HHHTake U To Da Movies,

After an absolutely amazing night out in Taipei with these fellas, I’m spent.  Like, I’m talkin ‘2 notches away from braindead’ spent.  So, in lieu of said circumstances, I bring you Movie Day here at HHHT.

2 TURNTABLES AND A MICROPHONE: THE LIFE AND DEATH OF JAM MASTER JAY (Trailer)

WU-TANG MASSACRE - Part 3

BLAKROC – EPISODE #11 Feat. RAEKWON

And finally, some G.O.O.D. music treats for your lazy Sunday.

KANYE WEST – I’M SO APPALLED

COMMON Feat. JOHN LEGEND – STRANGE FRUIT

I’m gonna go watch the Tyson documentary again.

Enjoy the day.

Trip.
www.ppfhouse.com

Your moms hair so short she take a shower and get brainwashed – Meth

Your mother be having old gold icies stashed in the freezer – Chef

Meth Vs. Chef part 2 will appear on Ghostface, Raekwon & Method Man’s upcoming album Wu Massacre, this version is from Allah Mathematics radio show.

Meth Vs. Chef II – Method Man & Raekwon

Here is how the f**k you build a buzz about an LP.

Shout out to Rik Cordero killing the directing game right now (do people even say that!!!!)

I’m a be telling people this is my favorite show right now!!

more about “ “The Wu-Massacre” Trailer Part II“, posted with vodpod

more about ““The Wu-Massacre” Trailer Part III | …“, posted with vodpod

Meth Vs Chef Pt.2

This has tags but as soon as I recieve one without I’ll re-up

(Shout to 57th Ave)

Click Picture For Download

]]> http://turntableizmshow.com/2009/11/26/the-wu-massacre-trailer-part-iii/ Thu, 26 Nov 2009 19:44:17 +0000 turntableizmshow http://turntableizmshow.com/2009/11/26/the-wu-massacre-trailer-part-iii/

“If it’s a boy his swag and diddy bop’ll be just like mine”

Listeners of The Phat Club will know that this is my track right about now you know when a track gets stuck in your head to the point that you be singing it or humming it involuntarily all day everyday. Ghost brings that flavor he bought to Ice Cream and “Radio” Raheem makes auto-tune sound real nice.

Definitely some real autumn love song business somebody gon’ end up wid a baby in em’

Listeeeennnnn…

Thank you for connecting,

Cooper

The upcoming collaboration album between old team Wu will not be coming to light, at least not this year. The forthcoming project from Raekwon, Ghostface and Method Man has officially been canned and will not see its fourth quarter release.

As previously reported Meth eagerly dished out details on the album’s existence claiming that each counterpart had three songs a piece to contribute to the end result. Now unfortunately for fans still salivating from their “House of Flying Daggers” collabo, that will have to suffice.

A representative for the team issued a statement about the project saying that Wu Tang devotees can expect the album next year. If that wasn’t enough for followers of the team, Meth’s longtime partner in crime is also seeing a pushback. Redman’s Reggie Nobel 9 ½ will not be released this year as well.

The representative’s statement reads,

“Redman’s Reggie Noble 9 ½ and the forthcoming Method Man, Raekwon and Ghostface Killah album are moving to an early 2010 release date. Stay tuned for an announcement of the official release dates.”

The representative also confirmed that both collaboration and Redman’s project would’ve been stocking stuffers as they arrived in stores in December.

“Both projects were slated to arrive into retail stores next month with Wu arriving for the holiday shopping season on December 22nd, but will now be pushed back until next year”

For everyone upset that they won’t get to hear Redman use auto-tune on an entire album, sorry maybe next year. SMH for everyone waiting on that collaboration album….does anyone’s album come out on time anymore?

