Who is the Real MF Doom?

The veteran rapper formerly known as Zev Love X -- the front man for defunct 90s rap group KMD -- has been accused repeatedly of using impostors to perform in his stead as the rapping entity known as MF Doom.

MF Doom, who's image is modeled after Marvel Comics villain Dr. Doom, is a 30-something year old rapper from Long Island who, since 1997, has been recording and performing music in disguise, with the disguise consisting of the metal mask.

In the beginning it was weird, but after Doom went on a eight year tear of releasing and producing incredible music for everyone from Nigerian singer Wale Oyejide to Ghostface, no one cared what he looked like anymore. It was all about the music.

Until the summer of 2007, that is, when Doom was part of the Rock the Bells tour and the first accusations surfaced of him not being the person who was performing on stage.

Of course the person performing was wearing a mask, so nothing was ever confirmed, and eventually the the rumors somewhat faded away.

But now, just about a year after the first rumors circulated through the Hiphop community, they seem to have made quite a triumphant return. In this case, at another Rock the Bells show, this one in San Bernardino, Calif.

The following videos show Doom (or his impostor) at the show in question strutting around and posturing on stage, but the fans get hip to the game real quick and call him out in the form of boos and throwing objects at whoever is on stage. You can even hear an angry fan saying "I didn't pay for this sh*t!"





Because of the high quality of his music I couldn't believe the rumors when I first heard them. Hell, when I saw Doom at the 930 Club in DC in 2005 I was convinced it was really him.

But that was before the rumors.

Whoever was on stage and rapping sounded just like Doom, and it was obvious the person was rapping live. And, since I remember what Zev Love X looked like, I tried my best to peek through the small cracks in the metal mask, eventually deciding it was indeed the real MF Doom.

But when my homeboy in San Fran -- who discovered Doom just around the same time as I, and who has been heavily into Hiphop since the early 80s -- called me after an MF Doom show there and said that his opinion was that it was not Doom who performed at his show, I finally lent some credence to the possibility that Doom could indeed be duping us all.

Granted, the music is the most important thing, and it is not being compromised at all if the rumor is true. But for an independent artist, it does beg the question why he wouldn't want to go out on tour himself and earn 100% of the payment for performance. I am assuming, of course, that Doom's impostor took home a share of Doom's payment.

Regardless, like I said it's all about the music. He hasn't put any new music out in a while; since the accusations of fraud, not ironically.

I say we just enjoy Doom for the music and if we see he's on the bill for a local show, don't go. If no one shows up to his shows he will eventually stop getting booked and get back in the studio.

Until that happens, enjoy some more footage of Doom performing live.

Max B Has the Song of the Summer!

Have you ever been a fan of someone's music for no good reason at all? Do you have a problem putting your finger on the pulse of what the appeal is? When all you believe in musically and sonically is compromised in the worst way, making you feel guilty for even extracting any pleasure at all from what you would normally categorize as an atrocity?

Well I happen suffer from all of the above, an affliction that I have been self-diagnosed with ever since I was introduced to Max B, a rapper/singer/songwriter from Harlem who first gained notoriety from his many collaborations with Jim Jones.

Just off his appearance alone, I hated him instantly. A vertically- and physically-challenged light-skinned man with long, straight hair, my gaydar's silent alarm could remain mum no longer. (Think Real from I Love Money.)

But then I saw the video for "Baby Girl/G's Up," singles from Jim's album, "Harlem: Diary of a Summer," and Max's incomparable talent was immediately apparent.

Max has a performance style all of his own; one that at times combines singing and rapping, and at other times separates the two, but always having a melodic feel without sounding like a soft, cookie-cutter wannabe pop star.

Back in those days Max maintained a low profile, writing lyrics for Jim and being the driving, creative force behind Jones' last two albums and many mixtapes. Add to that his innate ability to pen catchy, radio-friendly hooks that are 50 Cent-esque -- ever heard of a little song called by Jim Jones called "We Fly High (Ballin')"? You don't think Jim came up with that song up all on his own, do you?

Even without an album, Max's talent and popularity ended up exceeding Jim's wildest expectations, becoming a bit more than what Jones had anticipated, so because of jealousy and selfishness, Jones severed all tied with Max by way of random diss tracks discrediting Max's contributions to Jones' once dormant but now highly successful career.

But instead of falling back and licking his wounds, bounced back like Juvy, reinvented himself as Biggavelli (yep, you guessed it - he likens himself to Biggie Smalls and 2Pac aka Makaveli, combining the best of what they each had to offer...) and started his own offensive versus Jim Jones in the form of a series of well-received mixtapes, which ultimately got him signed to Amalgam Digital.

So after months of steadily releasing new singles and mixtapes, Max has unleashed the unofficial song of the summer with "Where Do I Go? (BBQ Music)," a breezy, cooled-out track rumored to be the fist single from his upcoming full length debut album.

