The Ill Community

Don't know if anyone made a thread on this yet, but it looks like it might be good

Nigga funny as hell

BET is about to shoot a new series based on the life of Nas.

Following the success of last week’s New Edition Story, BET is looking to do a similar series for the story of Nas. On Tuesday, Deadline reported that BET is going forward with another music-related series called “Street Dreams,” which will be an hour-long show based on Nas' life.

According to Deadline, the show will take place in the early 90’s and "track the ascent of Nas, a young man from the Queensbridge projects who will go on to become a famous rapper, as he evolves from young man to crack dealer to rapper to adult."

There’s no word yet as for who will portray Nas in the series, but we do know that Jonathon Levine will be writing & directing the pilot episode. As more information comes to light, we’ll be sure to keep you posted.

Right, I know that were only like 2 or 3 strong down here that actually own a Wii U but Gottdamnit son, I know a lot of you are thinking about jumping in or been rocking a 3DS.

We gotta stick together, hold the fort down, preach the glorious Nintendo Gospel in this biatch.

Killa, ,Sion,Paralel, whoever mod powered up, merge these other Nintendo threads with this one and sticky this shit.

Nintendo network id = mata-elang

I dont know how to embed vids from the phone, but Ill be spamming this thread with links later on.

Found this on Youtube....watch the video and tell me what you think? Let's discuss this

niggas must have forgotten she's one the original vixens and one of the baddest not to mention she's 38

recent pics from her twitter and instagram, remember she's 38 my nigga

bv9oww

instagram-photo-by-vidaguerraofficial-vida-guerra-statigram-3-9801b0fb-sz612x612.jpg

Now this...this is coon shit

Unreal

We need a thread to put all the election news, updates, foolishness, etc....

Sticky, please?

In 1986 at Shabazz Restaurant in Mount Vernon, New York, the satin-tongued rapper Heavy D gave Joaquin “Waah” Dean some advice: “I ain’t guaranteeing you nothing or promising you anything, but what you do is you make hits and the industry comes to you.” Dean, a Bronx-born entrepreneur, was trying to make his way into the music business, and he took D’s advice to heart. In the decade that followed, with his brother Darrin and sister Chivon, he founded Ruff Ryders, a management company turned music imprint under Interscope, and signed DMX, a rapper with the kind of folkloric talent that comes along once in a generation.

DMX had flow, bite. Even before he’d released his first album, he cut through cold New York City winters on songs like “Make a Move” and Mase’s “24 Hours to Live.” Once he was blessed by Def Jam A&R Irv Gotti’s Midas touch, he became a breakout mainstream success with the 1998 release of his critically adored, warrior-spirited debut, It’s Dark and Hell Is Hot. It didn’t just have hits, it had moment-altering anthems. Heavy D’s prophetic counsel proved true: the industry was now all ears.

With momentum on X’s side, Island Def Jam Music Group co-president Lyor Cohen proposed a high-stakes wager: finish another album before the year’s end and he’d award DMX a $1 million bonus. It was a test of faith — of DMX, and of the Ruff Ryders crew. With producers Swizz Beatz, Dame Grease, DJ Shok, and P. Killer Trackz, they got to work. The result was Flesh of My Flesh, Blood of My Blood, a throbbing testimony that found the rapper running face first into the murk of his past. With features from Mary J. Blige, Jay Z, rock oracle Marilyn Manson, and labelmates The Lox, and released just three days before Christmas, the album was a platinum-selling success. It made DMX the first rapper to drop two No. 1 albums in the same year, and cemented him not just as a crossover success but a conflicted messiah whose grimy truths resonated with people living at the margins.—JASON PARHAM

The 1998 release of It’s Dark and Hell Is Hot filled a void in rap, which, in large part, had become defined by the get-money mindset of Bad Boy and the brass-knuckled bravado of Death Row.

KAREN R. GOOD (music journalist): It was a good year for expansion. Hip-hop was picking its way out of something. It was a rebirth, trying to get out of its box.

LYOR COHEN (co-president of Island Def Jam Music Group, 1998-2004): Hip-hop had become overly aspirational and shiny, full of vivid technicolors. Cosmetic fronting was not part of the ethos of our get down. Our get down was more blue collar. Our aspirations were to shine a light on the plight and experience of the inner cities of America.

DARRIN “DEE” DEAN (co-founder of Ruff Ryders Entertainment): You had Puff and Biggie, and they were supposed to be the definition of hood. But they was wearing Versace, all expensive stuff that most people in the hood couldn’t afford. That just wasn’t the representation for the hood and the people who were less fortunate.

STYLES P (rapper, member of Ruff Ryders group The Lox): Young black men had an opportunity to make money that they had never made before, so why not be flashy? I’m not mad at the flash. It just needed to be balanced.

JOAQUIN “WAAH” DEAN (co-founder of Ruff Ryders Entertainment): When Pac and Biggie passed away, everyone was dormant. People were asking, “What’s gonna be next, what’s gonna be hot?”

