By Cyrus Langhorne
Grammy-nominated rapper Nasir "Nas" Jones has reportedly asked a judge to reconsider his monthly child and spousal support payments to estranged wife/singer Kelis.
Nas claims he can't afford to pay Kelis the child and spousal support ordered by the court. As we first reported, a court ordered Nas last month to pay more than $87,000 in back spousal and child support. The judge also ordered Nas to pay Kelis $10,000 a month in spousal support to stay current. It's unclear how much Nas is required to pay in monthly child support. Nas says in the new legal docs obtained by TMZ ... the judge predicated the order on Nas making $152,031 a month, but the rapper says he makes "substantially less than that amount." Nas' lawyer, Mark Vincent Kaplan, is asking the judge to take another look at the damage to Nas'
Kelis has reportedly requested for her divorce from Nas to be processed quickly.
According to documents filed last week, Kelis said in a declaration, "... it would be in the best interest of both of us if our marital status is terminated as soon as possible." Because she fears that the legal proceedings could take years to figure out, Kelis has requested that the judge immediately terminate their marriage -- and wait until a later time to resolve "all other issues." As for the odds that the two will rekindle their
A Los Angeles judge dismissed the contempt allegation against the rapper Monday after he paid nearly $50,000 in child support to his estranged wife Kelis. Kelis' attorney sought the contempt charge earlier this year after Nas fell $200,000 behind on child and spousal support payments. He was ordered in December to pay more than $51,000 a month to Kelis and their infant son. In a statement released Wednesday, Nas says, "All I want to do is make
The rapper lost his court battle earlier this year over spousal and child support.
Nas went to court Monday over his divorce with Kelis -- and walked out a little lighter in the wallet. According to documents filed in L.A. County Superior Court, Nas had to immediately fork over $47,249.42 in back child support and $40,454 in back spousal support. The judge also ordered Nas to pay $10,000/month in spousal support until he pays off the $299,015.50 he owes Kelis. Nas also has to pay 90% of Kelis' legal fees in the amount of $155,787.28. Lastly, Nas has to pay $48,549.83 to cover Kelis' accounting expenses. (TMZ)
By Jake Paine
The label founded in 1995 by Dru-Ha and Black Moon frontman, Buckshot, will celebrate with performances from two of their flagship acts. Buckshot will be joined by DJ Evil Dee for one performance, with Da Beatminerz producer/deejay also staying "on the mix" for a performance from Smif-N-Wessun. Tek and General Steele will perform classics dating back to their 1995 debut Dah Shinin', before unveiling a new song from their forthcoming Pete Rock-produced LP, due later this year.
Wes Jackson, Executive Director of The Brooklyn Hip-Hop Festival, said, "I am proud to say Duck Down has been involved with us since the festival’s beginning at the Brooklyn Brewery Yard in Williamsburg. This label has supported our mission of delivering positive Hip Hop music to the masses since Buckshot rocked with Little Brother in 2005, Sean Price took the stage in 2007 and Smif-N-Wessun rocked the festival last year. Congratulations to Dru, Noah, Buck and the whole Duck Down Family on 15 years. I look forward to seeing the whole team tear it down this year as they always do.”
Marketing Director for Duck Down, Noah Friedman, added, “Each Summer we look forward to the Brooklyn Hip-Hop Festival. It is a perfect event for families of all ages, where the Brooklyn community comes together on the DUMBO waterfront to enjoy live music, good food and cold drinks. For Duck Down, we've always felt like family to the Brooklyn Bodega team and are excited to once again have some of our most notorious groups from our roster perform on the main stage. It's especially fitting this year, as we celebrate our 15 year anniversary, that the groups who launched Duck Down are representing the label at this event.”
Hip-hop artist Talib Kweli will join Girl Talk at 8 p.m. today in the IMU Main Lounge. He exchanged an e-mail interview with The Daily Iowan this past weekend. The transcript is below.
Daily Iowan: What’s your age?
Talib Kweli: I am at the age of reason.
DI: How’s the tour going? Where are you now? Have you ever been to Iowa?
Kweli: Tour is going great. I have never been to Iowa, which is rare.
DI: It’s been 10 years since your collaboration with Hi-Tek, called Reflection Eternal, and your album Train of Thought. What brought you together again? Why now?
Kweli: Timing is everything in music. Now was the right time.
DI: How’s recording this time been different?
Kweli: Before, we recorded in big studios, and we basically used everything we recorded. Now, we record at Hi Tek’s personal studio, [and] we have more resources, more ideas.
DI: Is there anything you set out to do on this record that’s different than previous?