Remember how after The Chronic came out everybody trying to score a hit in rap jacked Dre's G-Funk sound, almost to the point of nausea? Everybody had a fake Dre beat. Even producers who had previously created their own recognizable sound opted to bite Dre's sound.

Well this song brings back the feeling of those good old days, sitting around with your friends, sipping 40s, playing Dominos or spades, inhaling the smoky smell of grilled chicken and burgers (and Swishers).

Max both croons the hook and the first verse before he trades in the singing for rapping, maintaining a nice, chill flow that incorporates the standard self-aggrandizing lyrics. But because of the mush-mouth style in which Max can some times have a tendency to deliver his rapping lyrics in, I am unable to transcribe them here.

What's funny is that ever since Jim and Max went their separate ways, Max's career is thriving while Jim's seems to be stuck on stupid. What's even funnier is that if it featured a verse by Jim a la Jim's verse from Cheris Dennis's song "I Love You" (another great summer song) this song, if promoted right, could possibly climb the charts all the way to the top.

But Jim didn't want to share the spotlight, and now his 15 minutes are just about up. Max's 15 are just getting started.

Max B - Where Do I Go (BBQ Music)

The Greatest Hiphop Remixes of All Time

I was reading an article the other day that boasted their version of the all-time top 10 remixes to rap songs.

With the exception of one, I disagree on all of their choices.

I know they were only limited to ten choices, but since they are a magazine and they must cater to the consumer, there were some pretty cookie-cutter and PC selections made. I guess they didn't want to ruffle their readers' feathers.

Even though it all comes down to opinion, some opinions are held in higher esteem than others simply off the basis of breadth of knowledge. And XXL's opinion -- in my opinion -- is a weak cop-out of an attempt to please all parties.

Furthermore, if DJ Premier and Pete Rock do not make up most of your list, then there is a serious problem.

If we're talking about straight up Hiphop music and not all this other madness masquerading as authentic representation of the culture, then 2Pac's "California Love" remix honestly has no place on this list.

Not to mention XXL's criteria for the list is limited to "songs that were remixed with new beats." So why, pray tell, is Eric B. & Rakim's "Paid in Full" remix on that list? It has the exact same beat as the original except that it is about 3 minutes longer than the original and features an Indian woman's vocals.

And while I'm a Wu-Tang head till the end, and even though I loved Raekwon's "Rainy Dayz" remix, if we're talking about the top ten remixes of all time, how could this song be on there? It was a great song, no doubt, but top ten?

And for as many songs as DJ Premier has remixed, how is the only one on XXL's list Big L's "Ebonics" remix? I love Big L and consider him one of the greatest rappers ever, but Premier is a remixing machine and to be 100% truthful, the "Ebonics" remix was not even close to one of his greatest efforts. It's still Primo so of course the track is dope, but it's like comparing an iPod shuffle to an 80 gig iPod -- both are great, but one clearly stands out more than the other.

The only songs on XXL's list that I doff my cap to are Tribe's "Scenario" remix, PE's Shut Em Down Pete Rock remix, and The Fugees' "Nappy Heads" remix. The rest are highly questionable.

Below are some very viable options to replace most of the choices on XXL's list (in alphabetical order):

Gang Starr - The Militia Feat. Big Shug Pete Rock Remix

A Tribe Called Quest - Oh My God Remix

De La Soul - Buddy Native Tongues Remix

Chi-Ali Funky Lemonade Pete Rock Remix

Das EFX - Jussamen Pete Rock Remix

Blackstar - Respiration Pete Rock Remix

Jeru the Damaja - You Can't Stop the Prophet Pete Rock Remix

Gang Starr - Gotta Get Over (Taking Loot) Large Professor Remix

Jungle Brothers - J-Beez Comin' Thru Remix

Common - Resurrection Large Professor Remix

House of Pain - Jump Around Pete Rock Remix

Brand Nubian - Punks Jump Up Diamond D Remix

LL Cool J - Pink Cookies in a Plastic Bag Remix

Fat Joe - The Sh*t Is Real DJ Premier Remix

Jeru the Damaja - Me or the Papes (Me Not the Papes) DJ Premier Remix

Showbiz & AG - Next Level DJ Premier Remix

A Tribe Called Quest - Can I Kick It Remix

Ultramagnetic MC's - Poppa Large East Coast Remix

And these choices are just the tip of the iceberg. This is all I could think of in five minutes, but I know there are better, more significant remixes that have left undeniable impacts on their listeners. And NaS's "Street Dreams" Trackmasters remix with R Kelly is just not one of them.

If you think I've left off any remix that is crucial to real Hiphop please drop a note in the comments section and I'll add it.

