An Evening With Just Blaze and the Blazettes

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Before I begin let me say two things: first, I think DJing takes an immense amount of dexterity, reflex and an intangible sense of creating natural, yet unique, segues between records.  Second, I think Just Blaze is an amazing producer and an amazing DJ.  In fact, with regards to the second point, Blaze’s collision of buzzing synths and manipulated soul samples were the primary reason for scoping Just Blaze’s DJ set at Oakland’s New Parrish.  His time spent as Roc-A-Fella’s unofficial in-house producer paved the way for other superstar producers, like Kanye West and Pharrell, whose soundscapes would often intercept the spotlight from their lyrical counterparts.  Just Blaze is an awesome producer.  Bangers like Jay-Z’s “Girls, Girls, Girls” and Dipset’s brilliantly subversive “Built This City” were often the panache highlights on albums.  The boasts of seemingly infinite wealth from the rappers on Roc-A-Fella’s roster, needed to be housed in belletristic and ornamental beats.  Just Blaze was the master architect behind these structures.

Also feeding the enigma I was paying to see was the fact that Blaze used to wear a diamond-encrusted Playstation controller. He also took the nickname Megatron (the Decepticons’ nefarious leader) long before the Detroit Lions star wideout.  Finally, JB often gloated about his massive sneaker-collections’ balance between quality and quantity.

Along with being aesthetically pleasing, Just Blaze producing a track was essentially integrating a “brand” into the song.  Blaze’s ethos is one that philosophically suggests that you can spend Friday night playing Street Fighter, watching ‘80s-babies cartoons and sucking down junk food. Then, come Saturday, you can rub elbows with exotic-models, ethnicities elusive, while wearing colorful sneakers (because loafers are for squares).  Of course this brand is suggesting a lifestyle which is essentially bullshit and unobtainable but it’s fun to hypothesize, and, frankly, that’s always been the beauty of rap music (or hair metal for that matter).  These hypothetical ideas were really what I wanted to be conveyed through Blaze’s 1s & 2s: Transforming robots, video games, fast-paced, aggressive, geeky rap music.

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Clipse, Cam & Cord’

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If you don’t know, now you know, that video director, Rik Cordero has created gritty, yet, immensely artistic visuals for artists like Nas, The Roots, Wale, Busta Rhymes and many more. This Monday, MTV unveils the video for the highly-hyped collaboration between Clipse and Cam’ron “Popular Demand.” Expect some of the best cocaine metaphors colliding with some of the nastiest sex metaphors. Also, scope my story on Cordero, which I wrote about a year ago.

P.S. I’m not the PC-police but is it a little bit risky to put a plate of fried chicken in the background? Am I missing something? I realize both Popeye’s Chicken and the song title, “Popular Demand” begin with P-o-p…is that it?

New Cam’ron Has Surfaced

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Cam’ron is one of rap music’s true enigmas; he’s spewed scorching nihilism that has pissed in the face of women, Chinese people, women, gays and more women. And, while it’s easy to get distracted by lines like “put your meat on my shishkabob” and his eccentric pink and purple wardrobes, the guy’s actually a dope rapper (he was originally Notorious B.IG.’s protoge). Every Cam’ron album is chalked full of one-liners that will most likely disgust you but simultaneously show Killa Cam’s prowess.

Because he has a knack for elusively slipping out of sight for extended periods of time, any tracks that surface are drooled upon. The Fader recently came upon several new songs from his forthcoming Gangsta Grillz project. Scope them here. He also introduces several of his Harlem chronies Byrd Lady and Vado.

Below is my favorite Cam’ron song. The beat has always intrigued me. Is that a hyena laugh in the background?