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New Visuals: @Jay_Wyse - "Never Looked Better"

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From artist rep: Baltimore artist Jay Wyse releases the latest video from his "Nine Twenty Five" album. On "Never Looked Better" Wyse elaborates on the rise that he feels coming and the grind it takes for it to unfold. The visual is shot & directed by Anthony Kelly (@MoeMarlly) and serves as the fourth video from the album.

Now, any video showing the good and bad of Baltimore City always gets a look from me. I'm biased, I'll admit. But, Baltimore has so many spots to capture the beauty and blight at the same damn time. But, you take that and add in some dope lyricism and a catchy hook from Jay Wyse and I'm glad I chose "wysely." I especially love the switch-up Jay uses for the second half of the track.

New Music: @FrankyHill__ - "Full"

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I've never heard anything from Franky before this track. However, after the honesty and reality exhibited here? I'm sold that I've got to hear more. A song that discusses the craziness in a doubly-adulterous relationship, "Full" reminds me of some of my earlier, RR stuff, but also reminds me of a darker version of K.R.I.T.'s "Something" from the KWH album. I love the "I'm going crazy over this" vibe Franky gives us on the second verse.

New Music: @EricBellinger X @PhilAdeMusic - "In My Prime"

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Give me Eric Bellinger's vocals mixed with a dope verse from Phil Ade and some slinked-over-the-shoulder instrumental energy, and I'll give you a late-summer banger that'll have some long legs. This one's on Eric's Eric B. For President: Term 1 album, which is coming soon. If the tape sounds anything like this, Bellinger's going to have a solid project full of diverse sounds. Check it out below.

New Music: @kelechief - "Part Three (Father Stretch My Bands)"

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Atlanta-centric rapper Kelechi drops a "Father Stretch My Hands" take called "Part 3 (Father Stretch My Bands)." I'll be honest. I was just expecting him to freestyle over the "FSMH" beat. But, thankfully, he took it a completely different direction, opting to sample Queen, Cold War Kids, and the aforementioned "FSMH." Man, this is a solid track mainly because of a combination of Kelechi's laid-back flow, his punchlines, and the barren-to-robust evolution of the instrumental. I leaves me wanting more bars from him, aside from the reprises of the choruses, though. That's my only gripe, for real. Go check it out below and be sure to tell Kelechi how you're feeling about this one.

New (to Me) Visuals: @BlueBenjiSleepy feat. Easy - "On the Run"

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Baltimore is full of talented artists from all genres and subgenres. I got wind of this track via the folks over at MusicontheDot.com (check 'em out; I used to write for their NotBoomin site). Blue Benjamin Sleepy gives us a video with a story that seems all too familiar (he's a young man trying to get a job but can't because of his past...so he raps and the like to pay the bills). However, what's lacking in so-called "originality" in the story, Benjamin and Easy make it up with a hard look at their situation and the state of Baltimore. Add that on top of an infectious instrumental, a chant-ready chorus, and a dance for the track, and you've got another artist vying to be the next up for Baltimore. Man, it's a great time to be a Baltimore rap fan. Even with the tragic death of Lor Scoota, you've got a bevy of artists stepping up and swinging for the fences, each in a different way from the next.

Was "Let Me Love You" Mario's Peak?

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I mentioned a couple weeks ago that I'd discuss "Let Me Love You" a bit more, especially with its recent resurgence on the sing-a-long competition Greatest Hits. So, here's my piece and peace with this track.

Photo Credit: Billboard.com

As stated and reiterated here, I've neither negative feelings nor positive feelings about Mario's music. For a good portion of my life, it kind of just existed. Yeah, I know. He's from Baltimore, I'm from Baltimore. I'm supposed to like everything from Baltimore because Baltimore, right? Well, Baltimore has had its share of drug abuse sadness. Do I have to love that, too? That's not to say Mario's music is like drug abuse, because that's a doubly messed-up thing to say. I mean, Mario's mom had her issues with drug abuse. That's not where I'm going. However, my questioning does say this.

Just because something's from your hometown doesn't mean you've got to fawn over their music. Just because someone gets a cosign from a hometown hero, as was the case with transplant-for-a-hot-second Young Leek's cosigns from Blaqstarr and the late Club Queen K-Swift, that doesn't mean they're destined to blow up.

But, I digress.

Most of Mario's music, for me, kind of just existed.


