MTV News |
- 'American Idol' Ladies Night: Didi Benami And Crystal Bowersox Shine
- Mary J. Blige Dishes On Her 'Crazy' Led Zeppelin Covers
- Lil Wayne: A Closer Look At His First Day Behind Bars
- Jay Electronica Disguised His Voice To Avoid Hip-Hop Prejudice
- The White Stripes' 'Under Great White Northern Lights': Jack White Invades Canada, Because He Can!
- The Notorious B.I.G.'s MTV Interviews: A Look Back
- Lil Wayne Fans Say They Already Miss Jailed MC
- Crystal Bowersox's 'Give Me One Reason' Dominates 'American Idol'
- Notorious B.I.G. And Tupac's Famous Freestyle Remembered By Mister Cee
- B.G. On Lil Wayne's Jail Time: 'I Don't Know How He's Gonna Do It'
| 'American Idol' Ladies Night: Didi Benami And Crystal Bowersox Shine Posted: 09 Mar 2010 07:18 AM PST Paige Miles and Katie Stevens, however, might not have done enough to make the top 12.
With last week's medical drama behind them, the top eight ladies took the "American Idol" stage Tuesday night (March 9) in the final performance before this year's top 12 is chosen. In what is becoming an Adam Lambert-like bit of déjà vu, leading contender Crystal Bowersox nailed it again, while Siobhan Magnus, Lacey Brown and Didi Benami had solid enough nights to likely make it to next week. First up, singing Kelly Clarkson's "Breakaway," was 17-year-old Katie Stevens, the high-schooler who smartly chose a contemporary artist to combat complaints from the judges that she was coming off as too old. The performance started off shaky with some flat spots as Stevens struggled to find the right notes, seemingly singing in too low a key. When she reached the midsection, Stevens began working the stage a bit and singing in a higher register that was more suited to her voice.
Randy Jackson wasn't loving it, saying the tune by the first "Idol" winner was too big for the teen's voice and making the dreaded karaoke comparison. Ellen was excited that Katie took their notes and went young, praising her voice, though she felt Stevens didn't sell the lyrics. "I think what's going on this year is we have people who really know themselves and people who don't," said Kara DioGuardi, who told Stevens she had a great radio voice. "I don't think you know who you are yet as an artist." To her credit, Cowell said, Katie has gotten a lot of confusing advice and taken it to heart, but like Kara, he said Stevens just doesn't know what kind of singer she wants to be yet. Though he gave her a 10-out-of-10 for trying, he called the rendition "gloomy." Going retro, Siobhan Magnus went with a song she heard her dad sing growing up, the Animals' 1964 hit "House of the Rising Sun." Starting out with an almost operatic a cappella run, Magnus put rich emotion into the rootsy lament, singing it like a folk/blues anthem and proving again that she's a real contender for the title. "You are why I love music, because it's supposed to move you, it's supposed to do what you just did to me," Ellen said. "I was captivated. I loved what you did with the song. You made it current. You're spectacular." Randy applauded the risks Magnus takes every week, even praising her for not taking the judges' advice, and Kara was way into the a cappella bit at the beginning. "You are so unique and different," she said, marveling at how surprised she is every week by Magnus' choices. Simon, however, wasn't feeling it. From the pre-interview where she talked about her dad to her kimono-like outfit and the performance, "It was all a bit weird" for Simon, who felt she didn't really do anything interesting with the song. "I was under-impressed. I thought you were so much better where you had that really cool moment. There was no moment in that. It was all a bit ploddy, a bit boring." Getting back into her singer/songwriter sweet spot, Lacey Brown took on Brandi Carlile's "The Story," a country-ish ballad that suited her breathy voice and high, clear falsetto. Though he didn't love the song, Cowell said she sang it very, very well and felt he could hear it on the radio right now. He also noted that she worked the cameras very well but still felt like he hadn't heard Brown's definitive performance yet and that she hasn't found the song that's going to make her stand out. With a standout performance of Coldplay last week, Katelyn Epperly went back in time again for Carole King's "I Feel the Earth Move," standing a bit awkwardly at a keyboard and giving the song a generic disco-boogie feel that at points still managed to highlight her scratchy, soulful voice. DeGeneres wasn't sure it was the right song choice to help get Epperly into the top 12, while Kara went a step further and said it didn't really feel like Katelyn came to compete but was just going through the motions. "It