I was sooo looking forward to this. In my mind this was already competing for the best release of the year. For good reasons. Imagine the possibilities. Inventive dubstep producers reworking the genius that is Rza. Imagine a dubstep take on C.R.E.A.M, Protect Ya Neck, The Ghostdog theme or really any classic Wu Tang material. And to have some of the worlds best rappers blessing these beats with classic verses. Rza, Ghostface, Raekwon, Method man, Ol Dirty. It could have been classic, it should have been a classic – as they said in the pressrelease:

“…many of the pioneers and practitioners (DJ’s and producers) in the Dubstep world came up in a time when Wu-Tang ruled the international airwaves. Unlike much commercial hip-hop, the immediacy of Wu-Tang’s sound spoke to many outside of the scope of the typical hip-hop fan, across oceans and at home. Their music and style helped to shape an emerging artform that hadn’t yet defined itself. Now, in 2009, as dubstep continues to grow, expand and encompass more styles and subgenres, the Wu-Tang sound is reintroduced into the mix, to spawn a new and unique musical crossbreeding, that is greater than the sum of its constituent parts”

It’s too bad then this isn’t really a Wu Tang album. The tracks don’t come from Wu Tang albums. Most of them come from Raekwons proteges Icewaters release ”Icewater: Polluted Water”, or the Bronze Nazareth fronted Wisemens release “Wisemen Approaching. You hear Rza, but it’s not from any Rza release but from Lord Jamars 5% album.  The closest you will get to this being Wu is some tracks taken from (the also quite weak) Wu Tang meets the indie culture Vol1, and a few tracks from Gza. There actually seems to be just as many rappers that have nothing to do with Wu Tang as there are actual members; Pimp C, Busta Rhymes and Three Six Mafia don’t really feel like Wu to me.

In some sense i suppose this could have been ok still.  Had they chosen the best tracks from the Wu-tang affiliates and lesser known projects it might have worked. Tracks with an actual Wu feel, perhaps more than just a third of a track that was actually produced by Rza. They didn’t. Ive actually heard most of these tracks before, some of them are ok, most of them are just your usual hiphop. Also few of the dubstep producers involed in the project seems to try and combine the two sounds. Most of the tunes, as far as i can tell, have little to do with the original. Which might be ok if they were given crap tunes to begin with. But they also have little to do with any type of Wu feel. As dubstep goes, it is rarely more than ok, it’s current to slightly dated, conventional, routine stereotype dubstep.  I thought there could be a risk of this happening if the producers didn’t make proper use of the source material. I didn’t of course expect the source material to be crap to begin with.

There are a few exceptions; Chimpos horror sundtrack remix of “Cinema” is dark and creeping, the Rouge Star remix of “New year banga” has some great distorted 80’s style synths and Scubas remix of Street Corners at least touches on the Wu sound. But the only one to succeed a 100% is Soroka, who takes on three tunes at once; Pencil, My Piano and Firehouse. This is a masterpiece, Wu-tang strings and horns blend seamlessly with dubstep rhythms and basslines. When Ghostface drops a verse it sends shivers down my spine. It really shows what an amazing album and collaboration this could have been, and regrettably wasn’t.

I don’t know what happened here. Perhaps Wu-tang didn’t feel comfortable giving their good tracks to dubstep producers. Perhaps it is some kind of attempt to gain some interest for Icewaters and Wisemens quite unexceptional albums. I don’t know, all i know is someone fucked up, big time.

Spotted at nahright.com

Ok I will be having these hip hop battles from time to time and ask you the people. Who would win?

verse for verse  is it Ghostface Killa  former wutang member  aka Tony starks aka pretty tony or is it Gucci Mayne the aka new king of ATL..   I want you to listen to these verses and you tell me who’s is more HIP HOP.

APOLLO KIDS- Ghost kicks the strawberry -kiwi fire

Gucci Mane MY shirt off

now watch Gucci and then watch Ghostface and then do it again  and then ask yourself are u f..n kiddin me.  These dudes today

copy they whole style from older niggas

HHHTwice times,

When I first did the original ‘Pair Up’ blog, I never meant to continue it as any sort of ongoing series within the HHHT realm.  However, after seeing the rash of recent pair-ups and duets that definitely deserve their honorable mentions, I say, let’s roll with this and see if there’s another Black Star or a Ghost & Rae or a Omarion & Bow Wow in the making.

Wait a minute…..scratch that last one….

D.I.T.C.

Who likes acronyyyyms?  D.I.T.C.?  That’s always been a favorite of mine.  How bout we get a little deeper into it and break out A.G. and O.C.

Yessir.  You heard me right.  East Coast legends Omar Credle and Andre the Giant, better known as O.C. & A.G. have gone ahead and finally put this classic D.I.T.C. what if? scenario to bed and are slated to release THE OASIS November 24th on Nature Sounds (home of Masta Killa, the Ghost & DOOM project, and oodles more).