Kweli: The first record, we wanted to prove how dope we were. This record, we wanted to make songs that stood the test of time.
DI: Is there any part of you that misses the youthfulness or inexperience of recording Train of Thought 10 years ago? How does that change play into the new album?
Kweli: We are all about forward progression. I enjoyed 10 years ago, and I will enjoy 10 years from now.
DI: Where does the name Revolutions Per Minute come from?
Kweli: Revolutions Per Minute speaks to the idea that we live in a fast-food culture, so how many revolutionary ideas can you truly get off in one minute?
DI: Is the album making an argument? What is the theme? Is it different from your previous work (Reflection Eternal and solo)?
Kweli: This album is a continuation of my previous work.
DI: What about musically — how will the sound be on Revolutions Per Minute versus your previous work?
Kweli: The album shows growth and range.
DI: You’ve said in interviews that you respect all artists of hip-hop (specifically Soulja Boy), but some of your music, and I’m thinking of Train of Thought’s “Too Late,” seems to criticize the state of hip-hop. I thought that was an interesting difference. And I realize that was released almost 10 years ago, so what do you believe the current state of hip-hop is?
Kweli: Only reason I am allowed to be critical of hip hop in my music is because I participate and pay attention to other artists. If I did not, I would have no right to be critical.
DI: I’ve heard you mention that hip-hop started out as a dance music, evolving into what it is now, and that having a message with your music is just a bonus. That surprised me, because your messages are usually so strong, so I assumed that the music aspect would be secondary to the writing. Is that the case? How do you approach writing songs and recording beats?
Kweli: What I do is nothing without the beat, the rhythm, or the ceremony. MC is master of ceremony. Without a ceremony, what am I master of?
DI: Do you always want to make an argument with a song, or is it sometimes just to create something fun to dance to?
Kweli: It is never my attention to make an argument with a song. It is always my intention to create music that moves every part of you.
DI: How do you feel you, as an artist, fit into the hip-hop world now?
Kweli: I fit just right.
DI: You’re performing on Tuesday with Girl Talk. How do you feel mashup artists such as him are affecting or changing hip-hop? Or are they not?
Kweli: Heard the name, but I’m not too familiar with Girl Talk. I am looking forward to seeing that set.
DI: How do you feel your music translates from recording to the stage? How’s the live show changed over the years?
Kweli: Hip-hop is all about the live show. If you don’t have a good live show, you are not doing hip-hop, you are doing karaoke.
DI: Are there any Talib Kweli solo projects in the near future?
Kweli: I am about to start my next solo album.
By Luke Gibson
It’s refreshing to hear Scarface’s name mentioned in upcoming releases. It’s even more refreshing to hear the legend's voice over quality, edgy production. An artist whose catalogue would be the envy of any rapper living or dead returns to his beloved culture with Dopeman Music. His post-Emeritus hiatus aside, Scarface shows that he is still hungry, relevant and worthy of the crowns given to him. Although it's "just a mixtape" in terms of presentation and personnel, Brad Jordan proves that buzz can never duplicate mastery.
Dopeman Music marks one of the few tools Scarface has never used in Hip Hop, which is releasing a mixtape. Conceptually, it follows suit with the title of project. The leader and his latest Facemob spend the album addressing the role of the hood and currency. The 'Mob emcees that Scarface brings along for the go-'round sound deserving to be alongside the legend. Fans will inevitably question whether these rappers are capable of standing on their own. It's not that lead assisting rapper B. James is an outstanding lyricist, it’s that he can complement Scarface's style perfectly. Lyrics like, “The School of hard knocks / All the scholars turn to fiends / No jobs in the city, all we got is triple beams” are solid lyrics but the subtle changes of delivery between artists, and devotion to the material is what makes Dopeman Music a convincing piece of art.
The retail mixtape operates on a respectable level of quality, though not up to par with a proper Scarface album. However, unlike some of past in-between-projects, or unofficial archival releases, Dopeman has some truly breakout moments. “2 the Beat” features a ridiculously addictive hook and dope verses, with an old school approach to Rap songwriting. 'Face reminds us all why everyone from Tupac Shakur to Jay-Z has sought the legendary Geto Boys front-man out. “Get Lost” shows the man’s continued versatility. He remains one of the few artists who can have an R&B hook on a project without it ever compromising himself as an artist. His verse on “Get Lost ” paints a vivid picture of a woman whose lifestyle and age conflict. Its hook is reminiscent of those heard on 2002's classic album, The Fix. The song itself is one of the few times on the project where the Facemob’s inclusion can be counterproductive. Fans long for more verses from 'Face after hearing him open the track with a phenomenal verse, though the rapper teases the listener with a stamp of approval, and "on-the-next" approach.
