Eurovision 2022: Running speculations on the 6 Nations Jury Results that was cancelled in the last minute

TVR’s specifications regarding the situation created by the cancellation of the result of the Romanian jury vote by the organizers of Eurovision: Romanian Television has fully committed to participating in Eurovision 2022, paying the participation fee and preparing, together with the WRS team, a project that enjoyed the public’s appreciation. However, we were surprised to find that the result of the Romanian jury’s vote was not taken into the final ranking, with the organizers assigning another set of scores to the competitors in the final, on behalf of our country’s jury. We specify that the jury in Romania decided to grant a maximum score to the representatives of Moldova” (Dan Turturica, 15.05.2022).

What was special during the Eurovision 2022 yesterday was the suddenly all in the power of the Executive Supervisor Martin Österdahl. There was several of nations that this happened too. As the hosts and Executive Supervisor said was because of “lack of contact” and “loss of signal with”. While there is now claims from Romania and from the presenter of Azerbaijan Narmin Salmanova.

The latter stated this:

I supposed to announce 12 points for Ukraine, but for some reasons EBU decided to declare their ‘own’ results for Azerbaijani jury & didn’t make video connection” (Salmanova, 15.05.2022).

Immediately following the contest on “Sabaha saxlamayaq” Narmin Salmanova who was due to be the Azeri spokesperson said she was surprised to see results that did not align with those she was due to present. Narmin did not announce the results with Martin Österdahl, Executive Supervisor of the Eurovision Song Contest announcing Azerbaijan’s points instead. The Head of the “Sabaha saxlamayaq” added that:

There were no technical problems on our end. An investigation is underway on this issue, the results of which will be presented to the attention of the general public

The six countries whose jury votes were removed from the contest and replaced by the EBU with results based on previous voting patterns are reported to be: Azerbaijan, Georgia, Montenegro, Poland, Romania and San Marino. İctimai Television joins the broadcasters of Montenegro, Romania and Georgia in requesting an explanation from the EBU” (Eurovoix News – ‘Azerbaijan: İctimai Television Working to Understand Why Eurovision Jury Vote Was Not Accepted’ 15.05.2022).

I have no stakes in the game and am I sympathetic with the Ukrainian people and their cause of sovereignty. That this would be celebrated and become the victor of this years Eurovision was to be anticipated. Whole of Europe would show solidarity and make it happen. This is just making sense for everyone on the continent.

However, the way the Executive Supervisor and the EBU taking over the jury results in these nations are directly interfering and changing the results. They are indirectly telling what the nations are supposed to vote and who is the right one to do so. This is really not right and no broadcaster or jury should accept this.

The viewers of the Eurovision are used to that the neighbour countries votes on each other. That the countries around each other gives each other points. This is a tendency which we all know by now. So, that the Romanian Jury not giving points to Moldova seems weird. That would be like Sweden not giving Norway or Denmark (not part of this year, but you catch my drift). It is just normal and courtesy between the nations in question.

The Executive Supervisor and EBU has to address this, if they want to be serious and be fair. This is unfair treatment and should be held with contempt. The juries are already turning the results on way or the other. It is steering the competition as we know it, which we know it does. Alas, this is a huge blow if they did violate these broadcasters and changed their results. Then the EBU and the Executive Supervisor undemocratically decided the fate of the contest in favour of certain artists/nations. That is not a good look and could be seen as rigging, which is electioneering no one want to see in such a friendly and uniting competition as the Eurovision Song Contest. Peace.

Opinion: Young Thug will linger in jail – These RICO charges aren’t for the faint-hearted…

There been talks of the Hip Hop Police and that the authorities are working directly to look up any minority or any sort of African-American who gains certain popularity and whatnot. That has been the talk of the town. The authorities are now trying to make an example of the gang-affiliated musicians, rappers or MCs, which are there.

One of them is Jeffrey Williams aka Slime aka Young Thug. Has certainly lived the life-style he has written about and the stories he has to into his music. That can be said with certainty now. The DA of Fulton County hopefully has more than Instagram pictures and Song Lyrics. Though these are social media messaging and an artists expression. However, when you see that in consideration to the criminal activity and part of a street gang. There will certainly be more and the DA should be bulletproof in the sense of co-ordination of evidence that collaborate with the charges and the indictment.

I am just dropping a few pieces of the 88 pages indictment of the YSL Street Gang, but just reading these alone. It is compelling to see and say that Young Thug will not record or be free in a very long time.