If this tune is any indication of how the album’ll turn out, I’m there.  I swear to you, neither of them have even come close to losing a step and believe me when I say A.G. keeps getting better and better and better…(See his guest appearance on Dabrye’s Two/Three)

A.G. & O.C. – THE OASIS

O.J. SIMPSON

It’s coming sooooon.

As I reported a couple months ago, Stones Throw frontliners Madlib & Guilty Simpson will be teaming up to release the highly anticipated O.J. Simpson record either last quarter ‘09 or first quarter ‘10.  Madlib, who has cemented the fact that he has one of the best batting averages for beats ever, matched with Guilty, who’s punchline onslaught can only be compared to an E. Honda attack, will undoubtedly result in something so raw it would be O.D.B. approved. Don’t believe me?  Check the freebee.  GOOD GAWD I love these guys.

O.J. SIMPSON – THE PAPER

FIF & MAC

Don’t really need to write all that much about this.  Beans is goin at Jay and 50’s making sure he’s right in the middle of it…as usual.

If Jay eventually decides to respond though, this’ll get hella entertaining.  Beans is not only a beast, but this could get extremely personal extremely quick.  Do I smell a Pay-Per-View?  Y’know 50 probably already has it in the works.

BEANIE SIGEL & 50 CENT – I GO OFF

**BONUS**

And as an added treat, Part 2 of the Wu-Massacre trailers.  Enjoy.

I have a backlog of amazing stuff I wanna throw up so don’t be alarmed if I just randomly start posting MPFrees.

Be well world.

Enjoy the weekend.

Triple
www.ppfhouse.com

The saga continues… Wu-Week… Wu-Week. Building off of what I said the other day, I can count on one hand how many artists/groups/crews/labels had a run like the Clan did between ‘93 and ‘97. Even without selling the most records or doing most of what’s required of an artist to have today, they had a stronghold on hip-hop.

However… I feel like sometimes, their impact on the game has been somewhat underrated. Sure, they get all the praise and accolade in the world by their mega-devoted diehard fans. But Wu-Tang stans ain’t nuthin’ ta fuck wit’, and some of those dudes can even convince themselves to listen to Masta Killa for an hour straight, so that doesn’t count. By people outside of that contingent, it’s been swept under the rug just how many things Wu brought to the table during their peak. I don’t know if muh’fukkas conveniently forgot or have neglected to recognize it, but let’s talk about it…

Granted, Wu’s impact was more on the East Coast than anywhere else, but it was every bit as strong as Death Row’s was on the West around the same time. One thing that stood out about them is that they were bigger than just a great group- they were a group comprised of members that stood on their own and dropped their own solo projects. In addition to attacking with 36 Chambers, the solo albums that followed were all must-haves. From Method Man to Ol’ Dirty Bastard to Raekwon to GZA to Ghostface, anyone who was a fan of Wu-Tang made it a point to catch all of those albums when they dropped. Shit was like collecting action figures.

Wu-Tang established a level of brand loyalty with their fans that not many groups had before them. Even a group like Public Enemy at their height couldn’t get people to cop Terminator X or Sister Souljah’s shit. But the Clan was giving instant credibility to anything that came out with that “W” bird symbol attached to it. On top of the group and the individual projects, they even had a “B-team” that were able to gain their own listeners strictly by affiliation. Wu fans would at least give artists like Sunz of Man, Shyheim, and Killarmy a listen on the strength of being Wu.

Influence-wise, there’s a lot of artists who might not admit it today, but Wu had (in RZA’s words) “everybody changin’ their muh’fukkin’ name”. When Raekwon’s Cuban Linx dropped, and every member busted out with the “a.k.a.” shit, I can’t count how many people followed up for the next two years or so with some kinda alias. Nas was “Escobar”, 2Pac was “Makaveli”, Biggie was pushin’ the “Frank White” shit hard, AZ became “Sosa”, Fat Joe was “Don Cartagena”… it was a trend that everybody hopped on. Anytime an album features a skit that told rappers to stop bitin’ their shit, and rappers continued to bite their shit, that speaks for itself.