Nelly is a Simp, Not a Pimp

Photos have emerged online of a drunken-looking Nelly cozying up to an ugly stripper in Atlanta while he was there attending Jermaine Dupri's annual So So Def Celebrity Weekend of festivities.

SOHH is reporting that Nelly is supposed to be mad that someone snapped the photos and he's worried what Ashanti will say when she sees them.

(CLICK HERE FOR THE PHOTOS)

An SOHH gossip columnist says the following:

According to my source the potentially damaging images caused Nelly to lash out at certain bloggers at an Atlanta area bowling alley last night who were coming to the defense of said photographer. Nelly was seen by many cussing and screaming at one blogger for even bringing the issue to his attention. Apparently he’s very upset because he gave every photographer specific instructions to NOT photograph him in any compromising positions. Since landing his new deal with Sean John it’s been said that it’s important that Nelly represent himself and the Sean John brand appropriately.

The new pictures are adding further fuel to the fire about that rumored child he fathered with a stripper.

A few quick and obvious questions: doesn't this guy Nelly describe himself as a pimp? Doesn't he sell some energy elixir called "Pimp Juice"? What is he afraid of?

It's not like Ashanti is on Beyonce's level, or even Ciara's for that matter.

Ashanti, like her man, is on the verge of falling off beyond the point of no return. Nelly has nothing to lose if she leaves him and he can always find a much better-looking (those damned sideburns!) and probably more talented (her singing is atrocious) replacement for Ashanti. But instead, Mr Pimp Juice is afraid of what her reaction will be (or already is...).

I hate frauds, and to me this is worse than the silly Rick Ross debacle.

Because any semi-educated, casual listener of Hiphop music can discern between reality and fantasy. I don't think anybody ever believed that Rick Ross was an actual drug kingpin with ties to Manuel Noriega and Pablo Escobar.

However, with Nelly's riches, youth and one-time extreme popularity, there is no doubt in my mind that he literally could have been with a new woman each night of the year. And he made this known in his lyrics.

Especially on the song "Play It Off," in which he "em-singed" about playing off any accusations of cheating his girl would levy against him, indicating that a cavalier lie to his girl would allay any of her concerns. I wonder if he's considering using that tactic this time around...

I love witnessing every aspect of Nelly's demise. I wish him all the worst for all the near irreparable damage he's inflicted on modern rap music, and pop music as a whole. It is only a matter of a few weeks before his new album is scheduled to drop, at which point I expect/hope for a prompt flop accompanied by a swift exit from the rap music industry.

N*E*R*D on the Cover of Complex Magazine

N*E*R*D continues to get attention for their new album -- which is extra dope -- by being featured on the cover of this month's Complex Magazine, which is their Style & Design issue.

Before the interview goes into a Q&A format, the interviewer, Brendan Frederick, proposes his theory on why the Neptunes continually churn out #1 hits for people they produce for while N*E*R*D routinely flies below the charts' radar:

"How is it that their beats for-hire business has been a gold mine for years, yet their do-for-self mission has been so hit-and-miss? Easy answer: Weirdness is a risky business. When they provide the backdrop and let someone else deliver the message, they’re a novelty, and an infectious one. When they’re delivering their own message, though, it’s a lot harder—being at the vanguard is lonely when no one can match your speed. ...

Bottom line: Weirdness is the cousin of genius. Madness and artistry go hand in hand, and it’s what’s made them design icons in addition to just musical ones (LV, BBC, Bape—should we go on?). And most important, they’re just being themselves. You might not understand it, but you gotta respect it. N.E.R.D. = life, son!"

I think I have to agree whole heartedly.

Frederick poses some really good questions to the group, too.

Q: Musically, you guys aren’t exactly mainstream, but you’re probably the biggest producers that ever made it from the world of hip-hop. But then from a style standpoint, it seems you try to keep a proximity to the exclusive shit. You don’t have BBC brand in Macy’s, which you could. Why do you feel that’s the way to go for clothes, as opposed to how you handle your music?

Pharrell: Certain things are meant to be amongst a smaller populace. You don’t want everything you do to be ridiculous, you know? Exclusivity is a good thing. It keeps it close to you.

Q: But at the same time, a lot of styles you guys pioneered, and Nigo started, sort of trickled down to a lot of the mall brands. Does that worry you?

Pharrell: I’m not here to take credit. I’m just really appreciative of the opportunity. The most important part is the process.

Q: Everyone knows what Chad and Pharrell do from the Neptunes. But what does Shay do?

Shay: I just try to push them to the full extreme and have them do records that they normally wouldn’t do. That’s why we’re always like, “Neptunes is what they do, and N.E.R.D. is who we are.”

Q: Let’s talk about the Ice Cream shit a little bit. How difficult has it been to find acceptance in the skateboard world?

Pharrell: I never really gave it that kind of thought—the only thing that really matters to me is that I’m offering them an opportunity I didn’t have. I wasn’t good enough, by the way.