Here is what it says, which I see as vital for the indictment and charges:

YSL is a criminal street gang that started in late 2012 in the Cleveland Avenue area of

Atlanta, Georgia. YSL claims affiliation with the national Bloods gang. YSL’s founders were Jeffery Williams AKA “Young Thug,” AKA “Slime,” Walter Murphy AKA “DK,” and Trontavious Stephens AKA “Tick,” AKA “Slug.” Jeffery Williams, an Atlanta-based hip-hop artist, made YSL a well-known name by referring to it in his songs and on social media” (Fulton County – ‘Indictment Clerk No. 225C/82273’ 09.05.2022).

As associates of the enterprise Young Slime Life (hereinafter “YSL”), the defendants conspired to associate together and with others for the common purposes of illegally obtaining money and property through a pattern of racketeering activity and conducting and participating in the enterprise through a pattern of racketeering activity. In furtherance of the conspiracy, the defendants engaged in the activities enumerated herein” (Fulton County – ‘Indictment Clerk No. 225C/82273’ 09.05.2022).

Defendant JEFFERY WILLIAMS, an associate of YSL, did appear in an video released on social media 16 days after the murder of Donovan Thomas Jr., stating “so a nigga lie to they momma, lie to they kids, lie to they brothers and sisters then get right into the courtroom and tell the God’s honest truth, don’t get it, y’all niggas need to get fucking killed bro, from me and YSL,” an overt act in furtherance of the conspiracy” (Fulton County – ‘Indictment Clerk No. 225C/82273’ 09.05.2022).

This here will be detrimental to the career of Young Thug. However, there are plenty of victims of his gang and their activity. So, there will be people who has lost their family members and been victimized by the street gang. Therefore, Young Thug will most likely be long behind bars. He and the others will face long stints too. Especially, if the DA has the evidence and can connect it all.

That’s why the rapper and musician, Young Thug should be worried and so should anyone who wants to hear new music from him. This case and pending trial can finalize that.

The YSL RICO case could be end of his career, just like YSL has ended other peoples lives and now it comes back to haunt him. That’s what the justice system does to you and this sort of violence, racketeering and murders has to be held to account. Young Thug made it seem like he could get away with it all.

But now… the authorities got him and the Thug Life is costly for everyone. Not only the artist himself, but everyone surrounding him. It is especially tragic that he didn’t just talk about it over instrumentals, but lived it too.

Now that’s what you calling “keeping it real goes wrong”. Peace.

Opinion: Jack Harlow isn’t for me…

Kentucky’s own Jack Harlow might break someone’s heart, but I don’t care for his style or his music. By all means, good that his hitting up them charts and becoming a staple in the music industry. However, after listening to “nail tech” and saw the huge hype surrounding it. I knew that this guy, act or rapper wasn’t for me.

Jack Harlow fan-base is maybe female dominated and that wouldn’t be shocking. Nevertheless, if he showed some emotions and heartache. Both genders would listen to the tracks. If he had solid beats and rhymes to back it up. We wouldn’t mind the softer side like LL Cool J did in the past. He catered to all parties on his LPs.

However, what I have heard from Jack Harlow haven’t been it. I just don’t care. The singles and the videos isn’t even inspiring to listen to the newest full length album of him. I couldn’t care less that he has been in the past signed to Don Canon and DJ Drama. They surely must have picked up the bag and earned a fortune on the act. Because, he has blown up.

Come Home the Kids Miss You” was maybe supposed to cement his status in the public eye. Maybe get new fans and show his levels of popularity. That’s why he has tried to snag and create headlines while simping for famous woman. Even doing that with a song to Dua Lipa on the LP as well. When we know that his been around the way and it’s not shocking.

That people compares him to Macklemore and Mac Miller is to be expected, but his not even close to any of them. Just by listening to “Nail Tech” and “First Class” his subpar and mid at best. His not a lyricists or a man of bars. No, his just mediocre and not that interesting. He has a style and been able to cater to someone, but not to the likes of me. I am not alone, as Shawn Cee and Cufboys on Youtube makes similar statements as mine.

Jack Harlow has potential and could become an inspiring fella, but at this very moment. His just mediocre and boring. The singles are not banging and that’s why I don’t even care to pick up the LP. There is no reason or incentive to do so.

I am just not the demographic his trying to hit or trying to convince. That’s why his hitting up the red-carpet trying to snatch Saweetie and other famous acts. Because, that’s how he becomes more interesting. Well, he cannot drop bars or be funny about it. He has little to no visible charisma or swagger. That’s why it’s astonishing to see him get this big. Unless, the fan-base wants a water-downed and less flavourful Post Malone minus autotune. That sort of thing makes sense.

When Spotify writes this about him: “Flaunting sleek flows, nimble wordplay, unpredictable rhyme patterns and vast ambition, Jack Harlow raps with old school dedication and raw individuality”. I wonder if these guys actually did listen to the same dude I did, because even Shawty Lo or Maino has more inspiring flows than Jack Harlow.

