Some say you never get a second chance to make a first impression. 50 Cent was on that train of thought when making his debut single, 1999’s “How to Rob.” Then, the grimy Jamaica, Queens, MC was signed to TrackMasters/Columbia Records and prepping his solo debut, Power of the Dollar. Although the LP never came out, “How to Rob” dropped on the In Too Deep movie soundtrack, in August of that year. It wasn’t a hit, but it did become a staple on NYC’s late-night mixshows, gaining much industry and street notoriety for its threatening content.

“How to Rob”feat. The Madd Rapper

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Recorded in the spring of 1999 at three New York City studios (the Hit Factory, The Cutting Room and The Lion’s Den) and released to the streets via New York’s Hot 97 soon after, the fiery debut single took aim at more than 25 established celebrities, relieving most of them of their cash and jewels. A jab at Mariah Carey, who was divorcing her then-husband, Columbia Records president Tommy Mottola, stirred so much controversy before the record’s release that it had to be pulled from the original version. (“I’ll manhandle Mariah, like, ‘Bitch, get on the ground/You ain’t with Tommy no more, who gonna protect you now?’”)

The Madd Rapper, a comedic act and MC alias of former Bad Boy producer Deric “D-Dot” Angelettie, was added to the song’s hook for levity, saying, “This ain’t serious/Being broke can make you delirious/So we rob and steal so our ones can be bigger/50 Cent, how it feel to rob an industry, nigga?” That helped cushion the blow, but folks still caught feelings. Several rappers fired back, most notably Jay-Z, who spit his response onstage at the 1999 Hot 97 Summer Jam, rapping, “I’m about a dollar, what the fuck is 50 cents?”

Still, the track hit hard and sparked both love and contempt for 50. While he eventually achieved mega rap stardom with his real solo debut, 2003’s Get Rich or Die Tryin’, hip-hop heads will always remember the first big 50 Cent song. To mark the 10th anniversary of his official arrival, XXL took a trip down memory alley to reminisce on one of hip-hop’s greatest heists.

50 Cent: Writing the song was my idea. I wrote the lyrics in pieces. It wasn’t just random. People came to mind based on what rhymes. Once I was able to say it in different orders, I said the verse to Rich Nice. Before I brought it to him, I’d been doing it over a Beanie Sigel beat, other tracks. I was just playing with the concept in my head… It wasn’t hard to come up with the concept of robbery, when you’re not in a great financial space. It kind of felt like I was being rejected during that time, while I was trying to make music. And after it got even worse. I was doing what [rappers] were afraid to do at that point… They were actually afraid to mention each other’s names, because Biggie and Tupac had kinda gotten out of hand… [When] Rich heard the lyrics, the whole song was done. I laid both of the verses, and then it was time for us to record the chorus. He got D-Dot…to create clarity, to show that it wasn’t a dead-serious attack at them. Without D-Dot, it was straight robbery lines. There was nothing that said whether you dead serious or you ain’t… I kinda went after everybody who was relevant, and it was really like doing my own [version of Biggie’s] “Dreams of Fuckin’ an R&B Bitch.”

Rich Nice, A&R for Columbia Records, for Power of the Dollar: The label had no idea about the record. [We had been] trying to do it under the radar, ’cause, at the time, I kinda felt that the building would be against it and be like, “Nah, don’t make that kind of song… We want him to be serious rapper.” [But] the song was intended to be lighthearted, [not] to go at everybody and piss everybody off.

Deric “D-Dot” Angelettie, Brooklyn beatmaster, former member of Bad Boy’s Hitman production team, MC known as The Madd Rapper: I didn’t even know 50 Cent. We both were on Columbia Records… One night, I get a call from Rich Nice… He said he had this record that he really needed my help on. I was like, “Man, I’m about to go home… You gotta get here in a few minutes.” He got there real quick, put on the record, and I was like, “Man, this shit is hot.” It reminded me of Big, but his angle was perfect. I definitely wanted to get on, and I told Rich, “Just tell son that he gonna have some problems, though. But I’m with it.” I felt like, if I got on it, it would lessen the blow. Plus, if I make it funny, it’ll almost look like he’s my artist, even though he wasn’t. I did the hook right then and laid it down. Rich loved it and took it back. He called me up two days later, like, “Everybody loved it,” and they were putting it out.