I only grew my hair out to braid a few times and it was usually done by professionals. I thought that "Just a Friend 2002" was kind of corny, even with its Biz Markie roots (and cameo[s]). It was a dope song, but I always laugh at it and its video. And, later on, I'd make fun of songs such as "How Do I Breathe" and "Somebody Else," mainly because they, while decent tracks, had some "huh" moments in them. However, one song, and it's an overrated song from Mario, keeps me from completely dismissing the man's underrated genius (what? Just because I'm not fawning over him doesn't mean I don't realize he's got some talent and bangers).

"Let Me Love You."


Now, perhaps it's because of the laugh-out-loud funny feels I get from the song. It came out right in the middle of my crush on someone I'll refer to as Ms. Pink Jacket--more on her in, hopefully, a later DJBooth.net piece. Additionally, it came out at a time that I was scrubbing around and dealing with my dealings with several other young women. So... many...fails. I identified with its message, even with its proto-Chris Brown dance sequences.


Or perhaps it's because, as cheesy as it can be ("you're a dime, plus $0.99/and it's a shame you don't even know what you're worth," anyone?), it just hit some chords with me that most of his music has never done/has yet to do. It's a song about unrequited love, wanting to "save" the girl of your dreams from a ne'er-do-well.

Whatever the reason is, I always go back to this track as showcase of Mario's abilities. Sure, it's a Ne-Yo-written track, but it showed Mario's range, Ne-Yo's skills with the pen (mostly;the aforementioned "plus 0.99" line is still a head-scratcher in some ways), and the uptempo ballad feel made it perfect for many a young teen in 2004 to take that track and send it to someone on AIM or Myspace or whatever was popping social media-like in 2004.

This brings me to my next question.

Nostalgia aside, was "Let Me Love You" Mario's peak as an artist (thus far)?

It was a Billboard-charting success story and put Baltimore on the map, again, as a hub for talent. The energy Mario brought to B'more from that track, you could argue that rappers such as Bossman,  and Mullyman also benefited from it, as well. I mean, you had all eyes on Baltimore--and it wasn't just because Omar was coming.

Also, it still gets play twelve years after it dropped. No other Mario track has had that longevity, not by a long shot. Not "Braid My Hair," not "How Could You," not "Break Up" from his later D.N.A. album, not even the track he did with Nicki Minaj a couple years back. Many Mario tracks, for better or worse, they come and they leave a few months, maybe a year later. That's probably because, especially in the DMV, DJs play the hell out of some Mario when it drops. He manages to get some hot features and some great songwriting behind him.

"Let Me Love You" was special. And, I'd argue that, because of how big the track was, Mario has been chasing that success since. He, thankfully, hasn't tried to remake the song for years. Every track that hits the streets and the radio from him, it has that same sort of dramatic force behind it. But, none of them have been able to match or eclipse the legacy he set out for himself in 2004.

What does the future hold for Mario? I'm not sure. He is, after all, only 30. So, for real, his best years could be far ahead of him, musically. However, I'm not sure if he'll ever surpass "Let Me Love You." Yes, even with its mid-2000s obsession with graffiti, oversized clothes, and dancing lifted right out of the You Got Served choreography book.

New (To Me) Music: @KuntryKali - "No Option"

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This remake of Belly's "No Option" feels like some mix of the DMV flow, some Tupac, and some Bone Thugs (with regards to the harmony overlays on the bars). The California native, after years of military moves, developed a "kuntry" flow that embodies his Cali swag, his DMV demeanor, and years of being on the move. It's a unique flow that helps distinguish this track from a lot of remakes of this track. He also recently released an original track, "Tubmans," to celebrate Harriet Tubman's placement on upcoming $20 bills. That track will feature on his upcoming Greenhouse mixtape.

New Visuals: @noreaga - "Moguls/Petty"

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H/T goes to WSHH for this one. So, N.O.R.E. is back and hungry for the game, again. Who are we to say "nah" to new N.O.R.E.? Directed by Rich Blanco, the track(s) have that old school grimy-ass NY feel to them. But, instead of just relying on "old feels," N.O.R.E. updates his style for 2016 without losing what makes him unique as an artist (other older artists who still drop crack, take notes; you don't need to sell your soul as long as you can adapt). Check out the video(s) below and let N.O.R.E. know if you're feeling 'em by checking out his Drunk Uncle mixtape.


New (To Me) Music: @JulesIsDope - JulesisDope Mixtape Vol Wun

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North Carolina-based artist JulesisDope is a mix between Kendrick and Backpack Drake with a bit of Chance for seasoning. That's really the best way I can describe his sound and his new (to me) mixtape JulesIsDope Mixtape Vol Wun. It's a hodgepodge of slinky vibes, harsh lyricism, and energy that mixes in that middle between over-the-top bravado and smoothed-out, slightly jazzy, smoker-friendly tracks. If you're feeling Vol Wun, go let him know.

