Not to rest on the pop laurels of last week’s “The Boys” video with Cassie, Nicki gets a much grittier today with a behind-the-scenes video for “Come On a Cone.” Directed by Grizz Lee, there’s a bunch of assorted cameos from the likes of Waka Flocka, Tyga, Kim Kardashian, Kanye West and Birdman. And the ending “dick in your face” singing melody will elicit at least a chuckle. This track can be found on Minaj’s Pink Friday: Roman Reloaded album.
Posts Tagged ‘Waka Flocka Flame’
Tags: Birdman, celebrities, entertainment, Kanye West, Kim Kardashian, Nicki Minaj, Pink Friday: Roman Reloaded, Tyga, video, Waka Flocka Flame
Tags: cover, Neon Hitch, No Hands, video, Waka Flocka Flame
The latest Hip-Hop cover from pop singer Neon Hitch is Waka Flocka’s ”No Hands.” The video plays in reverse as she frolics down the NYC streets after escaping a bondage/fetish session. She hasn’t officially hooked up with any Hip-Hop artists, but these covers are a good audition as any, especially considering the Euro pop sound of most radio singles these days.
Tags: Ferrari Boyz, Gucci Mane, video, Waka Flocka Flame
“A lot of rappers on the carton/ They swag missin’…”
Gucci Mane and Waka Flocka are celebrating their second childhoods with this ode to the folly of youth, “Young Niggaz.” If Watch the Throne was too polished for your tastes, you may enjoy going to the extreme in the other direction with Gucci and Waka’s Ferrari Boyz album. Considering his current predicament, I’m sure Lil Boosie is one rapper who wouldn’t cosigs these guys’ boasts about the benefits of having young shooters on the team. Nice to hear Camoflauge getting a RIP shout on wax after all these years.
Tags: Al Jolson, blackface, cupcakes, Duncan Hines, Hip-Hop, racist, Waka Flocka Flame
This commercial dropped earlier in the month, but surprisingly didn’t get much attention from the Hip-Hop community. It’s ironic, considering this clip is geared towards our culture. If you haven’t seen it, the woman is making cupcakes using Ducan Hines’ new Amazing Glazes. When she adds the black glaze to the cakes, they begin harmonizing. The last one is out of key until he gets his glaze face, which competes the song. I won’t front; knowing history, I was half-expecting them to belt out ”Mammy” any second. This is not deliberately racist in my opinion. It’s just a goofy, bad idea when viewed in historical context. What it tells me is that Duncan Hines’ marketing department doesn’t have anybody in my age bracket that looks like me, because that person(s) would have let their colleagues know this was an awful idea. Duncan Hines would have come off better hiring Waka Flocka Flame to do a jingle.
What’s your take?
Tags: African American, Barack Obama, black people, Claude McKay, Harlem Renaissance, Hip-Hop, Jazz, Langston Hughes, minstrel, minstrelsy, Nas, Nora Neale Hurston, Outkast, Rakim, Scarface, Stanley Crouch, W.E.B. DuBois, Waka Flocka Flame
Famed jazz and social critic Stanley Crouch is citing the new “Baracka Flocka Flame” parody video as the latest example of “Hip-Hop Minstrelsy.”
Crouch, a long-time critic of Hip-Hop music, cites the culture’s images and themes as more damaging to black people than anything done by whites. According to Crouch, actions such as the Tea Party making President Obama into a witch doctor and pimp on posters pale in comparison to the “dehumanization” Hip-Hop music inflicts on black people.
“Hip-Hop minstrelsy, taken to an extreme, has repeatedly outdone all crude, vindictive and simply clumsy whites whenever it comes to dehumanizing black people,” Crouch wrote in a recent article on The Root. ”Hip-Hop obviously, and no less insultingly, does it better…And now, under the banner of humor or satire, yet another minstrel monster has raised his video head from the gutter once again in the brand-new ‘Head of State,’ which has been seen on YouTube more than a million times.”
The clip has caused conflicting views amongst its African-American viewers. Waka Flocka Flame himself disapproved of the video, saying it was disrespectful to the President. Others see it as acceptable satire of public figures.