Jack Harlow can have all the success or platinum plaques he wants. Be my guest, but I won’t be part of the parade. No, his a water-downed Drake and has no sort of story-telling abilities worth a damn. Neither does he has the personality or the lyrics to bring me up to speed. There is no story, no beat or no vibe that catches me of guard. It is just “hot-air” and catered to radio. That’s maybe enough for some…

But for me… well… Jack… I will not come back. Peace.

Opinion: “Protecting Energy” Episode 517? No… it was protecting the ego of Joe and Royce

The recent Joe Budden Podcast with both Joe Budden and Royce da 5’9” which dropped on the 13th March. Two days after the ‘Rise and Fall of Slaughterhouse’ album was released by KXNG Crooked and Joell Ortiz.

This podcast really shows the petty and fragile the egos of the rap group is. Royce came late into the podcast. After Joe had owned the building like he always does and his co-hosts are mediocre side-kicks. Which we knew would happen with Ice and Parks after ditching the predecessors on the Joe Budden Podcast.

Seeing how they call it “unsupervised” and mock the dress-code of Joell in the music-video. That just shows how Royce is unhappy with it. The same is Joe Budden. They are calling out the roll-out and the album itself. Saying its’ weak and that they didn’t address it hard enough. Even saying they were “short-sighted” of them.

What I am hearing from this one was very little new information. Only that they weren’t in it. Royce seems like he don’t want to take responsibility for his part of it. Alas, just push it all on the other members. While he is not saying anything bad about Joe. That seems weird to me. As he blames the others. Just like he did on IG Live last week.

It is interesting to see that Joe and Royce are more sour about the brand and the logo ish than about the music. These two are more in sync of the roll-out and how the messages was spread ahead of album. Because, to them the Slaughterhouse brand lost value…

Alas, nobody cared about Slaughterhouse for years. Just like Joe didn’t work or put the time in for anything else than his Network. That’s why as a fan to listen to his whining on the podcast does no good. Royce doesn’t to cool either. He is on his D12 bashing days in concern to the duo who made their own album.

Royce said he was “insulted” and lost “sweat equity” is also weak tea now. We know his been busy on his own. Working on Phryme and own albums. It is not like these two gentlemen is sincere about the will or worked for any joint projects. Especially, when we heard what the other two rappers tried to do.

Joe Budden spoke with a lying tone on there about not “hurting his people”. The man who don’t honour contracts, neither in Def Jam or Shady Records. While he throw Mal and Rory under the boss. While Joe will not address the contracts and possibilities that was created in the 10 year of no music.

Royce said he now wants to “protect himself and his energy” from Crook and Joell now. Where he has to hide from “narratives” and be the “bigger man”. Now it is clear that he wants to distance himself from them. Joe even called it a “slimy shit”. That shows what is really happening behind the scenes.

As a fan this is proof of the total destruction of Slaughterhouse. This Episode of Joe Budden Podcast proves this. Royce and Joe shows that they had no intention of doing anything. They were undressed in public and didn’t like it. Royce wanted to be the big-man, but not take responsibility. That is evident of listening to it.

Royce is clearly not vibing. Trying to act all out and Joe is his own self. Nothing has changed. The album only amplified it. Peace.

Opinion: The Slaughterhouse as we knew it is now gone

XXL March 2011 Front Page

Today KXNG Crooked and Joell Ortiz dropped ‘The Rise and Fall of Slaughterhouse’ which didn’t include the other Slaughterhouse MCs Joe Budden or Royce Da 5’9”. Therefore, we easily state that the 4 artists will not drop any serious project anytime soon.

We know that Royce is in his mojo and dropping separate projects as a solo artist. Joe Budden is buys with his podcast and network. While Joell Ortiz have dropped projects steadily. The same can be said about KXNG Crooked. They have all worked separately … but has consistently teamed up on various of projects.

That’s why we can after this week and the fall-out after that with certainty say Slaughterhouse will not be revived or have an anniversary tour. The group as an entity seems dead. Even if Royce or Joe has acted differently about it. Since, they by all means are allowed to feel invested and part of it. That is legit, but at the same time… they haven’t tried or carried anything for years. At least how it looks like now to the fans, which I am.

I bought the first Slaughterhouse album, which was released independent and the Shady Records “Welcome to Our House”. That’s because I was initially a fan of Royce and Crooked I. These two had history and dropped projects, which I bumped back in the day. Some of those records I play to this day. Therefore, I got introduced to Joell and Joe Budden.