New (To Me) Music: @Soulnj_ - NWA The Soundtrack

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For indie artists, there's always that hurdle of figuring out where you're going to go with your music. Are you going to rap about the struggle or how you're doing better than the struggle now? Thankfully, Soul The American Dream found a sweet spot for his NWA The Soundtrack album. Clocking in at 12 tracks, the "Soulful Gangsta"-delivered album gives us music that's a conglomeration of what you'd get if Big K.R.I.T. and Bizzy Bone linked up. It's political and uplifting, but doesn't lose its soul (pun intended) when discussing the dirtier side of things. If he keeps this up, he'll definitely be an artist to keep your eye on.

Check it out below and let Soul know if you're feeling it.

New Music: @fleakardashian X @KelKeyz_ - "Day 2 Day"

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A jazzy flip, boombap-esque in its nature, of Aaliyah's "At Your Best" draws you in to this new SpeedontheBeat.com submission (h/t to D. Valor and the rest of the IHS family). Featuring Messy Tye and Kel Keyz (who also has a co-production credit on this one), "Day 2 Day" is a tribute of sorts to Aaliyah's greatness, but it carves its own path to being infectious. It's not just about Aaliyah, even though she's featured heavily throughout the track. The Providence, RI natives bring a sound that kind of reminds me of Blu's Below the Heavens album in its approach to the topic (making it until they reach the top, etc.).

New Music: @Punskription - "Dreams From a Cubicle"

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I love the lo-fi meets synth-rap feels on this new Punskription track. Who doesn't just want to do what they want to versus just being...9-to-5'ed at times? I know I still have moments where I'm like "I need to escape from the job grind," which is how you get SpeedontheBeat.com doing what it's done so far. But, enough of me. The track rocks.

PA Vol. 44: I'll Name This One Later, Again (or "It Was Acceptable in the '90s")

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After fleeing the country because reasons we've discussed, Drizzle Sez hit me up to discuss a lot of things in this new PA. Don't worry; we'll get back to our other topics, maybe. And The Gingawd isn't going anywhere. Anyways...

Drizzle: You know that, down in DR, they've got SWAT Kats.


Speed: You lucky bastard. You know how much '90s nostalgia makes me giddy.

Drizzle: Somehow, this one, born as a clusterfuck rip-off of Ninja Turtles and Top Gun--you see where this is going. You know, we really need intro music.

Speed: We really do. Maybe I can ask one of the Indie Showcase folks. But, they'll probably want money and I don't have enough of that. We probably need to start slanging dick for freedom--

Drizzle: Huh?

Speed: I'll explain it later.

Drizzle: Anyway, SWAT Kats evolved into a cult classic from a hodgepodge of ripped-off fuckery. In other words, it's American Gold.

Speed: Power Rangers, anyone? But, yeah. That's why I'm confused as to why

  1.  SWAT Kats doesn't get the credit it deserves for being able to be original as fuck while still being a "rip-off."

    I mean, let's look at Darkwing Duck.

    I love Darkwing Duck, the show. But, it's a rip-off of Batman and The Shadow. Somehow, probably because Disney, the show still ended up on DVD, Disney tends to release everything they own at some point, aside from A Goofy Movie being on Netflix and/or Hulu like that. This leads me to point two.
  2. Why isn't SWAT Kats streaming in America when there's so much crap that could be taken off in favor of something that's actually good and not just good because #Nostalgia.
Drizzle: I'm pretty sure that Hanna-Barbera is in bed with someone. Either that or they're broke.

Speed: I'm pretty sure they just got bought out by Turner and/or Time Warner. I think so, anyway. You'd think that'd lead to more HB stuff on Boomerang and Cartoon Network, aside from Scooby Doo remakes. But nah. Boomerang is pretty much CN2 these days. They barely even show stuff like The Flintstones, OG Pokemon, or--ironically enough--Scooby Doo like that anymore. Now, it's Teen Titans out the asshole.

Drizzle: Sellouts. But, off-topic. I liked SWAT Kats. I liked their usage of, like, "Tupac Spelling" in the '90s.

