FILA.com and Lemar & Dauley’s web store on June 6. See flicks of the shoe on the following pages.

Questlove | Does Black Culture Need to Care About What Happens to Hip-Hop?

This is the sixth in a weekly series of six essays looking at hip-hop's recent past, thinking about its distant past, and wondering about the possibility of a future. Read the first one Click Here, the second one Click Here, the third one Click Here, the fourth one here Click Here, and the fifth one Click Here.

It's time for the showdown. Get ready for the lowdown. We've come to the end of the road.

When I started this series of columns six weeks ago, I wanted to think through a series of issues: why the bulk of contemporary African-American culture has defaulted into hip-hop, why materialistic narratives seem to dominate the genre, what has happened to the concept of black cool, what increasingly anemic sales mean for both big stars and independent artists, and where all of this leaves us.

It leaves us here, in the sixth and final column, thinking about all these things. Sometimes when you think, you come up empty. But when I go back through this series in my mind, I come up so full that I’m not sure what to do next. Three decades plus into this exciting and vibrant genre, there are some serious structural problems that seem almost insoluble. There are times that I feel that the whole thing is perched on the edge of a cliff and time is about to push it off.

When I think that, I always find my thoughts returning to music. Not to music as an aesthetic category, but to music in the social sense. Music can be created by an individual or a group, but it is meant to be heard by others. It operated that way as ritual (in weddings and funerals, in wars and parades) long before it was ever preserved as a physical product, or sold as a commercial one. Music is something that happens between people. This is true for classical music or instrumental jazz, but it's true with one added dimension for a music like hip-hop, because it's narrative by nature. As a result, it's music between people that is also explicitly about people.

These are the basics. Let's color outside the lines a little bit. Sun Ra said that space is the place, but there's race in the space also. Hip-hop is inseparable from black America and black Americans, who are either creators or consumers or subject matter, or sometimes all three. Like it or not, it exerts a pull on the black community. It can pull us up or it can pull us down or it can pull us apart.

Does black culture need to care about what happens to hip-hop? Does it need a cultural force like hip-hop at all? I can't predict the future. If I could, I'd have put a bundle on California Chrome. But I can say that black culture has needed that historically. The famous black academic Charles S. Johnson, who was instrumental in the Harlem Renaissance, published a magazine for black Americans called Opportunity; its title sent a different message than W.E.B. DuBois's Crisis, but they were two sides of the same coin. Johnson thought (knew?) that the arts were important because black Americans were denied equal treatment in many other respects. The arts, he figured, could be a site of resistance.

Resistance here doesn't mean revolution. It doesn't mean storming the barricades. Resistance means using art for the things that it does best, which is to create human portraits and communicate ideas and forge a climate where people of different races or classes are known to you because they make themselves known. In the simplest terms, art humanizes. It opens the circuit of empathy. And once that process happens, it's that much harder to think of people as part of a policy or a statistic. Art reverses the alienation that can creep into society. After Johnson, after DuBois, the Harlem Renaissance itself stalled, largely as a result of the Great Depression, and many of the economic gains made by African-Americans were lost, but cultural influence persisted. You could make an argument that it was as important as anything for speeding along the very real political and social gains of the '50s and '60s.

That's what music has been good for, historically, in the black community. Jazz did that. It forced the mainstream to see black musicians as virtuosos with complex ideas and powerful (and recognizable) emotions. How are you going to treat someone as less than human, in any way, once they've been so deeply human in full view? Soul music did that, because it addressed universal romantic problems. Who has trouble identifying with a Smokey Robinson lyric? No one human, that's for sure. Hip-hop started from that premise. It was rooted there. It didn't shy away from the fact that America, built the way it was, made certain economic and social advances difficult for African-Americans, but it also made an entire community visible, impossible to ignore, impossible to dehumanize. Hip-hop, because of the way that it was made, because of what it was at its heart, blazed new trails and also recontextualized the past. Where other musics, like disco, were plastic to the point where they started to feel like factory product, early hip-hop was the perfect music for an era of flexible accumulation: fast on its feet, fleet with its thoughts. It could range and roam and shine a light into any corner of the culture.