Q: To skate?

Pharrell: When you hear “Skateboard P,” that’s just like in the hood, skating around. They never called me that, but that’s the name I wish I would have had. When I was a kid, I never had a nickname; it was always just Pharrell.

Q: Back when Clones came out, there was talk about you guys making a movie called Dude, We’re Going to Rio.

Pharrell: Are you trying to torture me right now?

Q: No, I’m just curious what happened to that.

Pharrell: It was just bad. Not surrounded by the right people. Just a shitty arrangement. Those guys were nice, but I didn’t know what was appropriate. But now I’m working with Joel Silver so we’re producing something. I’m doing some television things with McG.

Q: P, you often rap—and sometimes sing—about a very hyper-consumerist lifestyle. Do you feel conflicted about that when we’re in a recession?

Pharrell: That was one little small era. All of that is just the nerdy guy going, “Ha ha!” But when’s the last time you heard me rap about that stuff? At this moment, right now it’s all about N.E.R.D. and it’s about energy. I’m just inspired by that. When I was doing that kind of stuff before, it was because I felt like I was doing something different, but in essence it wasn’t really. It was the same shit I’d been hearing.

Make sure you check out the magazine as it arrives on newsstands.

There is also a video of behind the scenes footage at the interview and photo shoot for the magazine's cover.

N*E*R*D Shoots Video for Remix to Everyone Nose

MTV.com recently reported on N*E*R*D's filming of a video for the Everyone Nose CRS remix -- featuring Kanye, Lupe and Pusha -- a very hot track that deserves some recognition beyond the blogs and Internet sites.

Pharrell took the time to comment on each participant's rhyme:

“I think Pusha put the meltdown on it. ... But, I mean, I like everybody’s verse because I think that Lupe killed it, Kanye killed it. Mine was more about style than how dope the rhyme was. It was really my melody that I liked more than anything — that’s why my vocal approach was a little different from what you would hear me do. I wanted to just do something different that would look different on me.”

When asked why fix something that isn't broken (a reference to how great the original version of the song already is), Chad from the Neptunes said:

"We wanted something with more of a straight-ahead, club-bumping beat, just a different take on it," Hugo said. "We like to remix, dismantle, take apart shit and put it back together. It's just like a Rubik's Cube: When you can't solve it, you just break it and you put it back together."

MTV has some footage of Pharrell talking on the set of the video:

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Young Jeezy is an Idiot!

Aside from the obvious reasons that prove his idiocy (his name, for starters...), Young Jeezy is an absolute idiot.

Granted, he is a wealthy idiot, but wealth never prevented idiotic statements before, so why should they now?

The statements I'm referring to appear online in a vibe.com story about how Young Jeezy (ne Jay Jenkins) suffered from a serious case of hurt feelings after the late rapper Pimp C (of UGK fame) mocked Jeezy and other rappers who's careers have been defined by raps consisting of nothing but tales of drug dealing (see Clipse and Rick Ross for more on this):

"Muthaf*ckers talking about they’ve got kilos for $17,500. Bitch, ain’t no kilos for $17,500 up there, and you know what I’m talking about. Come to Houston and get the work and pop it cause we’re right there by San Antonio and we’re going down there and gettin’ the work. And guess what, man. All y’all n*ggas talking about selling dope? If y’all n*ggas was some d-boys, guess what, man? I don’t believe you n*ggas no more cause I’m seeing you n*ggas in button up shirts getting cute and pretty trying to look sexy. N*gga, f*ck you. N*gga, and I ain’t gotta say your name."

Although Pimp C didn't use any names, it was clear who he was pointing his finger at (Young Jeezy has a song on one of his albums called "Mr. 17.5").

But now, many months later, via the media, Jeezy has decided its time for him to go into damage control:

"I can’t ever hate on Bun or Pimp cause I always respected what them n*ggas did, but I put in my work. That sh*t hurt me, cuz. F*ck that, man. That sh*t hurt me, dog. I’ll be lying to you if I said it didn’t hurt. ... Anything I ever said was the truth. I’m not fabricating nothing and that hurt me because I listened to them n*ggas and I did what they told me to, which I thought was right. ... For a n*gga that I love and respect to tell me that I’m a liar. ... Like, for real. I lived and died by that man."

If Jeezy's being honest then that's pretty scary that he couldn't differentiate between entertainment and real life to the point that he thought that everything UGK rapped about was an actual endorsement for their listeners to do the same things.

Furthermore, in the day and age of Officer Rick Ross, why would Jeezy bring this issue back up and bring more attention to how Pimp C called him out for faking?

Because it all boils down to one single issue: Young Jeezy is an absolute idiot.

I won't even begin to discuss Jeezy's endorsement for Republican Presidential nominee John McCain...