Speed: HB wasn't making as much money off of the originals and/or traditional 2D cartoons anymore. SWAT Kats was the start of that. It's classic and well-written but they couldn't sell the toys they way they wanted. So, plain and simple, it was a Gundam-like effect. No one went "BUY THE TOYS" and the series suffered because of it.
Drizzle: Two things. I liked the fast-paced, over-the-top, Monster of the Week fashion of Swat Kats. Two, Gundam succeeded originally because it wasn't, at first, about the "BUY THE TOYS" thing. That came later, and doomed it to just show flashy-ass robots with no real purpose other than to look cool and badass--

Speed: Don't forget do the "victory against giant kaiju" victory poses and shit. I've seen that in some modern Gundam series and was like "huh?"

Drizzle: But, if I could find a Turbo Kat, I'd definitely hang it in the Drizzle Mancave as a trophy--

Speed: As any real man should.

Drizzle: And though it had a Monster of the Week style to it, it had an over-encompassing storyline hidden within the depths that was never completed--

Speed: Just like SaTAM.

Drizzle: Also like Invader Zim.


And as we've said about the 90s before, we just don't do that shit anymore. It may be because it, in the 90s, was a failed system. It was a failed system to talk about deep things in cartoons. But, while random debauchery like Spongebob exists and took over the airwaves, good shows like these got lost. I'm really starting to think Americans may be sheep.

Speed: Now, if SWAT Kats came out this year, for instance, it'd be heralded as fucking genius. In the 90s, though? No toys? No sales? Fuck that shit. So, for real? When it comes to cartoons, especially, Americans may be on their baa-baa tip. 

Like, look at shows like Regular Show and Steven Universe


These are two shows that are well-written and engaging. They captivate kids and adults alike. Both have even received nominations and awards. But what does Cartoon Network usually do? They'd rather marathon the fuck out of some Teen Titans Go--which isn't that bad a show, but still--or Clarence. But, they still allow the Steven Universes and Regular Shows of the world to exist even if they're not as "Buy the Toys, Download the App" as some of their contemporaries. There's a happy medium--at times--these days.

Drizzle: Ugh. Apps. Technology. I went tech-free for a week and it was goddamned paradise! TANGENTS! But, ok, I know that SWAT had its critics. Like feminists getting pissed that there were only three female characters. One was a constant damsel in distress and/or eye candy. One was arm candy for the mayor. And the other? The other was...a witch? Yeah...I can see why they were pissed off.

Speed: It was a sign of the times. RIP Prince. No cartoons, in the 90s, outside of maybe Barbie, Jem repeats, and something like Princess Gwenevere and the Jewel Riders (look it up) were really swimming in diversity over here until the Sailor Moon dubs made it clear that Girl Power could be a thing in 'Murrican cartoons.


That includes the critic favorites. Guys--and some girls, for real--were still learning how to write for women. They still fail at times these days, but it at least feels more organic than it did back then. 

Drizzle: I can see why they were pissed, yeah. But, I feel that "feminism" as is, it's a failure anyway. Not because it's a bad concept. That's great. But, its name, for starters, is misleading. I'm there, bruh. Now, feminism, it's a failure because some people it tries to represent are pushing back the cause. Women want to be treated equally, but not a single woman I've come in contact with wants equality--

Speed: Maybe you were fucking with the wrong women back then.

Drizzle: Shit, I've met more women in the 50 Shades crowd. Kind of the opposite of "treat the sexes equally."

Speed: But, sexuality is a bit different than just saying "hey, I want equal pay and shit." But, for some, it's about straight-up superiority over men. I'm not down with that. It's like how some Black activists want to say "fuck you" to anyone who isn't Black, even if they've got pure intentions and no malice in their hearts at all and are open to what is being said. But, you say that "feminism," as typically presented, is flawed? You're labeled a sexist.

Drizzle: But niggas ain't running up to cops saying "Shoot me," though.

Speed: Some are...but the idea is similar in some ways.

Drizzle: But some women are running up to men--granted, they are men that they chose, so claps for progress--in quantities saying "control me"--

Speed: Again, sex is a different animal. Like Daddy/sub thing, even though I was someone's Daddy for a split second (don't ask)--

Drizzle: But you get what I'm getting at. Shit, that's a different PA for another time because I respect the hell outta feminists. But, if I was allowed by some of y'all to have an opinion on the matter, I'd take a different approach. But SWAT Kats!

Speed: It was amazeballs! It makes me miss Gargoyles--

Drizzle: That's up next at some point. But, the relationship between Razor and Ms. Bellum was actually pretty maturely done in hindsight. 

Speed: Accurate. That's why I started thinking Gargoyles. Two shows that handled relationships well instead of JUST for comedic purposes. I want to believe saw stuff like SWAT Kats and were like "fuck the toys. This is how you write intergenerational classics."Zim, Gargoyles, SWAT Kats. They all have one thing in common--aside from ending before their time, especially since the CG opening season of Gargoyles NEVER happened, got it? Anyway, the thing they have in common is heart. And epic writing, but heart by the heartload. 