I never cared for Joe Budden and his rhymes. That is just the way it is, but because of Slaughterhouse. I started look into his discography and his later his albums, which he released like “All Love Lost” or “Rage Against the Machine”. While I have become a fan of Joell Ortiz, because of the group and now enjoys plenty of his albums.

That’s the value of this group. It galvanized the ones who was already popular and had a fanbase, but also got more people looking into it. I knew about Joell because he had signed to Aftermath at one point, but hadn’t really heard his music. Only read about him in passing the XXL Magazine. So, that proves the value of joining forces. That should be a lesson for other s in the future.

A group like this has an exponential potential not because of the names alone. It has superior possibilities and can advance their career. I am certain that I wouldn’t care or have listened to Budden or Joell, if it wasn’t for Slaughterhouse.

So with today’s release of the ‘Rise and Fall of the Slaughterhouse’ only cements the end of the group and the option of further releases. As we know Joe Budden isn’t on the mic for other reasons than bitch on the industry on his podcast. Royce is comfortable in his own solo career and with the recent success. While the two others can work together and prosper, but they will not become a new Slaughterhouse. No, they will just be KXNG Crooked and Joell Ortiz. These two are fantastic on the mic and can drop bars. However, they are the not the game-changer or the rappers who conquers the charts like that.

Let’s be clear, Joe Budden is an initiator and instigator. No matter how you put it and his the ones that burns bridges in Def Jam and Shady Records. He wasn’t even planning to honour his deal with Shady. So, it is clear from the get-go that he would be a troublemaker, which we have seen time and time again. He expect people to work and be loyal to him blindly, but himself has to have the upper-hand and get all the benefits of a deal. Like his more worth than the group. That’s how it looks to me. Yes, Royce played along, but they have all focused on own careers and this has become a back-burner.

That’s why we know the drill and the studio will not be filled with these gentlemen. That Joe Budden speaks of how he would “murder” and be “danger” on the mic. I don’t believe him. Last time he tried to instigate things, Drake didn’t even catch the memo or care about his bars. It was even more silent and less concerned than Nelly was back in the day KRS-One dropped his diss-record. Therefore, Budden is a bit high on his own supply.

Alas… we can all be safe to say. These gentlemen will not reunite or drop anything significant together. They are not in that head-space or searching for that project. These has moved on and their resolve is different. Some got more out of it and other found new paths after. That’s why we know that is done.

The ones hoping for Glass House. Some people are still waiting for Dr. Dre’s “Detox” and I expect the same fate over this one. We are lucky if Crooked and Royce can drop their joint records together. If Royce can be a big man and understand the hurt of Crooked too. Unless, the ego is to huge and he cannot overcome that. Since, we have seen how “hurt” and “pained” he has acted on IG during the last week. Therefore, it is hard to know, if these tracks will ever see the day.

So here we are… in a juxtaposition and we are ending up nowhere. The group left Shady, but they all signed out too. Some tried to find deals and avenues for releases, but the drive and edge to do so… wasn’t really there and that’s why we ended up getting the half-way project today. No one should be happy about this.

Still, this shows why communication, relationship and the brutal truth is needed. They are built with different teams and motivations. These MCs had their interests and their visions for this. Nevertheless, seemingly some of them felt it was unfulfilled, while others hoped for a final project. That’s why we are here and not anywhere else. Peace.

A review of the ‘Rise and Fall of Slaughterhouse’: The Roll-Out and the Album itself all in 1

The roll-out of the joint album by KXNG Crooked and Joell Ortiz ‘Rise and Fall of Slaughterhouse’ is finally over. There been releases of singles like “Vacancy” and “Backstage” which set the tone. The other members of Slaughterhouse got into their feelings and said they even felt “hurt”. This being Joe Budden and Royce Da 5’9”. These has gone wild on IG Live, interviews and even on own podcast twice. So, there is certainly pieces crushed … and certainly amplified the egos of all the members.

These two has gone off at the other MCs of the group, which haven’t dropped a major project since “Welcome To Our House” in 2012 on Shady Records. Since then we the fans has waited for an infamous project named “Glass House”, which would have been the third instalment from the group. Alas, we are now a decade later and we have a joint venture between 50% of the group.

The album is clear in the bar-for-bar and tells their story. However, this one isn’t going in deep. It is touching the end of Slaughterhouse. While Crook and Joell made it seems like they would bury the group and tell deep unknown stories of the group. Yes, there are joints that speaks of the loss, the costs and the lack of movement of the group.

The beats are fine and dandy. The two MCs are seasoned rappers and can drops puns like nothing. They are proving their ability and why they are respected word-smiths. Still, the album should have told more, but they were maybe acting with some caution. As they still see Royce and Budden as brothers. That would make sense?