DAME GREASE (producer): [Def Jam] was probably a little confused and didn’t know what the next turn of events was gonna be for the future. And that’s where Dog [DMX] came in, to give the label a whole new energy and light. He even sparked Jay Z up. Jay Z had more of a spark of energy to do things.

DARRIN “DEE” DEAN: Ruff Ryders stood for the streets, the hood, the have-nots. We come from a minority area where everybody’s in a struggle, everybody’s trying to survive. We wanted to speak for the people that’s not heard. X was different, he drew you in to him.

SWIZZ BEATZ (producer): We came and disrupted it. When we came in the game, we were on that rebellious vibe. My uncles [Dee and Waah] were very powerful already at that time. That mentality was something we were living way before music, so when it came to being in the industry, it was hard to shake a lot of those habits.

DMX (rapper): It was just my time. I was in my zone.

KEVIN LILES (CEO and president of Def Jam, 1998-2004): The consumers were starving. X fed that hunger — that hunger for realness, that hunger for the street. And what better way to serve it up than to give two full entrees in the same year?

DMX: Lyor said if I could do another album in 30 days, I’d get a million-dollar bonus. That was the whole drive.

LYOR COHEN: There was a huge demand and very little supply. We don’t typically do what you’re supposed to do. We focus on what we should do.

JOAQUIN “WAAH” DEAN: They had all kind of bets going on. But it was nothing for us. We were doing an album every 30 days anyway. That’s for all of our artists. We had one month to do that album, and it was ready to go. But nobody slept.

DAME GREASE: The momentum was just going so good. We were like, “Fuck the norm” and just ran. It was like, “Let’s go knock they head off again. While they knocked out, we gon’ pick em up and knock em out again.”

STYLES P: Why not take the world by storm?

TINA DAVIS (head of A&R at Def Jam, 1996-2004): We were trying to have shock value. That was what was important for us. DMX kind of had his own vision of what he wanted to do and we just made it happen for him. We allowed them to tell us what they had in mind and we just improvised on it.

DMX: I wanted to get that bonus. So I wasn’t playing with that whole studio shit. I wanted to get it out. The first album had 19 songs, so I already felt like I was cheating a little bit by giving them less songs than on the first one.

DARRIN “DEE” DEAN: We’d already put in a good 10 years of work before we even got in the game. So for the second album, we just redid most of the songs we had left over from the first one, mixed it, mastered it, and got it done.

JOAQUIN “WAAH” DEAN: Timeline was the biggest issue. Everything had to be done yesterday. They hated me for that, cause that was my job: to make sure the pressure stays on all day. “Damn, y’all taking forever to make this song.” The hardest part was we had the two-inch reels. It took forever to mix the songs. It took us eight hours just to mix one song, and then we had to double check it. It’d take us 48 hours; sometimes it took us a week to do a damn song and mix it. We had to book out three, four rooms at once.

As Ruff Ryders worked on the album, its impending release came to represent something more: a chance to define a movement.

STYLES P: We had a lot on our shoulders. Nobody really gave a fuck about Yonkers. Rap-wise, there was no notches, there were no salutes, there was no acknowledgement, there was no nothing. So all four of us [Styles P, Jadakiss, Sheek Louch, and DMX] took that very personally. We took that as a badge of honor to make sure muhfuckas know it. Putting that work in was a badge of honor for us.

SWIZZ BEATZ: My uncle was just establishing the label, moving around, still kind of in the streets. That’s just how it was — one foot in, one foot out. X had to record wherever the goons were.

I'm over trippin off of how all these muthafuckas are riding for suspect Syrian refugees, illegals, and silly hoes, but I can't help to wonder why Trump sends the Feds to Chicago, or the next time one of these Neo Gestopo savages assaults or kills a black person, will they ride for us like they are for everybody else?

Fuck that nigga Chi Town. Don't derail this thread with your constant bitching

What y'all niggas doing this weekend?

A show featuring outspoken Atlanta rapper T.I. ended in violence last night, in New Brunswick, Canada.

The rapper is touring the country as part of his “Us or Else” tour. He was in Moncton last night (January 30th), when the incident occurred.

Law enforcement sources told TMZ.com that T.I.’s bodyguard was stabbed three times, in the calf.

The unidentified 23 year old, was involved in a brawl as he was guarding T.I.’s merchandise. Luckily, it was T.I.’s last show in Canada.

http://allhiphop.com/2017/01/31/t-s-bodyguard-stabbed-brawl-show-canada/

This is the rules you can only say one per post and then move on.

´´Rappers coming out the cave like neanderthal´´-Planet Asia-

https://twitter.com/RNs_Funhouse/status/762432747654688768

He dropped alot of gems too

Friendzone dropped their first mixtapes in the year 2010. They would then produce A$AP Rocky's hit single “Fashion Killa,” which was released in 2013 and featured on the rapper's debut album, Long. Live. A$AP. The production duo also made tracks for the likes of Yung Lean, Antwon, Main Attrakionz, and more.

The cause of Laurence's death is still unknown. Our condolences go out to his loved ones.

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