Drizzle: But, yeah. Very mature themes. Look at the Christmas Episode.

Speed: It was deep beyond its years. Sidenote, there are so many fanfics. Also, there's new music around that you probably got sent.

Drizzle: Yeah, JusXJustice sent me something. But, I've been on an island all week.

Speed: Total Drama (Free) Island?

Drizzle: I've been drama-free since I deleted Fuckbook.

Speed: Fuckbook or Facebook?

Drizzle: The second.

Speed: But, you know what I mean, though. I barely even use FB like that. I try to, since I've got my high school reunion coming up--

Drizzle: Fuck my high school!

Speed: We established that the first day we met. But, I kind of want to see some folks and say "hey." Why? Some are smarter than me and stay the fuck off social media. I'm getting there, though. Being on social media only for promotion, the sites, and other stuff. 

I barely even like to deal with people on social media if it doesn't relate to what I'm doing, to be real. Like, if I don't know you in real life? The chance is that I'm not going to full-out fuck with you from the jump. I gotta get to know you and shit. But, some social media heads? They don't get that shit. 

Man, this is kind of a bipolar PA. And I can say that since I am bipolar. It's my word.

Drizzle: The beauty--well, one of the beauties--of being on your "I don't need social media" shit is not feeling the need to explain why or care about other folks' explanations. No offense, but you don't have to explain why you're on Facebook. Kinda don't care. Now, I won't take the enjoyment of social media from anyone. Do you. But, I just don't enjoy Facebook.

Speed: I totally get that. Sometimes, it's a cesspool of fuckery and people trying to impress people who don't really give two shits. Plus, people can be intrusive as fuck on FB, both in posting videos/pictures and posting comments and/or sending messages. 

Drizzle: But, yeah. I'm just over here watching Swat Kats with an umbrella and straw poking out of a coconut. Oh, my bad. It's a pineapple. And I didn't need to post it on Facebook to enjoy it! Wanna see?

Speed: I'll take your word for it. That's a tasty-sounding beverage. But, yeah. I've seen you're personally happier without social media. So, are we getting back to SWAT Kats?

Drizzle: I told you. They have it in the DR.

Speed: Oh, I know. But, what do you thinnk it'll take for them to bring it to the States again? I know that 'Murrica ain't everything, but I'm here and would love to reintroduce this to myself and my kids. Make my oldest realize that cartoons can be epic and amazing and not just Spongebob stupidity. Or, as my mom used to call it, Spongehead.

Drizzle: Ummm...I don't know.

Speed: Oh shit! They have the DVD of the series on Amazon. Want!

Drizzle: Double Want! But, I feel that the only reason why shows like Adventure Time were so popular was because they could get our crowd enthralled with the storyline.

Speed: But our crowd probably also got tired of the fuckery surrounding timeslots and all that shit and walked away. Our crowd, especially with cartoons, are a vital source of feedback. But, before we get too deep into craziness, let's wrap this one up. We'll take it back and say that if we didn't piss you off and make you think, we didn't do our jobs.

Twelve Questions with Julian Hall of Ultra Education

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Ali Golds (of our Let's Talk DAR Biz entries on SpeedontheBeat.com) was kind enough to sit down with this entrepreneur to figure out what makes him tick. For more information on Julian's work, visit www.ultra.education. So, without further ado...


1. What is the name of your business?

Ultra Education

2. Tell me a bit about your background, and what you are doing currently.

I was born in North West London, lived in what was regarded a deprived area but was fortunate enough to be privately educated at the same time. This gave me a broad view of society which I later relied on in the world of business and enterprise.

3. When did you set up the business?

I set up my first business over 20 years ago and have started (and ended!) many businesses since then. Ultra Education was registered almost 2 years ago but only started trading about a year ago. So we’re a start up and loving it!

4. What does it do?

We teach entrepreneurship to primary and secondary school aged children. We deliver during school by linking with the curriculum, in after school clubs and weekend clubs.

5. Why did you decide to set this business up?

I believe that entrepreneurial skills are no longer about setting up a business and are actually life skills which young people need to thrive in todays world. We need to foster entrepreneurial skills in young people so that they have more options for employability when they get older and don’t end up in a job they hate, complaining about Monday mornings.


6. What would you say are your business successes so far?

Being customer led. Every other business I’ve set up has had me chasing customers and clients. With this business it’s been the other way round. The market is chasing me to create more ways in which they can get materials, resources and support for their children.