Crouch defines good comedy as art that displays the “bittersweet feeling of human frailty.” He views the “Head of State” video as nothing more than shock treatment, something he sees as problematic for many black artists.
“Profound recognition of human frailty is always collective, and the exclusion of black people from that equation of universal fact is the perpetual problem,” Croch argues. “When sheer vulgarity is thought to do the job of liberating, more than a little is lost. Shock is misconstrued as a substitute for substance. Richard Pryor was, along with Charlie Chaplin and W.C. Fields, one of the prime geniuses of American comedy.”
“Unfortunately, Pryor’s use of coarse language, and his fast and loose sprinkling of the term ‘nigger’ as both a linguistic spice and a misbegotten form of black authenticity, bedevil us to this day,” he continued. “It has become no more than a product that any unimaginative black comedian or rapper can use as recklessly and relentlessly as possible.”
“Head of State,” directed by Martin Usher and starring comedian James Davis as President Obama, can be viewed below. The entire Stanley Crouch article can be read HERE.
I met Stanley Crouch when I was just starting to seriously look at writing as a career. He was speaking at an event and signing copies of his latest book Considering Genius: Writings on Jazz (which I highly recommend). He gave me some good tips on writing and urged me to continue studying my craft and make my voice heard. Note me back in my much skinnier days below with Crouch and fellow writer Jelani Cobb.
When it comes to Hip-Hop, and even his critiques on some jazz artists, we have drastically different opinions. When Crouch talks about Hip-Hop culture, I’m always taken back to my studies of the Harlem Renaissance. Towards the middle of that 10 year cultural explosion in the 1920s, there became a contentious divide between the older, established guard, represented by W.E.B. DuBois, and young, bolder artists represented by artists like Langston Hughes, Zora Neale Hurston and Claude McKay.
DuBois wanted the creative work of the period to serve as “propaganda” to show whites, and other blacks, that we were human beings capable of high art. Crouch’s phrase of ”the bittersweet feeling of human frailty” in his definition of “good comedy,” and the belief that certain African-American art can dehumanize the entire race, is an echo of DuBois’ points in his 1926 essay “Criteria of Negro Art.”
“Thus it is the bounden duty of black America to begin this great work of the creation of beauty, of the preservation of beauty, of the realization of beauty, and we must use in this work all the methods that men have used before,” DuBois wrote. “[The] point today is that until the art of the black folk compels recognition they will not be rated as human.”
In essence, W.E.B. DuBois believed that creating “high art” without threatening stories, images and stereotypes would be the gateway to liberating black people from white oppression and dehumanization. Hughes and his young colleagues adamantly rejected this line of thinking. In sharp contrast to the Talented Tenth ethos of DuBois’ philosophy, their novels and poems brought a voice to the working class and poor.
Hughes countered that the black artist’s work should be a reflection of the ugly as well as the beautiful. Art, he justified, was at times supposed to challenge societal standards. He looked at jazz, which like Hip-Hop started in the streets and was originally dismissed as art, as the most beautiful expression of black culture in America.
“But jazz to me is one of the inherent expressions of Negro life in America; the eternal tom-tom beating in the Negro soul– the tom-tom of revolt against weariness in a white world…” Hughes wrote in his essay “The Negro Artist and the Racial Mountain.” “An artist must be free to choose what he does, certainly, but he must also never be afraid to do what he might choose.”
In the glowing terms that Crouch talks about jazz, you’d almost forget the fact it came from the streets, originally thriving places like whorehouses and speakeasies. The term “jazz” itself was slang for sex. The same negative term of “uneducated blacks” that he uses to describe many Hip-Hop artists, were the same group that created and cultivated jazz in the early 1900s. Although both groups were not formally educated, through their creative spirits these black people from different eras birthed cultures that defined their generations and changed music forever.
It’s hard for me to understand how Crouch cannot see these parallels. Is there bad Hip-Hop? Of course. Waka Flocka Flame is not a good emcee or someone I would use to expose a novice to Hip-Hop. The video parody makes his work look more foolish, if anything. We know Obama is not a fool; the jury is still out on geometry college major hopeful Waka Flocka. But how anyone who studies music, poetry and literature cannot see the artistic value in the works of Scarface, Nas, Outkast, Rakim and countless others is baffling.