And it wasn’t just the artists in the biz. There were just as many aspiring artists who were damn near practicing copyright infringement. I know from my own encounters, B-More had more than a fair share of groups with 7-10 members that all had aliases. They’d always have these obviously Wu-inspired names like the “Disciple Assassins” or some shit, and hook-less songs with titles like “Left Ventricle” and whatnot. If it was like that here, I can only imagine how it must have been in New York and the surrounding areas. Just like all the other greats had their share of descendants, Wu-Tang definitely had theirs.

If it seems like I’m almost ready to credit these niggas with starting civilization, I ain’t goin’ that far. I just acknowledge that there’s a lot of things that weren’t goin’ on before Wu-Tang did it. RZA’s production at times stretched the guidelines of what could be sampled, while everyone else was either sticking to jazz or funk records. Then there’s the terms like “cream”, which may have been an everyday word around their way, but became an everyday word in hip-hop after “C.R.E.A.M.” dropped. All that “doin’ deals with Dominicans/eatin’ pasta with the Sicilians/coke connects in Bolivia” shit niggas were rappin’ about? Yeah, them. I could even talk about how Meth had dudes wearing gold fangs and wristbands and motorcycle gloves and shit, but y’all get the point.

With Wu-Tang, it was mostly all about the music. But inside of that music, and all the things that came with it, the whole game got affected in one way or another. There’s a lot of crews to this day who talk about having a “movement”, but theirs was shown and proven without the propaganda and slogans. That “Wu-Tang Killa Bees, we on a swarm” shit wasn’t just a slick-sounding catchphrase, it actually went down like that.

Method Man “Method Man (Remix)” (1993)

Ol’ Dirty Bastard feat. Method Man & Raekwon “Raw Hide” (1995)

GZA feat. D’Angelo & Inspectah Deck “Cold World (Remix)” (1995)

Raekwon feat. Ghostface Killah “Rainy Dayz (Remix)” (1996)

Ghostface Killah feat. Raekwon, U-God, Masta Killa, & Cappadonna “Winter Warz” (1996)

Cappadonna “‘97 Mentality” (1997)

The RZA “Tragedy” (1997)

Wu-Tang Clan “Triumph” (1997)

-D!

Scream: looking back, this film is totally bizarre. A horror movie about ‘teens’ being aware that they’re living out a stereotypical slasher scenario. Aimed at fans of the genre it’s full of clichés and a classic horror references; both explicitly and through visual homage. Although it’s very gory the humor and self-referencing irony ruins the potential scariness of the film. The high level of ‘borrowed’ content also detracts from how unique the concept of scream was. Ultimately, it became the phenomenon that kick-started a new wave of horror films (& parodies) and although it’s a bit self-indulgent, I take my hat off to Craven for continually pushing the envelope. It also left me wondering what ever happened to the perky Neve Campbell and Rose McGowan? An instant classic that’s entertaining, original, quotable and is ingrained in so many peoples brains all these years on. There’s word on Scream 4 coming out next year, better dig out your box set! Do you like scary movies?

Score 7/10

Really, this second one has me anxious for trailer 3.

Style Network TV Host, Danielle Fishel, who writes and stars on the hit show, “The Dish” is said to be casted in a Hip Hop movie  to be a mix of “Pink Floyd’s “The Wall” and cult classic, “V for Vendetta”. The movie written and produced by Universal Recording Artist, Michael Barber, is now being bought by an independent film company. Lions Gate Films will distribute the film, and Universal Records will distribute the musical album.

Danielle, who is most famous for her role as teen actor, Tapanga, in the TGIF show, “Boy Meets World”. Is said to have played a pivotal role in the writing of her character for the film. Ms. Fishel writes for three TV shows.

Michael Barber, who signed to Universal Records last April, has just recently released his second installment of his Motion Picture Mayhem series. The lead single “Swayzzed” featuring pop singer, Akon is currently a top ten song on 24 different music play list. Michael’s video for the second single, “World on a String” is schedule to air on the show, “The Dish”  November 14th.

Michael, who met Danielle at a Breast Cancer Awareness Event in Dallas, Texas was very intrigued with how smart Danielle was, and “How she really go behind the character and idea of this movie”.

Also scheduled to appear in the movie is Wu Tang Clan member, Ghostface.