Also our kids business fair where we launched 30 kid businesses, youngest six-years-old, oldest [was] 17-years-old. It was such an amazing day for the kids and attendees who saw the fruits of our kids labour.

7. What have you learnt?

To put a team around me who are motivated to drive the business as hard as I want to. To cater to your customers needs as much as possible so that your product isn’t just a want but is a need.

8. What are the three biggest or most profound challenges you’ve faced, and how have you overcome them?

  1.  Avoiding burnout by creating processes to allow my business to grow and not be reliant on me.
  2. Balancing family and business – Ensuring I make time for my family and not work 24-7
  3. Staying focussed – To not go off in 10 directions at one, but to focus on a few and penetrate the market before diversifying.


9. What motivates you?

Many tell me that what I’m doing in the way I’m doing it has never been done before; not successfully anyway. I believe I have a formula which can create a huge change in the future generations and leave a legacy behind. That for me is more motivating that the money which can made from it.

10. What does success mean to you?

Making others successful. How many others can I help to grow, reach their potential and do what they love.

11. What does the future hold for you, and your business?

Our aim is to enable millions of children and young people around the world with effective entrepreneurial education.

12. What 3 things would you say to those thinking about starting out for themselves?

  1. Have a product or service that people really, really want. Not just something you alone think is a good idea but that lots and lots of people need.
  2. Make money! We all want to change the world but without fuel in the tank your vehicle wont go far. So ensure that you have something to sell early on that can fuel your journey to the top
  3. Get advice from people who’ve been there and done it. Don’t try to work it all out for yourself. 


Rem's Rant: The Power In Fear

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Fear - an unpleasant emotion caused by the belief that someone or something is dangerous, likely to cause pain, or a threat.


The power in fear insinuates that as long as you can be forced to act against your own self interests, you can and will be controlled. This go round I offer insight into the makeup of today's culture through suppression of one's subconscious to emulate that of what's seen versus what actually is. I simply wish to shine a light on the prevalence of facade in manifestation of things unreal.

Very rarely do we as a people acknowledge the adverse effects fear has on a multitude of things pertaining to how we're seen and who we may be meant to become. I'd like to take a moment to identify a few of those instances.

Vulnerability:
Be it mental, physical, emotional or a combination of the three, the invocation of fear has long been an adversary of simply letting down one's "guard" to be the person we hide behind layers. How many times have you felt something that fear has otherwise made you feel ashamed of? Maybe you wanted to say something to someone but didn't know if they would be receptive so the opportunity passed you by. Or my personal favorite, talking yourself out of what you thought you could be because it didn't fit the criteria of what the masses would approve.

Forgiveness:
Often times we discredit just how much we're capable of sustaining through letting go of (whilst remaining in) hindrances. Though confusing, we disregard one of the few things we wish to be impervious to. Meanwhile the feeling of fear has generated a near imperviousness to forgiveness. How many of us would remain in certain positions that we believed to be conducive had it not been for the fear of another's judgment (Friends, family, strangers, etc.)?

Image:
In my opinion, this is the most affected. Fear has been the catalyst to individuals vying to be something they're not for quite some time. The fear of not being accepted has created many liars in my time. Folks afraid to admit that in their own right they are special regardless of what the next person is doing or thinks. The belief that one has to lead a particular life based on age, demographics, societal standard, etc. is the direct culmination of perpetration. In layman's terms, I base who I am off what the world thinks. The fear of being who I want to be.

Perception:
Last, but certainly not least, fear has jaded the perceptions of people into seeing the world in a way that it may never be TO YOU! In no way are my intentions to promote obscurity or oblivion but taking on the sights of the world in fear of how it's shaped around you can be extremely detrimental. Being cognizant that "the world" may not be "your world" could be the difference in you coloring by numbers and standing out.

Perspective offsets the effects of fear in any forum. Being who you are holds no consequence to where you're going until you blur the lines of believing that anyone but you can stop you. Seeing fear as a singularity can stifle your growth in ways unimaginable if YOU ALLOW IT! Whether it be allowing yourself to feel, forgiving someone for yourself, carrying yourself how you please, or identifying your reality versus what's seen for you, cast away fear and you'll instantly see a difference in what life has to offer.

WE must do away with trying to program our subconscious and let it have its day instead of going along with the programming of our consciousness as the only means of living our lives.

'Til next time...