As much as I value some of Crouch’s work and contributions, after meeting him I made myself a vow. And that vow was never to become completely disconnected from the generations that came after me and the art they created. Sure, I knew some of it would make me shake my head and be confusing. That’s a part of growing older and becoming more conservative. But even in those changes would be artists whose work echoed the greats that came before them. These are the ones that need to be championed and not shunned if Hip-Hop culture is to survive and not go the way of jazz music.
Why Jean Grae Is Awesome, Part 1: On Nicki Minaj’s Skill, Waka Flocka, Battling & Other Random Topics [Video]Posted: October 11, 2010 in Music Interviews
Tags: A3C, Cake or Death, Gucci Mane, Jay Electronica, Jean Grae, Miley Cyrus, Nicki Minaj, Talib Kweli, Waka Flocka Flame
“When I like my ignorance, I like my ignorance really ignorant…[but] not in a Waka Flocka way.”
Atlanta’s three-day A3C Festival ended last Saturday. On the first day, Jean Grae chilled out in the media room a few hours before her set on Thursday night (October 7). Ms. Grae hung out for close to an hour, and like any group of Hip-Hoppers, we all got into a good discussion on the industry and some of her peers in Nicki Minaj, Waka Flocka, and Jay Electronica. Unfortunately, around the 13:30 mark when she begins talking about her new album, Cake or Death, her voice gets a muffled due to sound checks from the stage. Even though a photographer in this clip bemoans why Jean hasn’t found stardom, it’s readily apparent she’s very comfortable with her spot.
Catch up with Hip-Hop’s very own super-heroine.
Tags: Atlanta, Drumma Boy, Gucci Mane, Mary J Blige, Roscoe Dash, Waka Flocka Flame
Atlanta’s own Drumma Boy recently sat down for an interview with one of my good colleagues in Miss Ls. Drumma got a nod for Producer of the Year at BET’s Hip-Hop Awards (October 12) courtesy of his work with year with Gucci Mane, Waka Flocka and Young Jeezy. In this clip, he talks about his upcoming R&B work with Goapele, Marsha Ambrosius and Mary J. Blige. Fun fact, “No Hands” only took 15 minutes to make. Check out the full interview and my homegirl Miss Ls’s site.
New Videos: Gotham GreenXQuickie MartXPlanet Asia Get Eddie Kendricks Soulful, Waka’s Intro & Bilal’s New BeginningPosted: October 8, 2010 in Music News
Tags: Airtight's Revenge, Bilal, Flockaveli, Gotham Green, Haze Diaries Vol. 3, Planet Asia, Quickie Mart, Waka Flocka Flame
Gotham Green and Quickie Mart feat. Planet Asia “Game Change”
I’m a big fan of the late, former Temptations singer Eddie Kendricks. So anytime a Hip-Hopper samples him, I’m almost certain to like it. Gotham Green and Quickie Mart deliver that satisfaction on their latest single off the Haze Diaries Vol. 3. Planet Asia also comes through for a guest verse. Extra kudos to Quickie Mart for the sample flip and adding some different arrangements from what others (including Alicia Keys) have done with it.
WAKA FLOCKA BUSTIN’ SHOTS
I haven’t finalized my opinion yet on Waka Flocka Flame’s debut album Flockaveli, which dropped this past Tuesday (October 5). But there are a few points I’m sure of. One, it’s not the classic he assured me it was when I met him at the BET Hip Hop Awards (what a surprise…). And two, it’s damn good workout music. Form your own opinion on its worth based in this video for the song that kicks off the album, “Bustin’ At ‘Em.”
If you haven’t picked up Bilal’s new album Airtight’s Revenge, please hit up iTunes now and add another good LP to your collection. Bilal is back and this album is rightfully making some positive noise with critics and fans. Need more info on his direction? Check out the Beats, Boxing & Mayhem interview.