Rich Nice: One day I was in the office, and I got a call from Donnie Ienner [then Chairman of Sony/Columbia]: “Come to my office right now… It’s about the 50 song.” I go up to the office, and they’re just like, “You gotta take Mariah’s name out.” And I’m just like, “Ooohhhh, shit!” Cory Rooney called and was like, “The name has to come out. They’re really upset about it.” I’m like, “It’s just a line, one line.” I call Fif, and Fif says, “See, that’s that bullshit.” But he changed [it]. I’m being nice when I say how upset [Mariah] was—like, absolutely enraged.

Cory Rooney, former senior executive vice president of Sony: The whole bane of [Mariah’s] existence is to be accepted by Black people…because she’s half-White, half-Black. She looks White, and everybody felt she was White, but she never really could gain acceptance… So when she heard that, she went off, and she called and threatened to sue the label… She demanded that Tommy did something about changing the record… [She and Tommy] were basically legally separated. 50 was a Columbia artist, but she was the Columbia artist. So they had no choice… Mariah was still a very valid artist, and Tommy was still in power. It’s funny. Mariah had a similar problem with Biggie, when he said, “Mariah Carey/Kinda scary” [in “Just Playing (Dreams)”]. She hated him so much.

D-Dot: I was in one of the meetings when Donnie Ienner told us that Mariah wants the thing out… So 50 went back and changed it to Case and Mary.

50 Cent: I was mad to make any changes [to my lyrics]. I didn’t want to change anything. You had more artists that were more effective not being changed… You had Big Pun on there, the best Latin rapper ever. Master P was an explosion at that point. They was, like, the hottest thing out of the South ever, No Limit, at that point… Mariah’s been a star since as far back as I can remember. I was signing to the label; she’s the biggest thing on the label. And married to the guy who runs it. It’s a different thing, man.

Cory Rooney: [When the record came out to the public,] I remember people listening to [it] and going, “I hope he don’t say nothing about me.” Even me… It’s like, “Oh my God… We let this nigga in the industry, and we have an animal amongst us.” And nobody felt safe anymore. He was really direct [in what he was saying]: “I would rob you, and I would rob you, I would rob all y’all.”

Rich Nice: Chaka Zulu, was doing radio at the time at Columbia and was taking 50 around backstage at Summer Jam, introducing him to people, on some cool, like, “Let’s put a face with the name, and everybody be easy.” When he met Jay, Jay said, “You know I gotta get you back for that, right?” And he was like, “No doubt, no doubt.” But he didn’t know he meant right then. When Jay went onstage and said his rhyme…I called [50] and said, “You on, kid. You on right now. It’s on and poppin’. You got the biggest dude in the game sayin’ your name.” And that wasn’t the intent. We did it more to make him an individual, to separate him from everybody.

50 Cent: That song had momentum. It had impacted where the hip-hop culture was aware of it, and me, based on it… A lot of people didn’t [respond to] it. The ones who had the egos had to respond. Because they weren’t used to somebody openly putting them out there, and who was I to say it? They all battled with each other, had stuff to say about people subconsciously. They always wrote subliminal shit. That’s the sucker way to do it. Just say it, if you got an issue.

To read exclusive responses from 10 artists 50 name dropped on “How to Rob” give their reaction to the record when it first dropped, be sure to pick up the December/January double issue of XXL on stands now.

Varias veces en mi fuero interno y también alguna que otra con mi gente cercana, he especulado acerca de cómo sería la trayectoria de ciertos raperos si estos hubiesen seguido vivos. ¿Se habrían vendido? ¿Lo habrían dejado? ¿Permanecerían auténticos? Desgraciadamente nunca sabremos eso, aquí debajo están por orden cronológico según la fecha de fallecimiento varios de los artistas que nos han dejado muy a nuestro pesar…¿Quién es quién en los muertos del rap?