Lyrically, the highlight of the project is the “The N Word.” Clocking in at a mere 65 seconds in length, 'Face obliterates the beat. It’s the type of conscious lyricism that has lived in Brad Jordan's catalog for 24 years, though he's rarely noted for that thoughtfulness. In just over a minute, the Houston pioneer is able to touch on immigration, the court system, crooked police, and legal hustling. It has immense replay value and 2010 relevance. In light of the Arizona controversy, Scarface spitting, “If you Mexican, they wanna send you back” is a classic example of why the man is so revered. He proves without a shadow of a doubt that he is still able to capture the essence of the common man’s frustration or fear. Whether it’s classics like “I Seen a Man Die” or “In Between Us” , or tracks like “The Ghetto Report” or “Hustle Game” on Dopeman Music, Scarface remains one of the great voices of our generation.
The aforementioned “The Ghetto Report” is another stand-out. From the unbelievable production, solid verses from Monk Kaza and B. James, plus Scarface's gem, the song may be an update, in terms of concept, to "My Block" , but it's the point-of-view he knows best. Scarface spits the first verse and with lyrics like, “It’s pitiful how they got me doing time / For a crime I ain’t never committed / The bottom line, is I’m a black man, so my S-K-I-N, is my S-I-N / So unless I win, I’ll be headed to a cell in the pen / And when I come home, I’ll go right back in.” It’s a haunting reality that 'Face tackles with eloquence and consciousness. From just an independently-released mixtape, Scarface's mind is at work yet again, like it's all on the line once more.
Dopeman Music gives Scarface another opportunity to be singular in focus while giving other emcees in his crew shine. The content rarely ventures outside of what the title suggests, but 'Face and company deliver it with class and flavor. This project being a mixtape gives the veteran the perfect way to reintroduce himself to the world while prepping them for his next project. Sure there are flaws on the project - “Lyrical Assault” being just one example, but flaws on a 'Face's flaws have always been forgivable, and typical of many of his works. Like previous Facemob projects or even 2006's effort with The Product, Scarface once again proves how much better Hip Hop is with him around, and how good he can make his teammates sound.
By Danica Dow & Cyrus Langhorne
Dipset's Jim Jones took a break from his Converse Band of Ballers basketball tournament today in Atlanta to talk with SOHH about the new Diplomat movement and relinking with Cam'ron.
Jones told SOHH what rap fans could anticipate for Dipset in 2010.
"Nah, I love [Diplomatic Immunity questions]. Ask me some more. We comin' to kill. You heard me? I don't know what been going on in the rap game but I know what's about to go on in the rap game. Shouts to Killa, shouts to Juelz, shouts to Freekey Zeekey. Dipset 'fo life. Holla at us. Yes [a deal] is [on the table]. Where the money at? Nah, its never about money 'cause we got money but we want more money so who got the money? Who got the mottz?" (SOHH)
Jones surprised ATL fans by bringing out Cam.
Miss Info: So, all week I've been campaigning behind the scenes to get Cam to come down to Atlanta for the Band of Ballers game and show the world that him and Jimmy are making progress : ) And thanks to the folks at Converse and the big homie at Anomoly, Stan Lumax, it happened! Play by Play Updates: Missinfo: So Cam came in as the celeb coach for Jimmy, Shamgod, AButta and the Jones Family.... 1.The first game for them was a close call versus Shawty Lo's team (apparently they had their own ringers too) 2. Cam isn't suiting up (yet) because everyone is calling these games "
Earlier this week, Cam said Dipset plans would be placed on hold until the deal is negotiated.
"Realistically, we working out business," Cam'ron told website Nowwut.com today. "Me and Jim are speaking. I don't want people to think me and Jim aren't speaking," Cam'ron said. "We speak a few times a week. Right now, we talking out the business. The deal is on the table. But until the business gets situated, it's [Cam's group], the U.N.; me and [protégé] Vado. We not about to stop. All the bosses meet at the roundtable. To be honest, we missed out on a lot of money on the Diplomat thing the first time. I'm not moving on nothing Diplomat until the business gets done. But it's close to getting done. Right now I don't want to mislead nobody and say it's not U.N. right now." (MTV)
Last month, Jones confirmed his reconciliation with Cam.
"I heard about the announcement," Jones said referring to his reunion. "I heard there's two gentlemen that put aside their differences and things like that. That's kinda good for the rap culture. I'm glad two young gentlemen as theyself get money and could put their differences aside and say they're gonna do another album for the people. Big up to them...I'm waiting to hear the next press release or the next cover or maybe
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