just wasn't enough," she said. The hair and the Wurlitzer groove worked for Randy, but he didn't think Epperly had a connection or vibe with the song. Simon also liked her golden crown of curls, but said, "On the downside, it was kind of like request night on a Friday night at a restaurant if you were working there." Epperly explained she chose the tune to avoid repeat criticism from Simon about being corny. "On what is arguably the most important night of your career, you chose quite a simple song, didn't do anything special with it, and I think other people look as if they're trying harder. So this may have been a mistake for you tonight." Picking up her guitar for the first time since Hollywood, Didi Benami went torchy with an Adele-like folky ramble through Fleetwood Mac's "Rhiannon," wrapping her supple voice around the song's yearning lyrics and coming across as earnest and focused. For Randy, it was way better than last week, even though it didn't have a "wow" moment, and Ellen loved how Benami came back from being trashed last week with confidence and grace. For Kara, it was simply one of her favorite moments of the season so far and, in a rarity, Cowell agreed, saying, it was "head and shoulders above anything else we've heard tonight. For the first time, certainly since these live shows, you proved that you're an artist, and I think, Randy, I disagree, she did have a 'wow' moment and the wow moment was the whole performance." The news was not so great for Paige Miles, who went with one of Michael Jackson's favorite songs, the weepy ballad "Smile," popularized by silent-film icon Charlie Chaplin. Miles never quite found her groove, as her quavering voice struggled to keep up with the song's tricky arrangement. The pained look on Ellen's face said it all, as Randy called the tune too big for her. "That song is supposed to be inspiring, it's supposed to be uplifting, and it was just sad and heavy ... and you have such a great personality, and we didn't get to see it, and we keep saying over and over, this is the time to shine. This is the time to show us who you are, and I don't think that was the right song for you to choose," DeGeneres said. From the horrible choice of song to the awful 1974 Holiday Inn lounge arrangement, Cowell said it was probably the end of the road for a good singer who just doesn't seem to know what kind of artist she wants to be. Miles, a huge fan of the Jackson version, said she simply couldn't hold her emotions in check during the performance. Cementing her status as the one to beat, Crystal Bowersox strapped on an electric guitar for Tracy Chapman's "Give Me One Reason," reaching deep for a glimpse of the bluesy grit she learned in her hometown of Chicago. Bowersox imbued the song with just the right amount of hip-swaying sass and country swagger, drawing the biggest ovation of the night. "You are 1 million, billion percent going to be in the top 12 next week," Cowell promised, noting that Bowersox has clearly gained confidence during her run on the show and again dubbing her the one to beat. Ellen's run out of adjectives to describe Bowersox's talent, calling it the performance of the night. "This is what we talk about when people know who they are," Kara said, pointing out that the song choice was perfect because it's exactly what she could heard Crystal doing on her debut album. "Every time you step up there, it's easy for you, because ... you just know what to do." Lilly Scott closed the show with Patsy Cline's "I Fall to Pieces," giving the country classic a Hawaiian spin while strumming an electric mandolin and wrapping her kewpie-doll voice around the song's sensual lyrics. It was all good for Randy, who said Scott was in the zone, while DioGuardi marveled at how she found a way to make a 50-year-old song sound contemporary. "I think you're very brave for choosing that song on a night like this," Cowell said, before knocking Scott for lacking the 'wow' factor necessary to close the night with a bang. "It was cute, it was quirky, it plays into what you're all about, but that could have been a risky thing to do." The top eight men are up next Wednesday night, and the final four semifinalists will go home Thursday. What did you think of the women's performances? Who killed it? Who blew it? Who is definitely making it to the top 12? Let us know by leaving your comments below. Get your "Idol" fix on MTV News' "American Idol" page, where you'll find all the latest news, interviews and opinions. Related Photos |
| Mary J. Blige Dishes On Her 'Crazy' Led Zeppelin Covers Posted: 10 Mar 2010 03:52 AM PST 'I've listened to their music since I was a child,' says the R&B diva, who recorded 'Stairway to Heaven' and 'Whole Lotta Love.'