New Music: @HeyItsLuka - "Comfort Me"

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What'd happen if you took Bieber's more mature tracks, added some Weeknd sensibilities in, and smoked the fuck outta it with a bit of Kendrick infused with Drake and Logic? You'd get HEYITSLUKA's "Comfort Me." It's a track that's mesmerizing in its approach. It's smoky, but still bouncy enough to keep you into it if you're not into the Drug&B that some artists use the smoke for. Produced by LUKA, he really hit the all-in-one artist trope with open arms.

WIRTB Review: Love Don't Cost a Thing

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A 2000s update (read: urbanization because Black film was "in" in mainstream Hollywood) of the 1980s non-Brat Pack teen film Can't Buy Me Love. Nick Cannon as Patrick Dempsey. What could go wrong, right? I'm Speed on the Beat and welcome to another exciting edition of WIRTB Review, where I review films and ask that pivotal question: "was it really that bad?" Today, we're taking a gander at Love Don't Cost a Thing--oh, I'm sorry, I mean, Love Don't Co$t a Thing (because why spell it when you can 50 Cent it).

This isn't really a look at what the film is about. It's your typical 1980s teen dramedy updated for modern times. Nerd falls for hot girl. Hot girl is dumb (yay stereotypes), so she asks nerd to help her. Nerd says "yes, but only if you date me." Nerd ends up having hot girl fall for him, but acts like a complete douchenozzle towards her because reasons. They break up. They get back together at the end. "Be Yourself, except don't because you can be hot" messages aplenty. The end.

Instead, let's just look at why the film fails miserably, outside of, you know, it's an unoriginal premise told in an unoriginal way. For starters, Nick Cannon as an afroed Poindexter.


Now, don't get me wrong. Nick's a loser-ass motherfucker. He is, no doubt, a decent guy with more money than I have. But, he's still a loser in some ways. He tries too hard in real life to be cool and relevant and/or woke. He usually gets "boos" for his troubles. Hell, he's the ass-end of many jokes on his own show(s), such as Wild N' Out and Real Husbands of Hollywood. But, here's the thing: he knows he fits the lovable loser archetype. He works that to his advantage. He worked that to, at one point, pipe Mariah Carey.

But, he's not a believable nerd. See, Patrick Dempsey in Can't Buy Me Love, he can play a nerd. And yes, nerds and losers are different. Losers don't have to be nerdy, but they tend to not know their own awesome. Nerds know their awesome in their nerd tendencies, but sometimes lack social skills because they're too busy being nerdy. Losers need the push to not "lose" at life at times.


Hell, McDreamy was a grown-up nerd in the body of eye candy. He knew he was badass at saving lives, so he became a doctor. Moment of silence for the fictional version of Patrick Dempsey, still.


But, Dempsey, he's pretty much been playing the guy with nerd tendencies his whole life. But, he does it suavely. Even as the "nerd," he's still charming enough to win us over. Nick Cannon's too busy being the lovable loser who's secretly a dickhead. He, like in real life, is trying too hard to win us over. He's awkward. As fuck. And not in a charming way.

I get it. "Oh, he's got the big-ass 'fro in 2003; he's gotta be dorky." I had a 'fro in 2002, 2003. I was kind of dorky. Ludacris had a big-ass 'fro during this time period. He had his lyrical moments of goofy nerdiness. It's a stereotype that kind of worked as truth back then.

But, Nick Cannon with a 'fro screams "we're trying too hard to relate to our urban market." Plus, it's Nick Cannon. When has anything about him screamed "urban?" And don't say Wild N' Out. That's more about everyone else. He's usually just the awkward Black guy that some White people want to claim when they say "I have Black friends."

Additionally, his supporting cast wasn't much better. In fact, aside from Papa Steve Harvey giving "Cool Nerd" (he doesn't get a name to me) a shitload of condoms, everyone tries too hard to be funny in a movie that is set up to be a stinker. A for Effort, I guess? Christina Milian may have been convincing as Nick's real-life girlfriend, but here? She's plastic, unable to convince us she gives a shit about anything other than a paycheck, and just...well, the role could've been filled by someone else.

At least we got to see her in a cheerleader skirt. And no, you won't get a picture out of me. Suffer through this review like I suffered through this movie for you.

The movie blows in a way that even Sunny couldn't. It's boring and unfunny (like the Sunny porno, but at least there, there was teh sechs...even if I wanted brain bleach afterwards). Not even an ounce of ironic funny permeates through this shit show. Not even the "so 2000s" style choices make me chuckle. That's how you know you done fucked up. Movie, you know you done fucked up when you can't even make me laugh at FUBU and ENYCE bodysuits.

I can't even recommend this for LULZ.