Eazy E de N.W.A. Eric Lynn Wright, nacido el 7/9/1963 en Compton, Los Angeles, California y muerto el 26/3/1995 de sida en Los Angeles.

Buff Love a.k.a. The human beatbox, de los Fat Boys. Darren Robinson, nacido el 10/6/1967 en Brooklyn, New York y muerto por paro cardíaco el 10/12/1995 en Brooklyn New York.

Tupac a.k.a. Makiaveli. Nacido como Lesane Parish Crooks, rebautizado al poco de nacer como Tupac Amaru Shakur por su madre, miembro de las panteras negras. Nacido el 16/6/1971 en Brooklyn, New York. Tiroteado el 7/9/1996 en Las Vegas (Nevada) y fallecido la madrugada del día 13 del mismo mes.

Notorious B.I.G a.k.a. Biggie Smalls. Christopher Wallace, nacido el 21/5/1972 en Brooklyn, New York. Asesinado el 9/3/1997 en Los Angeles, California.

Big L. Lamont Coleman, nacido el 30/5/1974 en Harlem, New York. Asesinado el 15/2/1999 en Harlem, New York.

Freaky Tah de Lost Boyz. Raymond Rogers, nacido el 17/5/1971 en Queens, New York, asesinado el 28/3/1999 en Queens, New York.

Bugz de D12. Karnail Paul Pitts, nacido el 5/1/1978 en Detroit y asesinado a raíz de un altercado que comenzó con pistolas de agua en Detroit el 21/5/1999.

Big Pun. Christopher Lee Rios nacido el 10/11/1971 en Bronx, New York. Muerte por ataque cardíaco el 7/2/2000 en Atlanta, Georgia.

Too Poetic de Gravediggaz. Anthony Ian Berkeley, nacido el 15/11/1964 en Trinidad y Tobago. Muerte por cáncer de colon el 15/7/2001 en Beverly Hills, California.

Left Eye de TLC. Lisa Lopes. Nacida el 27/5/1971 en Philadelphia, Pennsylvania y muerta en un accidente de tráfico en La Ceiba, Honduras, el 25/4/2002.

Jam Master Jay de Run DMC. Jason Mizzel, nacido el 21/11/1965 en Brooklyn, New York. Asesinado el 30/10/2002 en Queens, New York

Ol’ Dirty Bastard de Wu Tang Clan. Russell Tyrone Jones, nacido el 15/11/1968 en Brooklyn, New York y muerto el 13/11/2004 a causa del consumo de una mezcla de coca y Tramadol también en New York.

Proof de D12. Deshaun Holton, nacido el 2/10/1973 en Detroit, asesinado en la misma ciudad el 11/4/2006.

Pimp C de UGK. Chad Butler, nacido el 29/12/1973 en Porth Arthur, Texas, muerto por una sobredosis accidental de medicina para la tos (codeína) el 4/12/2007 en Los Angeles, California.

Walking back from a shooting in Harlem, we bumped into Stretch Armstrong, right in front of WKCR (!)

That’s the station where he started -in 1990- what would later become the Stretch and Bobbito Show, which many consider the best show ever.The guy NORE used to call “the albino ostrige” recalls a number of great moments and a greater number of (then) unsigned rappers who blazed the show : cats like Jay-Z, Eminem, Big Pun, ODB, Big L, Biggie, and also a 16 y.o kid in shorts named Nasir…