Tags: beef, BET, BET Hip Hop Awards '10, BET Hip Hop Awards 2010, Stephen G. Hill, Waka Flocka Flame
BET executive Stephen G. Hill has reached out to Atlanta’s Waka Flocka Flame to make amends for a Twitter rant yesterday criticizing the rapper’s award show performance.
Waka Flocka performed an improvised version of “Hard in the Paint” and “No Hands” with Roscoe Dash. Flocka broke from his rehearsal on Thursday (September 30) by jumping in the crowd and running the aisles. During the stunt, Waka failed to rap much on his verses, creating a huge editing problem for BET ‘s production team after heavily promoting the performance for their national broadcast.
Stephen Hill, who is Vice President of BET’s music and programming department, heavily chastised Waka Flocka’s behavior in multiple Twitter posts last night.
“BET Hip-Hop Awards. The show was going so well…and then Waka Flak-ed. Yeah. I said it,” Hill tweeted. “Waka. Flocka. Flamed. Out. like it or not,he’s popular. Wanted to give a shot #mistake.”
Waka Flocka retaliated specifically at Hill, but refrained from making any negative remarks about BET as a whole.
“Ima let fans know the inside of this lame game yall call rap they want u to don’t b ya self N x u out 4 being a real nigga … pussy HILL [sic],” Flocka wrote on his own Twitter page. “How the fuck u invite Waka Flocka and hate when i jump N the crowd to connect more wit fans and friends ….. #rappers R robots lol…I THAK [sic] BET AS A WHOLE …..99% SHOULD I SAY ……ITS JUST THAT 1% IS A DUCK ASS NIGGA…I KNO [sic] KIDS HATE WHEN THEY PARENTS GET ON TWITTER AND ACT LAME IS FUCK.”
Later, it was determined that a DJ miscue with the wrong song caused Flocka’s improvisation, not disregard for the rehearsed set. Once made aware of this, hill extended conciliatory words directly to Flocka and offered a closed-door sitdown to clear the air.
“Let’s you and me talk. Bring your manager. I should NOT have sent that first text,” Hill admitted, “But there’s some learning here. You in?”
At press time, Waka Flocka Flame has not verified if he agreed to Stephen G. Hill’s request. His debut album, Flockaveli, comes out Tuesday (October 5).
The BET Hip Hop Awards 2010 airs on October 12.
Twitter, while a great tool for networking, has become a place where a lot of Hip-Hop artists have embarrassed themselves and engaged in acts that are amusingly deemed “fuckery” amongst fans. Now, it appears even executives are getting drawn into the nonsense.
I understand why Hill got upset. When you’re in management, there’s immense pressure on you from the higher-ups and those immediately below you. In Hill’s case, he’s the buffer between the artists and BET. I can just imagine that headache, and no matter what he’ll always have to take the blame.
With that said, an executive with his experience should have known better than to air grievances like that in public, especially preceding the actual airing of the show. They were tweets you’d expect from a blogger, not a middle-aged, executive VP of a multi-million dollar company.
Regarding Waka Flocka Flame, I met him for the first time yesterday. From that meeting I can tell you he’s a guy that thrives on instinct and emotions, so his response to Hill was not surprising. But I’m sure his management team will take Hill up on his offer.
Who’d of thought the next mini-beef in Hip-Hop would be started by a BET exec?
Tags: BET Hip Hop Awards '10, BET Hip Hop Awards 2010, Big Boi, Bones Brigante, Chloe Hilliard, Diggy Simmons, DJ Drama, DJ Premier, Elise Neal, Gang Starr, Greg Street, Gucci Mane, Guru, Kangol Kid, Laws, Lloyd, Lola Munroe, Mercedes Ladies, Mr. Boomtown, Nelly, Princess, Raekwon, red carpet, Roscoe Dash, Soulja Boy, Terry Kennedy, The New Boyz, Tony Neal, Traxster, Trey Songz, Twista, UTFO, Waka Flocka Flame, Yelawolf, Young Money
The BET Hip Hop Awards 2010 is over and off to post-production editing. The annual Atlanta event draws most of the big names in urban music for a weekend of partying and networking. This was my second year covering the event for AllHipHop.com, so I knew to arrive very early. The city of Atlanta had other events like an important Atlanta Braves baseball game that added to the ridiculous amount of traffic. Luckily, BET improved this year by supplying a shuttle for media, since every street within a 2-3 block radius was blocked off.