You wouldn't peg Mary J Blige as the black-light-and-tapestry sort, but, as has become readily apparent in recent weeks, she absolutely loves Led Zeppelin. In early February, reports began circulating that Blige had re-recorded Zeppelin's classic "Stairway to Heaven," working with Travis Barker, "American Idol" judge Randy Jackson and guitarist Steve Vai on the track, which is slated to appear on the international reissue of her Stronger With Each Tear album, due Monday.
But after she had recorded "Stairway," Blige continued to get the Led out, covering another Zeppelin classic — the thunderous "Whole Lotta Love" — for the album too. And when MTV News caught up with her on the Black Women in Hollywood red carpet, she told us all about channeling her inner Robert Plant for the tracks, a process that came much easier than you'd probably imagine. "I did Led Zeppelin's 'Stairway to Heaven' and 'Whole Lotta Love' — it's crazy," she said. "I am a Led Zeppelin fan. I'm not going to say I've been to their concerts, but I've listened to their music since I was a child, and it's always moved me, especially 'Stairway to Heaven,' and 'Whole Lotta Love' is just fun." Blige also said she recorded another new song — a "club record" called "I Can't Wait" — for the re-release. And while it's only slated to hit shelves outside the U.S., she hopes her fans will get a chance to hear all the new songs pretty soon. "I want y'all to hear it," she laughed. Related Artists |
| Lil Wayne: A Closer Look At His First Day Behind Bars Posted: 09 Mar 2010 04:31 AM PST 'The best thing to do in the first 24 hours is to keep your mouth shut as much as possible,' one expert says.
Lil Wayne has been booked and processed into the Eric M. Taylor Center on Rikers Island to begin his one-year jail sentence. According to most experts, the first 24 hours are the most crucial to ensuring a successful incarceration. Dr. Jefferey Ian Ross, a faculty member at the University of Baltimore's Criminology Division, advises that the superstar MC keep to himself as he gets adjusted to his new surroundings. "Most of the time, the best thing to do in the first 24 hours is to keep your mouth shut as much as possible," Ross told MTV News. "Keep your eyes open and basically do as you're told by the correction officers. Essentially, you shouldn't look at other inmates in the eye, 'cause to a lot of people, that may be considered an aggressive type of action. Also, don't look at their property, because they may feel like that's aggressive as well and that you want their property." Ross, who wrote the book "Behind Bars: Surviving Prison" along with Stephen C. Richards, explained that most inmates are housed with similar offenders, but there are instances were prisoners get bored and lash out. For these reasons, it's important for someone like Lil Wayne, a celebrity, to maintain as normal of a disposition as he can. "Say 'yes sir,' 'no sir,' no cutting in line," Ross said. "Don't act like you have special privileges." Unlike NFL star-turned-inmate Plaxico Burress, Lil Wayne shunned a jail coach or a sentencing specialist. Ross said that decision put Wayne at a disadvantage, because some benefits include assistance in building a network within the prison facilities. Sentencing coaches, in some cases, are previously jailed people who can connect incoming inmates with those they can trust inside. According to Ross, Lil Wayne will eventually have to venture out from his own connections. But in the interim, Ross suggested the old adage that prisoners need to just "do their time." "Keep your mouth shut, keep your eyes open, be respectful — not only to correction officers, but to inmates," he said. "And don't be a snitch and don't complain about the housing accommodations, follow those rules and they call that 'do your own time.' "It's not easy," Ross added. "Criminals don't face a cakewalk, [regardless of the length of their sentence]. Their liberties and choices are taken away from them, and they're basically at the will of prison." Related Videos Related Photos Related Artists |
| Jay Electronica Disguised His Voice To Avoid Hip-Hop Prejudice Posted: 10 Mar 2010 03:52 AM PST 'I was embarrassed from being from the South,' he tells Mixtape Daily.
The O.D.: A Mixtape Daily Exclusive Hearing the commanding voice of Jay Electronica on the microphone, one probably couldn't detect his New Orleans roots. Years ago, like many MCs from the South, Electronica experienced some hip-hop prejudice when people heard the Southern twang in his voice — so he started disguising it. "I would go somewhere — I would go to an open mic and when they heard my accent and not understand what I'm saying, it would just be a door-closer," Jay told MTV UK on a recent trip to Europe. "I made a point in being able to speak in a certain way that I wouldn't get the door closed on me. All of these things make me who I am now, you know.