The roll-out made it seem like it was deeper and would be the closure of the chapter. This is just giving snippets of it and not digging deeper into the reasons of the lack of any albums from Slaughterhouse.

We know the Slaughterhouse was a powerhouse and a promising group that had a shot to be fantastic. The two MCs on this album proves their skills and ability to write rhymes. These two proves that on the album. Still, they are not saying things we haven’t heard before. Yes, Joell are straight and feels betrayed by certain members, that they we’re his brother. That is proven by “Coastin’” by them both.

We clearly hearing the stories of how Joe Budden thinks his bigger than the rest of group. That story is coming out. As well, as Royce who didn’t want to move either. We don’t know if that is all true, but that’s the narrative the Two MCs are spinning. This is not shocking, as they have told similar things in advance.

While the “Still In My Feelings” feels like an upgraded version of the intro to Joell Ortiz “In My Feelings” from Autograph. So, this is a joint that Ortiz already has published and verse he has released twice with only adding Crooked onto it. That was a bit weak of a man like Joell. This is re-issuing what you have released and put it on a joint album…

Look Mama” is the natural track of MCs who has made it and wants to give thanks to their mother. It is a nice joint and shows how the two went from poverty into riches. What it also shows their grateful words to their mothers. This is a nice track, but on a farewell of Slaughterhouse seems like an add on.

The end “Sorry” fits the “Coastin’”, “Backstage”, “Fukglasshouse” and “Vacancy” which all fits the pattern of ending it. While there are other tracks that doesn’t goes that deep. The production is tight. The beats are fitting the moods and the verses.

It is a well-built album. This album was made to seem to be a total closure of Slaughterhouse. The House was forclosed and the logo was even burned in the “Vacancy” music-video. However, it seems more like a moment of airing out some grievances, but not going really hard at it. The two made sure not to bury all bridges or throw to many punches. It is not like they tried to “Second Round K.O” or “Vaseline” it. The intent was clear not to make diss-tracks or brutally assault the other members.

However, it is short of stories and of further reflection on the matter. It has some sound-bites and some cuts, which can spark tension between the members. Nevertheless, it is not too deep or reflected. The album isn’t filled with bars that could envision or be able to tell another narrative. Than the stories, which was already out there.

That’s why the promise of closure and end is sort of still out there. This here is a beginning of an end, but not the final one. Not in my perspective as a fan and a listener. Who has enjoyed albums and projects from all four in the Slaughterhouse. That’s why I wanted more out of this here. The tracks that wasn’t about Slaughterhouse directly could have been leftover tracks from “H.A.R.D” for all I know. So, they just traded this and made it a full LP.

Still, this is an album for any rap and hip hop fan. Especially, the ones that has followed Slaughterhouse and the MCs associated with that. I will not consider this one a classic or such. It tells a story, shows the skills of the two, but it is not whole. Neither does it seem to poignant enough. Which is sad… because they could, but then they would totally destroy any chance of friends, collaborations or even being considered associates with the other two. That’s why I think they didn’t go all in or wrote rhymes that could spark a full out beef. Because, they just want to shed a light on why there haven’t been a release of any album since 2012. Peace.

A fan reaction: We need the closure of Slaughterhouse – The aftermath of the IG Live video

After watching the Instagram Live Video hosting Joe Budden and Royce da 5’9” first for the most part. Later dropping by for a short minute Joell Ortiz. While KXNG Crooked or Crooked I wasn’t present at it. However, what was said and the sentiments between the MCs are now crystal clear. Because, it was going nowhere and fast…

What is clear is that Joe Budden isn’t all that. He has a ego, which is higher than Mount Everest. While Royce is shielding himself and not holding himself accountable. His trying to ditch all responsibility or participation of whatever he did. That is how things are looking like to me.

It seems like Crooked worked out agreements and possible deals for Slaughterhouse, which Budden and Royce didn’t want or had interests in. They had already mentally called out or ERROR 404 it all. Since, whatever Crooked worked or fixed behind the scenes wasn’t good enough. While they are all claiming the IP and the ownership of it.

That’s why Budden was crying out about the logo and burned merchandize in the “Vacancy” video. While the “Backstage” video is also ruffling with some feathers. This is really poignant and evident, that the “Rise and Fall of Slaughterhouse” is not what Budden or Royce had in mind. They are not in that space and seems like they preferred it all to be dead. Alas, Crooked and Joell is just dropping a passion project. That is evident by how Joell and Crooked talks about it. While the pains and hurt is obvious too.