Six weeks ago, at the beginning of this series, I opened with quotes from John Bradford, Albert Einstein, and Ice Cube. Between them, they sketched out their own version of this idea. Bradford talked about luck and providence (“There but for the grace of God go I”); Einstein talked about community (“spooky action at a distance”); and Ice Cube talked about appetite (“Life ain’t nothing but bitches and money”). Those three ideas outline a triangle, and inside that triangle are people reflecting on their own good fortune, recognizing that they’re connected to others, grappling with their own aspirations. Hip-hop has a responsibility to these ideas, and because of that, a responsibility not to fall victim to other ideas that actively obstruct them. This responsibility doesn’t fall to individual artists in a narrow way. There will always be artists who want to be shallowly materialistic or who permit themselves to be reduced to caricature. But the broader genre needs to balance them off with other kinds of artists, other perspectives, and there’s been a steady move away from that kind of balance for the last decade at least. Culture needs to struggle against meaninglessness and flattening. That's why it's vital that one of those sites of meaningless shouldn't be the culture itself.

These may seem like uncontroversial ideas — that art should, at some level, be about humanity, and that culture should, in some way, be a tool for fighting adversity. But any support for those ideas have to have better practices attached to them than the ones that have taken over hip-hop. People pick up on the ideas that pop culture puts down, so if one of those ideas is that only so-called winners get a platform, which they then use to talk more about their winning, that will seep into the groundwater. Contemporary hip-hop worries too much about the bottom line, which is lower than it's ever been. If you dive for it, you may find yourself stuck down there. And being stuck down there means mean fewer options for future artists, more investment in stereotypical portraits of hip-hop acts (some encouraged by the acts themselves), and less empathy all around. It’s important not to let this whole thing eat itself. It's more than important. It is, in a sense, everything.

I’ll end with two examples from the early '70s, around the time I was born, when soul music seemed as if it was largely fulfilling these responsibilities. In fact, if there’s one era in the history of popular music where community awareness and social contract seem secure, it’s the soul music of the early '70s. And yet, and yet. In 1972, after the success of What’s Going On, Marvin Gaye started an album of explicitly political songs in the vein of “Inner City Blues (Makes Me Wanna Holler).” The first track from that set, and the projected title track, “You’re the Man,” went after political candidates. If you have a plan, Gaye sang, then I’ll give you my vote, but you have to handle real problems: busing in schools, urban economics. The most piercing part of the song is a repeated spoken-word couplet:

Don't you understand
There's misery in the land

Gaye had different politics than Berry Gordy, and Gordy didn’t throw much support behind the “You’re the Man” single, which stalled mid-chart, after which the album was shelved. Two decades later, after Gaye’s death, tracks started to appear on compilations. Some of these were open-ended laments for society’s short-sightedness (“Where Are We Going?”); others were more specific arguments about the dangers of controlling others (“Piece of Clay”) or the hypocrisy of objecting to sex in the face of so many other kinds of social pornography, from poverty to violence to pollution (“The World Is Rated X”). The details may have shifted, but the core of Gaye’s argument remains intact. When we resist cultural acts that directly address the complexity of the human condition, both intellectually and emotionally, we reduce ourselves. The second example is an extended quote from Bobby Womack. Is there any other kind? This particular quote is the monologue that preceded his 1971 cover of the Carpenters’ “Close to You.” In his rap, Womack doesn't talk about the complications of black cool, or the history of social responsibility in the arts. He focuses only on one aspect, which is the pressure of the market, and how it can both insidiously and obviously strip all meaning out of artwork, draining and demoralizing its artists by insisting they need to satisfy some impersonal notion of product. The fact of the matter, of course, is that Womack had no problem covering pop songs — he did it all the time, from “Sweet Caroline” to “Fire and Rain” — but he frequently added material up top or improvised to make the material more personal, more empathetic. As he goes through his monologue, Womack does exactly what he worries he isn't being allowed to do — he paints a full picture of himself as a thinking, feeling, suffering, achieving human, capable of irony and insight, impossible to reduce to a caricature.