"I have to admit, you know, a few years ago, I wouldn't have admitted this — or maybe I wouldn't have been conscious of it in a way to admit or be embarrassed — but in my earlier years from when I first left home, I was embarrassed from being from the South," he added. "Not in general, but as a rapper because all of the negative things that people in the States put on the South. Like, 'The South, they're slow. They move slow, they think slow, they're less intelligent. They're less exposed, they're underexposed, they're more sheltered.' So as a rapper — I've been rapping since I was 10 years old — I always had a feeling of 'I'm gonna show you' because we down here doing it. Not that I was embarrassed necessarily — I don't know if that's the correct word — but I know that when I left home, if someone had heard my accent and heard where I was from, the door was immediately closed." Electronica said he had to adapt and become a chameleon on the mic. While trying to break into the music industry, he moved between different cities such as New York, Atlanta and Chicago. "I kind of stiff-armed my roots for a couple of years," the Brooklyn transplant continued of his journey. "Then my sister told me one day, 'You know, you act like you're ashamed of being from home.' It was like a reality check. I checked myself. I mean, this is years ago, but now I'm at a place where I understand where I'm from. I understand my culture and I'm more proud to be from there than associate with somewhere else." Despite trying to hide his roots early on, Jay thinks back to the early days of New Orleans hip-hop with a smile. "I'm from New Orleans and there's a certain type of music," he explained. "I come from a bounce culture — bounce music. You been to New Orleans a couple times, you probably heard of the bounce music. It's a part of me; I grew up with bounce music. It's call-and-response, it's trance, it's tribal, it's communal, it's African, it's based in Africa ... the energy of it." For other artists featured in Mixtape Daily, check out Mixtape Daily Headlines. Related Videos |
| The White Stripes' 'Under Great White Northern Lights': Jack White Invades Canada, Because He Can! Posted: 10 Mar 2010 03:52 AM PST Frontman's workmanlike attitude is on full display in the rock doc, in Bigger Than the Sound.
In any other lifetime, Jack White would have been a woodblock printer, a pirate, a missionary, a wheelwright, a buckskin-clad frontiersman, a statesman, a Union soldier, a sharecropping bluesman, a cigar-chomping newsman, an oil baron, an electrical engineer or one of the Wright Brothers. He would have worked very hard for a very long time with very little recognition, would have died for duty and country, would have bested foes with guile and determination, and he would have done all of it simply because that's what you were supposed to. Instead, he's trapped in this lousy century, where he's forced to toil away as one of the most enigmatic, misunderstood musicians on the planet. He spends an exorbitant amount of time on an extraordinary number of projects, usually working within a preconceived set of conditions, for reasons that are usually only apparent to him. He suffers the slings and arrows of his critics not because he wants to, but because he has to. It's just part of the job. After all, a wheelwright wouldn't complain, would he?
And all of this isn't meant to serve as some pseudo-psychological profile on White. Rather, it's about all I could think of after watching the White Stripes' "Under Great White Northern Lights," a documentary that is very much about doing things the hard way. Filmed in 2007, it follows the Stripes on their ultra-ambitious Canadian tour, on which they decided to play at least one show in every province and territory — 13 in all — mostly because, as White puts it, "Canada is the only country that's ever turned us away." This is no easy task: Canada is the world's second-largest country (thanks, Wikipedia!), and getting to places like Yellowknife and Iqaluit is about as difficult as you'd imagine. And not content to simply play straightforward, standing-room-only shows in each city, White also decided that the Stripes would be playing "secret" shows during the day, in places like a bowling alley in Saskatoon, a pool hall in Halifax and aboard a boat in Charlottetown (that's on Prince Edward Island, FYI). Along for the ride is the band's shamanic road crew, who White maintains must always be dressed in matching black suits, red ties and bowler hats. And a film crew, that, based on a few glimpses of cameramen in the background of shots, was also required to adhere to the same dress code. In keeping with Stripes mythology, everything involved in the film also incorporates the band's famous three-color palette (red, white and, the latest addition, black), which means red-and-white propeller planes, amplifiers, guitars, drums and outfits, even during travel days. And, in perhaps the most striking example, the film itself, which is presented almost exclusively — something like 98 percent — in those three colors. Backstage moments are appropriately black and white, onstage performances are a fiery red. You don't notice it, but