As a fan, I have stated, we need the closure. Some might find that corny after waiting for years and close to 9 years of nothing. The “Glass House” album is the epitome of broken dreams and shattered promises at this point. Heck, any project with the 4 MCs seems impossible. Firstly, because of Joe Budden himself. The almighty man and biggest ego of all of them. That is very evident. While Royce don’t leave much on the table either. That’s how it seems to me from the outside. He just playing the field and hoping for the best deal without having to put any work in. That’s how it looks like to me. The sort of brother that takes lots of credit when the project is out, but didn’t much or be concerned with the finer details before his cut was in reach.

While Crooked worked the business and offerings directly. Joell has been busy and steadily dropping project. Royce have had the two major boosts with “Book of Ryan” and “The Allegory” but the “Phryme” era seems long gone. While Joe has been Joe with his “empire” and Podcasting gig of late. Rory and Mal must clearly seem some resemblance in how Joe is handling this here. Because, this is the same toxic and controlling Joe we have seen before. Where Joe is always right and needs to fit on his accord… that is clear. Joe is right to want that, but if it is a joint-effort. Than everyone has to be served and not only Joe. While Joe is only concerned about Joe. That’s why he acts almighty and superior to the likes of Joell. That is obvious and it’s infuriating.

Joe haven’t even dropped anything with heartfelt emotion in a minute and “Mood Muzik” is ages ago. Nobody fears Joe’s rap or assault on a beat. If it was Lloyd Banks.. than I would be fearing something. But Joe Budden in 2022? He don’t even call the shots or ops. His just busy cussing out Parks on his couch.

As a fan of Slaughterhouse. A man listening to their music. This is just a tragic demise of a promising and possible powerhouse in the genre of Hip Hop. Instead, the men went their separate ways and cannot reconcile their differences. The egos are too much and their personal grievances is evident too.

While I enjoy Royce, the way he acted on IG was no good. Neither was Joe. They ganged up on Joell. While only trying to go after him and Crooked. Crooked wasn’t even there. The album which drops soon will be interesting. I am looking forward to the closure and the foreclosure of Slaughterhouse. Since, the mortgage and the owners has abounded it. Therefore, we shouldn’t expect more from them after this.

That is very obvious. The album from Crooked and Joell is putting the nail in the coffin. I doubt Royce or Joe will ever amount to anything. Except for them having their own projects and being all on their own. I don’t see a return and the bridges are burnt now. Which for some reason is actually good. Because, we don’t need false promises… I don’t need that… Peace.

A fan reaction: We need the closure of Slaughterhouse

This week it’s clear that Joell Ortiz and Crooked I (KXNG Crooked) are dropping a new joint LP called ‘The Rise and Fall of Slaughterhouse’ on the 11th March 2022. The Slaughterhouse phenomenon was huge years ago. The group was the future of the hip hop or rap. It was a group of 4 MCs who could drop bars and be brilliant on the mic.

This was filled with the two first mentioned, but also Joe Budden and Royce da 5’9”. All of them was an independent run and dabbled into the group thing. Because it turned into a movement and a generating fan-bases from all of the MCs. It was filled with rappers who was promising, but it didn’t take-off for before the Slaughterhouse unification.

Yes, Budden had like one single and a well selling LP back in the day. But at the time of dropping Slaughterhouse it wasn’t like that. Royce wasn’t pumping classical joints either. He wasn’t in that sphere and had also fallen out with Eminem. Therefore, it is not like Budden and Royce was all powerful at the moment.

In 2022 it is most likely that Royce and Budden doesn’t need Slaughterhouse. They have closed the chapter and moved on. While Ortiz and Crooked is now finalizing it after all the years since the 2012 release of “Welcome to Our House” which was released on Shady Records. Therefore, it is about time. We know “Glass House” isn’t getting released and is practically this group’s “Detox” which never will be released.

That Budden and Royce is “hurt” or “disappointed” but the other parts or the group is doing their thing. It is really natural, as the willingness of the others to participate or even connect isn’t there. Crooked tried to reach out and figure something out. However, it is clear by all narratives, it wasn’t in the cut or wanted to materialize. Clearly, Royce isn’t in that space and brewing everything on his own. While Budden is busy scheming his own enterprises. Where Budden throws all the “shots” and the others has to comply. Because, we have all seen how he acts towards fellow podcasters and employees on his own Network. It isn’t all shiny, but he wants the golden goose for himself. That’s why he is “hurt”. He wants the coins, but not put the work in… that’s how it seems to me.

The joint project of Ortiz and Crooked is a breath of fresh air. Ortiz have been dropping steadily music since the end of Slaughterhouse. The same has been done by Crooked. These two has been in the studio and dropped sonically good projects. The same can be said about Royce who has been on a steady progress with “Book of Ryan” and “The Allegory”. Therefore, we know what they can do. However, Budden is just a drama-setter and a TMZ of podcasting now. His not in favour and he just wants coins for other people’s work.