Joell Ortiz – Happy Birthday Pun - Click To Listen

Somethin Joell put out 2 days ago for Pun’s B-day

Dope

Joell & Fat Joe after recording for Free Agent in Miami

Download – Joell Ortiz – Happy Birthday Pun

Spotted at nahright.com

Classic video from Big Pun & Terror Squad for What’cha Gon’ Do, featuring Fat Joe & Cuban Link taking on New York native NBA stars of the time Kenny Anderson & Stephon Marbury in a game of 2 on 2.  This hilarious video features Cuban Link tying Kenny Anderson’s shoes together as well as Fat Joe dunking.  What’cha Gon Do? was produced by Juju from the Beatnuts and features Big Pun doing what he was famous for, absolutely murdering the beat.  Christopher Rios would’ve been 38 today, he was probably the G.O.A.T. and should at least be included in your top 5.Whatcha Gon Do? – Big Pun

Joell goes in and celebrates the late great Big Pun’s bornday. Rest in Piece.
The good die young..

Joell Oritz – Happy Birthday Big Pun Freestyle
2DopeBoyz get the props, as usual.

Remember, Road Kill mixtape Coming Soon.

Free Agent, February 2010.

J.O. pays homage to his fellow Boricua MC, the late, great Big Pun on his born date. RIP Pun (November 10, 1971 – February 7, 2000). 

Joell Ortiz – Happy Birthday Pun

Props: NR

Pun was one of the greatest MCs. He was so cocky and witty with his lyrics. He was and still is a pleasure to listen to. He left us way too soon but left behind some great music that we can enjoy. Love u Pun!!! Here are some of my favorite songs of him enjoy.

Oasis by D.I.T.C. representatives AG & OC  produced by Statik Selektah is the title song to their new album due out November 24th on Nature Sounds.  Production on the album will be handled primarily by Lord Finesse, Show & E Blaze.The Oasis – AG & OC

In the late 90’s I got introduced to the intoxicating sounds and beats of The Beatnuts. One of my favorite joints from the hip-hop group was the tracked entitled “Off the Books” on the 1997 album entitled, Stone Crazy. “Off the Books” featured Cuban Link and the late Big Pun. The track consisted of fairly simple beats, samples, and scratches…where Big Pun definitely delivered the best verse over the hot track.

R.I.P. Big Pun.

 Download   

POSTED BY : SKYWALkER

Hier soir  les CYPHER lors des BET Awards valaient une fois de plus le détour. Pas de “swag” ou de blagues juste du vrai rap!

3 segments de vrai “MC’ing” avec Primo aux platines permettent chaque année aux BET Hip-Hop Awards de conserver un minimum de crédibilité.

#1 Nicki Minaj + Buckshot + Crown Royyal + Joe Budden

Qui veut voir Nicki rapper ?…Buckshot était trop dispersé, Crown Royyal ? Mouais. On dirait Peedi Crack sans le “gun talk”. Joe Budden “en mode pas réveillé” kicke de la sérieuse punchline ( I’m good with my insanity and fevers/ Cause Pac looking from heaven saying “They ain’t understand me neither”) et balance même une subliminal diss (à l’ancienne mais aussi pour éviter les problèmes) à la fin pour Method.

Wale + Nipsey Hussle + Gsan + KRS 1

Wale? Bof. Ces hipsters n’arrivent pas à me convaincre. Ici il fait beaucoup de références à des équipes de sports US , c’est peut-être pour cela. Nipsey ? Mouais. Tant que Snoop est en vie je préfère l’original! Gsan de Tanzanie rappe en swahili. Je n’ai rien compris mais il y a du flow.  KRS, le seul en VRAI impro (sa phase à la fin est trop forte) les a tous mangés.

Mos + Black Thought + Eminem

Je kiffe les 3. C’est la crème de la crème : Mos a un flow religious, Black Thought est en mode battle mais Eminem reste le plus méchant. Il laisse de coté sa voix de “Hapu des Simpsons sous crack” et tue avec des phases comme  “I’m a fucking cross between Osama, Dahmer (NDR Dahmer est un tueur en série), Obama and Dalai Lama Kamali i’m a knight in shinning armor” digne du grand Big Pun.

BONUS : l’AUDIO à télécharger ICI

A quand un Cypher en France ?

C’était juste un puzzle de mots et de pensées.