it's there. Because it has to be. And what is most amazing is that White didn't have to do any of this. Something inside him drives him to operate this way; makes him don a traditional tartan kilt for a ceremony in Halifax (and then wear it onstage that night), meet with Inuit elders in Iqaluit to get their blessing before a show or grind out songs on wholly inadequate — and, in some cases, downright antiquated — instruments. He sums it up best in one of the most compelling "Lights" scenes: an interview segment in which he attempts to explain himself and his ethos. "When I used to work as an upholsterer, it wasn't always fun. ... Sometimes, it was just work, and you do it because you're supposed to. You force yourself to work," he sighed. "I like to do things that make it really hard on myself. ... I'm constantly fighting all these tiny little things, because all of those little things create tension." And that tension gives birth to great things. Witness the Stripes' entire discography, a workmanlike collection of songs built around two people and something like three instruments (occasionally, there's a piano). Or their rise to fame, which was anything but meteoric, built over the course of a decade's worth of blisters and bruises. Or this film, which most certainly ranks as one of the best rock docs in recent memory, if not of all time. The onstage moments are incendiary — standouts include a soulful and surging take on "Jolene" in Iqaluit and an undying version of "I'm Slowly Turning Into You" taken from their Yellowknife performance — and the backstage stuff is gripping, particularly the last scene, filmed after their 10th anniversary show in Nova Scotia. While I don't want to give too much away, it manages to raise goose bumps, a masterful presentation of unspoken emotions and weighty subtext. But mostly, "Lights" serves as testament to the Charles Kane-ian will of Jack White himself (no wonder "Citizen Kane" is one of his favorites) and the greatness that determination can create in its wake. It's a love letter to his unwavering dedication to doing things the hard way and his uncompromising, Old World work ethic. In fact, the only time he complains about anything during the entire film is when he learns he's scheduled to do an interview with The Associated Press, and even then, he still ends up doing it. Because he has to. It's pathological. Psychological. But it is very much him. After all, a wheelwright wouldn't complain, would he? Questions? Concerns? Hit me up at BTTS@MTVStaff.com. |
| The Notorious B.I.G.'s MTV Interviews: A Look Back Posted: 09 Mar 2010 08:40 AM PST Thirteen years after B.I.G.'s death, we look back on his life as hip-hop's brightest star.
Tuesday (March 9) is a day not to mourn, but to celebrate the life and legacy of one of music's most gifted artists: the Notorious B.I.G. His voice, his flow, his rhymes, his swag — whatever you wanted, B.I.G. had it to offer. He could tell stories, battle it out, ignite the party or kick game to the ladies. Christopher Wallace was made for rap.
We didn't get much time with Biggie. He put out his first album in 1994, and he died in early 1997 before the release of his second LP (Life After Death). Due to his work ethic, however, we have a catalog of timeless music that is often imitated, never duplicated. As mesmerizing as a Biggie song was, part of his allure as an artist was his charming personality. He's a rare breed that could capture the wit and magnetism in his offstage persona and bring it to his music. Here, we are taking you back into our vaults to relive Biggie's best MTV interviews. He was candid and thoughtful as he spoke about the inspiration for his music, his stage performance and much more. On Tuesday night, Diddy is going to celebrate the life of his friend and marquee artist at Brooklyn club the Lab. "We're trying to make March 9th a national hip-hop holiday," Diddy told MTV News last week. "It already is, on the low. MTV is going to have a big special. We're doing a party. I'm going to Brooklyn. It's gonna be the first time I'm throwing a party in Brooklyn. I'm from Harlem. Everybody in Harlem knows you don't usually go over the bridge to Brooklyn. It's a big, big deal. Me being such a Harlemite, I'm going over there to pay respect to my man. It's gonna be a big party in Brooklyn with Mister Cee. It's a big day. It's a day to celebrate his life. It's a day to celebrate the life of the man. We done did the movie, the records. It's something that, I guess, as a label we're obsessed with: making sure people don't forget about this man in a positive way. March 9 is Biggie Day. ... Bump Biggie all day, feel good and positive." On Tuesday, MTV Jams will be playing videos by B.I.G. and a slew of other fallen musical soldiers, such as Michael Jackson, Tupac Shakur, Aaliyah, Big Pun, the Lost Boyz and their deceased member Freaky Tah and Camoflauge. This week's "Sucker Free Sunday" on MTV2 is running a special tribute to Biggie, hosted by Diddy. Related Videos Related Photos Related Artists |
| Lil Wayne Fans Say They Already Miss Jailed MC Posted: 08 Mar 2010 11:44 PM PST 'I hope he gets out early!' one MTV News reader says as Wayne begins prison term.