Sittin' here sippin' on a glass of wine and I'm trying my best not to lose my mind. You know, thinkin' about the word. Heh, "commercial": That's a funny, funny, funny word! Ya know what's funnier than that? When show people use it. You know what I'm talking about, record companies, presidents, vice-presidents, producers — and a little ol' engineer. But, you know what? I feel, down in my heart, I don't care what it is. If I can get into it, it's commercial enough for me. But anyway, I remember a little while back, I walked into a recording studio with just me and my guitar. Heh. And I remember starting out on a song … sort of went something like this … well, it had the same melody, anyway. The head man called in, the president, vice-president, and just one of his producers, and an engineer. You know they all sit around with their heads dropped down while I was trying to get over. You could hear a pin fall. I know y'all know what I'm talking about. And I'm steady trying to get over. But anyway, after I got through doing my thing — or should I say, doing the best that I could — I’ll never forget what they told me. One of the cats got up and say, “I like you, and I ain't saying that you can't sing.” But as they all began to leave the conference table, they kept saying “But you're not commercial. No, you’re not commercial!" So, I went on out or, should I say, I sold out. But like I've said before, music is music, that's how it is — and that's the way it is. Well, I didn’t change my style because I still had the same heart but just like the man said, he said, “Bobby, it’s got to be funky.” I came back and said, “I want to sing something. I want to sing.”

And then he does.

Nitty Scott, MC | The Art of Chill | Mixtape

You may want to refer to Nitty Scott, MC as anti-turnup after one spin of her latest peace-offering, The Art of Chill. The album's title literally conveys the Brooklyn spitter's current m.o. with titles like "Feng Shui" and "Afterglow" dominating the atmosphere.

It's a personal triumph in the career of Nitty, who had to conquer Constantine-sized demons to be able to bottle her anger for the greater good of mankind.

To keep her zen poppin', she surrounds herself with the positive energy of Ab-Soul, Ski Beatz, Rapper Big Pooh, Stacey Barthe among others who keep the affair harmonious while Nitty touches on some weighty topics throughout. She even revealed how mediation helped her get to this point.

Take a listen to Nitty Scott's new 15-track project, The Art of Chill.

PRO ERA | THESHIFT

Butterflies (Pro Era (Dirty Sanchez x Rokamouth x CJ Fly x Dessy Hinds x Nyck Caution x A La $ole x Kirk Knight x Dyemond Lewis x Jakk the Rhymer x Joey Bada$$) produced by Powers Pleasant.

Scion AV Presents: The Shift, the EP will be available for streaming and as a free download via the Scion AV Soundcloud and on ScionAV.com on 5/27. Pro Era and Scion AV have also teamed up for a video due out beginning of June.

Pro Era is the Brooklyn collective of Joey Bada$$, CJ Fly, Kirk Knight, Nyck Caution, A La Sole, Dessy Hinds, Chuck Strangers, Powers Pleasant, The 47s (Dirty Sanchez, Roka-Mouth, J.A.B and Jakk The Rhymer). The young MCs have a developed a cult-like following with fans embracing their music & lifestyle..."That OG $wank." Fans can look forward to Joey Bada$$'s debut album, 'B4.DA.$$' this Fall.

The Shift EP is their fourth as a collective and for this special release they teamed up with Scion AV for a sample free EP that both highlights their diverse style and sound while further establishing Pro Era as the future of hip hop.



Subscribe to Scion AV for more exclusive videos and tracks from your favorite artists!