As a fan, seeing the “Vacancy” and “Backstage” singles… I am positive and haven’t felt like this since “Hammer Dance” or “Goodbye”. Maybe, Budden and Royce wanted more control of the business side of it. As the deal was broken by Crooked and he manoeuvres in a different way than the two who is left of the project now.

I only see value in the up coming project. Royce is fine on his own and building his discography steadily. Also his capabilities in producing beats and whatnot. He is really getting into his own lane and doesn’t need anything else. Budden can be the drama podcaster, which he wants to be. Ortiz and Crooked just supposed to work on their independent careers and leave it be.

However, I like it and support it. This is what is needed. Slaughterhouse fans needs this. No matter how “hurt” or “disappointed” the other MCs are. They ditched out and now the two others are telling their story. I cannot wait to hear the rest and be able to bump it too. Peace.

Opinion: Will Snoop Dogg be able to revive the Death Row?

Calvin Cordozar Broadus Jr. aka Snoop Dogg aka Uncle Snoop has acquired the legendary Hip Hop record label Death Row for an undisclosed amount. For a hot minute the Toy Company Hasbro owned it before selling to the Blackstone Group, which today is revealed has sold to the Hip Hop Legend, entrepreneur and actor Snoop Dogg, which is a unique day for anyone who follows or has interests in this.

Snoop has bought the label, which made him prominent and gave him a career in the first. The record label where he dropped albums, features and part-took in the G-Funk and Gangsta Rap era of the 1990s, which was dominated by Death Row. That’s because of its rooster of skilled MCs, Producers and genius marketing, which made the LPs, Singles and everything was selling.

The whole Death Row was smoking fire. All artists at some point became wealthy and could get good royalties. It was the place to be and to prosper. However, the whole premise of the gangster and thug life was also it’s downfall. As the co-founders split, court-cases, shady-business practices and the early demise and unresolved killing of Tupac Shakur has always followed the label. Therefore, it is special that Snoop buys it and possibly revives it.

As Daz Dillinger sued the label to get his ends. Dr. Dre left the label and started Aftermath. Crooked I was left behind and Kurupt had to return. There been so many stories and backstabbing, as the label lost relevance and others took it’s place in hip hop. However, the era and the classic albums lives on. The discography and the catalogue of the Record Label must be one of the unique assets and recordings, which will stand the test of time.

However, Snoop has big shoes to fill and have to market the label in new era. Which the labels and the record companies are fighting for revenue in new aspects, as the streaming and short-sighted fandoms quickly moves. The quickly produced and released tracks to stay relevant, as well as the social media push is more vital than ever. It is like another world since the first inception of Death Row.

Snoop has connections and is a beloved character now. Who can sell and be used in any sort of product. That’s why he has voiced over GPS Systems to be recently selling BIC Lighters. Therefore, you know his good at branding and selling his character at this point.

However, the Death Row to be revived… it need both the spirit of the past and also new breed of acts to be viable. That will be a refreshing thing. As the West-Coast needs a star on the horizon. Yes, Kendrick Lamar is the biggest name, but his not in the realm of Death Row. K.Dot is more in is his own lane and closer to J. Cole’s of the world. Nothing wrong with that, but that is the reality here. The Top Dawg Entertainment (TDE) brought similarities to it, but not as successful as Death Row. However, who could think of getting into those levels of success and respectability…

Death Row doesn’t have to be big, but the ones remembering it. It was everywhere and the artists was everything. They were inspirational and was it. Not just some random blokes, but the rappers and MCs who inspired you to write and imagine their world.

Let’s hope Snoop Dogg will bring some of it back with the purchase of Death Row. He is seemingly the one and his team can bring the best out of it. There is a need for it.

Now am just waiting for THA ROW to return and hear new tales of that THUG LIFE. Peace.

2021: The albums I have enjoyed this year

Last year I was able to make to lists and separate the ones who was Hip Hop and the ones who was Pop & Afrobeat. However, this year I will make a joint session. Since well, music haven’t been as prevalent for me. Neither has the music been as vital or been as close as before. The lockdowns and quarantine has stopped a lot of time listening time for me. Usually, I listen to the most music in transit or watch music videos at home. Therefore, I lost a lot of space and opportunities to it by default by being home during lockdowns this year.

That’s why I will have one simple list and all genres will be represented here. The albums I did appreciate and can see myself bumping in the future… and the ones that was lost on me… the famous dishonourable mentions, if you may.