Shortly after Lil Wayne turned himself in to serve his yearlong prison sentence, the superstar MC's absence could be felt, both online — where Weezy had been busy tweeting and posting videos in recent weeks — and on the street.
"It's messed up looking at his situation, being a role model," Wince Aubrey, 32, told MTV News. "But he got caught red-handed, so he's being a man and owning up to his responsibility. He's gonna be missed." Lil Wayne's sentencing had been delayed a number of times, first for dental surgery he required and then once again after a fire occurred at the courthouse last week. But on Monday, the rapper was formally sentenced to one year in prison after pleading guilty to attempted gun possession. The New Orleans native will now call Rikers Island his home at least until November, when he could be released after eight months for serving his jail stint with good behavior. "Wow, that really sucks," MTV.com reader Courtney wrote. "I think that this is so stupid. ... He is a good artist and donates a lot of money to charities. I hope he gets out early!!!" "DAMN! So, finally he's gone," Superman commented online. "Stay strong, Weezy. Best rapper alive." But not all fans were saddened by the departure of the nearly ubiquitous hip-hop star. George Asatrian, 21, argued that Lil Wayne won't be missed too much. "Hip-hop won't be affected too much by him going to jail," he told MTV News. "Because he probably has so much music to last, and I think he has enough people under him who will hold him down until he comes back." Brooklynite Angel Velasquez said that even though the rapper's sentence is short, it will still be challenging. But he cautioned about too much hype surrounding Lil Wayne's imprisonment. "It's not all about Weezy," he said. "There's a lot more entertainers out there." What do you think about Lil Wayne's jail time? Will you miss the rapper while he's out of the public eye? Let us know below! Related Videos Related Photos Related Artists |
| Crystal Bowersox's 'Give Me One Reason' Dominates 'American Idol' Posted: 09 Mar 2010 07:25 AM PST 'Right now, you are the one everyone has to beat,' Simon says after Tracy Chapman cover.
If her straight-outta-the-hospital performance on last week's "American Idol" established Crystal Bowersox as the unlikely front-runner, well, her Tuesday night (March 9) performance definitely put some distance between her and the rest of the field. Miles of it. Bowersox roared though a version of Tracy Chapman's "Give Me One Reason," armed with an electric guitar and a newfound sense of confidence — perhaps influenced by "Idol" judge Simon Cowell's praise of her during an appearance on Monday night's "The Tonight Show With Jay Leno." She positively blew away the competition, earned a much-deserved standing ovation and absolutely wowed the judges.
"I need a new adjective for you; I'm sick and tired of saying you're amazing," Ellen DeGeneres enthused. "It was the best performance of the night." "Now I'm starting to see what the record is you're making," Kara DioGuardi said, praising Bowersox's selection of the song. "And that's when I get really excited." Not surprisingly, however, the biggest praise came from Cowell, who complimented her brand-new swagger and all but gave her the season-nine crown. "You are 1 million, billion percent going to be in the top 12 next week," he said. "What you've got now is confidence, and I can see that, and you're starting to believe in yourself. Right now, you are the one everyone has to beat, I'm telling you. It's yours to lose." The song, a mid-'90s staple and Chapman's biggest U.S. hit to date, allowed Bowersox to show off both her big, soulful vocals and scratchy, worn-in style of guitar playing and new confidence — eyes closed, head back, smile on her face after a particularly tight vocal run. But as soon as she was finished performing it, the old Crystal returned, and she decided to sit down atop her amp to hear the judges' verdicts. Luckily, there was no reason for her to take a seat (though it was kind of funny to see Ryan Seacrest squat down on that amp), and as each member of the judges' table rained praise upon on her, she thanked them and laughed. Get your "Idol" fix on MTV News' "American Idol" page, where you'll find all the latest news, interviews and opinions. Related Photos |
| Notorious B.I.G. And Tupac's Famous Freestyle Remembered By Mister Cee Posted: 09 Mar 2010 04:53 AM PST DJ looks back on 'one of the illest live hip-hop performances of all time.'