The carpet opened promptly at 2:30 and lasted until close to 5PM. Early on things went smooth. Artists were escorted by their publicists one by one slowly across the line to speak with selected media outlets. But soon, the easygoing pace morphed into organized chaos as more artists and media arrived. Still, the BET volunteers and black carpet escorts were an immense help in getting interviews secured. Below are some of the interesting, and sometimes humorous quotes I got from some of the attendees.
The actual show airs on October 12 at 8PM. Be sure to check out www.allhiphop.com additional coverage of the show.
LOLA ”LUV” MUNROE
Best Cypher Peformer She’s Seen So Far: “I’d have to say Cory Gunz. That was a few years ago but he killed it.”
Next Project: “Being that I’m not going to rush an album, I’m going to give my fans an EP. I’ll definitely be working with different producers, even underground.”
On his return to form: “Now I’m where I need to be at. I’ve been in shape [lyrically] the last three years. Still a chubby gangster, though.”
Predicting Floyd Mayweather vs. Manny Paquiao: “Wow, I’m riding with Floyd. I think Floyd is our Muhammad Ali of today.”
DJ Greg Street and journalist Chloe Hilliard on the Upcoming BET’s Top 10 Rappers of the 21st Century Show
Chloe: “What I said about Lil Wayne, you’ll have to see the whole thing. The teaser was to entice you.”
Greg Street: “She said Weezy was the greatest!”
Chloe: “I will not confirm nor deny that!”
TONY NEAL, CORE DJS FOUNDER
On today’s DJ: “I think we get more respect. It started with the DJ, but we’re kind of being recognized for that [now]. With sales and everything, artists need as much help as possible, so it’s been taken back to the DJ.”
Next mixtape: “I’m coming out with a dedication to Paul McCartney called Yesterday’s Future. So it’s a lot more ambitious than the last one.”
Two albums in six months: “0-60 is coming out November 23, my first album for Interscope. After that, I’m going to be releasing an album in March  called Radioactive.”
WAKA FLOCKA FLAME
New album coming October 5: “Flockaveli on October 5,get it! [Buy] one for the car, one for the house, and one in plastic. Flockaveli is a classic!”
THE NEW BOYZ
On new album in early 2011: “We don’t have to prove anything, but we want people to know what it really is. We’re going to keep working hard so people don’t think we’re just a jerk dance phase.”
On his next album: “You’ve never heard music like this. You’ve never heard this side of me. It’s gonna be one of the best albums of 2010-2011. I guarantee it. You are the average of the five people you are around. When you add up my five people you get Polow Da Don, Stakeboard P, Timbaland, Jimmy Iovine and myself.”
On working with Kanye West: “I listend to the finished product and that really opened my mind. I don’t even want to say as a rapper, just as a musician. It really opens your mind to different sounds, drum kicks and all of that.”
Top 5 Dead Or Alive: “Jay-Z, Nas, Tupac, Biggie, and Kanye West.”
Top 5 Dead Or Alive: “Tupac, Biggie, Jay-Z, Lil Wayne and Ice Cube. I say that because they all played a role in inspiring artists to get out there and make something for themselves, and that you can achieve you dreams.”
BIG BOI AND SON
KANGOL KID OF UTFO
TWISTA AND TRAXSTER
Emcees that kept him focused lyrically: ” That’s a good one, it was never really one person. It was different people like Jay-Z, Nas, Biggie, Tupac, and Outkast. Those type of artists that were hot from the perspective of doing their thing lyrically. Those guys kept me on my toes.”
MERCEDES LADIES, FIRST FEMALE HIP HOP GROUP
BONES BRIGANTE, 106 & PARK FREESTYLE CHAMPION
MR. BOOMTOWN, DIRECTOR
DJ PREMIER AND THE LATE GURU’S YOUNG SON