Well… here we go.

Mr. P – “The Prodigal” was a fun afrobeat album from the P-Square alumni. He really showed swag and wished more people had talked about it. There is nice joints on here and it’s underwhelming how little that has been pushed about this album.

HRSMN (Canibus, Kurupt, Killah Priest & Rass Kass) – “Last Ride” was a dope hip-hop album made by old-school heroes. It was really fun and not with tracks fit for modern radio. This was the finesse and funny bars from a collective of wordsmiths. All of these gentlemen have proven their skills in the past and this was just a gem to listen too.

B-Real & Scott Storch – “Tell You Something” was a shocker of a release. Not that I have anticipated or awaited anything produced by Scott Storch in a decade or so. Storch fell off and seemed to be lost .B-Real has been on joint LPs with Xzibit and Derrick of late, which has been super awesome to listen too. So, his just following up on that and is having a great time on the beats of Storch. FYI: “Never Go Home” has a terrible beat and it should have been forgotten on whatever Nintendo Gameboy Game he sampled it from. That’s the only downer on this one and is an instant skip.

Rudeboy – “Rudykillus” is the other P-Square alumni album of the year. Where he starts of the album reminiscing and reminding everyone of his past hits. His swagger is cool and all. This is an album worth listening too and tracks like “Focus” shows his star-power and talent.

Talib Kweli and Diamond D – “Gotham” is another wordsmith and hip-hop album, which I felt has gone under the radar. Not shocking, as it been years since Talib was a main-stay and relevant for a broader audience. Still, he deserves credit and can produce nice of bodies of work to this day.

Joell Ortiz – “Autograph” is the A-Typical project of the Slaughterhouse MC at this point. He can tell stories and paint pictures with his words. The beats are refreshing and vibrant. It’s an absolute gem of a LP. These are the sorts that should be higher on rankings and get acknowledged, but the game is rigged. That’s why it’s not there…

Fashawn & Sir Veterano – ‘All Hail The King”. The F is finally returning and off Nas’s Mass Appeal. He shows why his a cool dude and an artist. Here his just brazen and direct, as there is steady and funky beats by Sir Veterano on the production. This is a real underground, but he should get credit. As he has continued to push out his craft and with this LP his showing that he is a force to be reckon with.

Dax – “Pain Paints Paintings” was an album which grow on me. Dax hasn’t changed or anything. Listen to him thanks to YouTube and the videos there in quarantine. He dropped a few EPs before and it was evident there was skills there. Now with a full project it was fun to listen too. Not it is revolutionary or has any sort of traditional hip-hop over it …. NO. But, it is a fun joint and easy-listening, as Dax never goes to deep.

Saigon – “Pain, Peace & Prosperity” is the album of a man I have followed since the Yardfather mixtape series in the early 2000s. It is nice seeing him shining on this one. It is clear that Just Blaze isn’t as involved or have production on here. Though, it is refreshing to see Saigon deliver a full project and get support from all across the board.

Remedy – “Remedy Meets Wu-Tang” is the most out of left-field album of the year for my part. It was just so amazing to see the Wu-Tang Collective shine on a album in 2021. This was like the golden age returning and nothing had changed. The beats, the bars and the whole setting was made for this. Remedy, which I haven’t heard of and maybe I lost the memo. Was showing his skills, but there was plenty of times where the Wu-Tang MCs out-shined him, but who cares? It’s an awesome project!

Lloyd Banks – “The Curse of the inevitable” with the return of the G-Unit wonderkid. Well, Banks isn’t a kid anymore and been a long time coming for his return. The G-Unit rapper dropped an album which fits into the Griselda era and could easily been dropped on that imprint. This wasn’t sounding like any of his previous LPs or even having the production of a G-Unit album. However, his word-play and bars was obvious on this one. That was what made this one unique. Not like he was pressured by Interscope or G-Unit to make a radio-friendly jam to be played on Hot 97.

Tiwa Savage – “Water and Garri EP” was a fun instalment, a very short one, but a worthwhile one. This is what you expect and as always, Tiwa does deliver. There is no skips and just a jolly atmosphere until the project is over. Nas even featured on the first track and he phoned it in sadly, but at least he wasn’t speaking of “crypto-currency” on this one. Tiwa had deserved a more fitting rapper on the track, but she maybe wanted someone who is celebrated and gets recognized world-wide.

This here is my list and it’s subjective. There was several of albums that I still enjoyed, but didn’t play like did this. Others that I have in my “tape-deck” but haven’t gotten into. Which would be another list. Albums I tried to listen too, but never caught on or had the rush to bump again. There is a few of those. However, I don’t feel the need to drop those… Peace.

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