One of the greatest freestyles in hip-hop history took place at, of all places, a Patti LaBelle concert. The Notorious B.I.G. and Tupac Shakur came onstage together in New York for a legendary performance. DJ Mister Cee tells the story as if it were yesterday. "That was live at Madison Square Garden," Cee said in Brooklyn, minutes from where Biggie grew up in Bedford-Stuyvesant. "It was a concert me and [Big Daddy] Kane did for the Budweiser Superfest back in 1993 at Madison Square Garden. We were the only rap group on the show. I think Patti LaBelle was on the show, Tony! Toni! Toné!. We only had 10 minutes. Being it's New York, we wanted to do something extra crazy for our show. So we asked Big to come out. Kane told me to reach out to Big.
"Big had the record 'Party and Bullsh--' out from the 'Who's the Man?' soundtrack," Cee added. "He was starting to bubble. When we got to the Garden, Tupac was there anyway. The movie 'Poetic Justice' just came out the week before. Everybody was already hype off 'Pac, because the 'Poetic Justice' movie came out. [The freestyle] just came about backstage. 'Pac, Big, the Rugged Child Shyheim. We just brought all of them onstage, and the magic happened. I recorded that on a cassette inside Madison Square Garden. So the whole 'Where Brooklyn at?' To this day, when they hear that, they know [that Madison Square Garden show] is where that comes from. I recorded that on cassette, then it eventually got transferred to vinyl and became probably one of the illest live hip-hop performances of all time." Big Daddy Kane took the mic himself during that cipher, as did Kane's dancer Scoob Lover. Tuesday (March 9) marked the 13th anniversary of the death of the Notorious B.I.G. It is a day for his fans to celebrate his life and legacy. Related Artists |
| B.G. On Lil Wayne's Jail Time: 'I Don't Know How He's Gonna Do It' Posted: 09 Mar 2010 02:53 AM PST Hot Boys rapper also addresses Turk's imprisonment: 'He's handling it like a gangsta.'
Gone but never forgotten. Lil Wayne has been in prison for 24 hours, and the reactions about his sentence keep pouring in. Fans told MTV News that they already miss the New Orleans rhyme hero, and stars such as LeBron James, Bun B, Young Jeezy and the Game have all lamented the loss of their friend and a talented performer. Wayne's former partner in the Hot Boys, B.G., also shared his opinion on the situation.
"I mean, I been there, done that," said B.G., who last partied with Wayne on Super Bowl Sunday. "So, you know, you gotta take your lick. Me, personally, I would recommend that they don't put him in general population. But then again, I don't recommend putting them on 23 and 1 [protective custody]. I don't know how he gonna do it." The New York Daily News reported that Weezy will be serving his time in general population. When asked about another incarcerated former Hot Boy, Turk, B.G. said he is staying tough while inside. "I talk to Turk all the time," B.G. said. "He's been down almost six years. He took 10 years on the gun charge. They dropped the charges of attempted murder on a police officer because it was friendly fire. They have a civil lawsuit with the police [officer's family]. He's supposed to be on his way to the halfway house. "Turk's a soldier," B.G. added. "He's handling it like a gangsta. He's got smarter, wiser, he's been reading. Six years in the feds ... his chess game is on point. He's been eating. He got about 10 albums [written]. He's ready." B.G. has his own firearm charge he has to contend with. He was arrested earlier this year on weapons charges. "I know what comes behind what I do," B.G. told MTV News in November. "I know the consequences and repercussions of what comes behind it. Where I'm from, it's just like, that first draw is a mutha----a, the bullets raining out the sky. It's like that for real. It's a murder capital. They dropping like flies. I stay in the suburbs. All my neighbors are white and football players and doctors and dentists. I lay my head there, but when I get up in the morning, I gotta go to the projects and get some grits and cheese and sausage and toast. It's just something about that 'hood. I wanna post up and sit on the porch and get my hair braided. I'm just 'hood. The same way I came in the game is the same way I'm going out. I just can't see it no other way. I don't care if I sell 10 million, 20 million, 30 million." Related Videos Related Photos Related Artists |
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