New Music: @KuntryKali - "3 Shots of RedruM"

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Got some new music from KuntryKali in my inbox over the weekend. Gave it a listen. I'm a fan. In this newest visual, he shows off his wordplay and variety of flows. Additionally, he displays, per the press release for this one, "his flamboyant steeze." The track, if you want bars, has a healthy dose of 'em. Again, I'm a fan of how Kali mixes his roots into one cohesive unit of music. So, I'll say it again. Be on the lookout for his upcoming GreenHouse mixtape. The above photo is the cover art for his upcoming drop "Dreamin'," which, once it's released to the public, will no doubt find its way here.

Rejected: The Story of Ms. Pink Jacket, Part One

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Welcome to a new feature on SpeedontheBeat.com called "Rejected." In this series, I'll open up even more than I usually do and talk about some times that I've been rejected, either by women or job/writing/rap opportunities because rejection only makes you stronger. Today, we're talking my "legacy" with someone I'll name later, in some way.

As an artist, I’m deeply personal. So, it’s no surprise that I used the platform to talk about love and relationships. Or the lack thereof.

As I’m on the precipice of my ten-year high school reunion, I’m reminded of one of the biggest failures I had, love-wise. In high school, I was a loser, and not the sorest kind, either. I had friends, I did my music, and so on. But, I wasn’t winning any popularity contests—aside from class president, but that’s another story. Additionally, I had some pretty unrequited feelings for a young woman. For the sake of me not getting sued (even though pictures are still here, so shrug it), I’ll refer to her as Ms. Pink Jacket. Why "Ms. Pink Jacket?" She will be named such because she used to wear pink a lot more than other colors.


Ms. Pink Jacket was one of the few young folks who gave a damn about me in some way. This led to me, as many had before me, catching feelings for Ms. Pink Jacket. After I tried to date her, she said no. But, me being young, dumb, and full of…teen spirit, I misinterpreted her words, feelings, kisses on the cheek, and whatnot as advances. Elated, yet confused, I started vibing to music to guide me through it.

I listened to Eminem talk about Kim and 50 talk about his “Baltimore Love Thing,” even though I knew it wasreally about drugs. I listened to LL talking about how much he needed love. It sounded corny to me, then, classic or otherwise, but I still related. However, above all others, Em spoke to me most.

Eminem’s struggles with the complexities of his feelings for Kim and others who” wronged” him, I could see myself in those bars in a way. 


Eminem used his lyrics as therapy of sorts. For every moment where he stuffed Kim in a trunk, there was a moment where he acknowledged they were responsible for Hailie. I used my bars as therapy for heartbreak, teenage angst, and dealing with a tumultuous childhood, so I could vibe. But, rappers like Eminem sometimes have a hard time fully discussing love until it is right at their doorstep. That’s why we relate to them in their darkest, most vulnerable hours. That’s why I connected most with songs like “Superman,” “97’ Bonnie and Clyde,” and others. I felt vulnerable, and while I wasn’t Em-like personally, I related to the pain.

We often put ourselves into our favorite artists’ shoes because we understand the feeling of lost love, lost family, and just plain loss. These bars often, subconsciously, take cues from poetic visionaries such as Shakespeare, Petrarch and other people who vividly showcased emotions versus just “I love you.” You could argue that Drake’s unrequited situations are modern-day versions of Petrarch’s Laura poems; they feature someone pining over women he can’t—or shouldn’t—have.

So what did I do regarding Ms. Pink Jacket? Again, I wasn’t stuffing her in a trunk, and I wasn’t her child’s father. I was just me, wackily Petrarching for my puppy love Laura.

I rapped to guide me through it, finally. Since I was broke and unsigned, I would hop on industry beats. Specifically, I created a loop of Kanye’s Freshman Adjustment intro. Perfect fit, I thought, for a song where my feels would be on display. Since Eminem’s struggles with Kim were the most relatable version for me, the first verse began as such:

I used to liken you Kim to my Eminem/But we weren’t a couple…not now and not then.

I wanted to stop talking about the situation right then; comparing puppy love to the object of so many of Eminem’s barbs is a bit tricky, confusing even. It sets up for some wild conversations at a high school reunion. But, I was a teen in “love.” So, music and my feelings took control. I poured my “soul” out through that track and probably made things worse for myself with this girl through some insinuations. On top of that, I pretty much said “Hey Miss, I love you, even though I don’t really understand what the hell love is.”

To this day, I’m unsure if Ms. Pink Jacket heard the track. I pray she didn’t. But, she probably knows about it now. My bad for being stupid. No, that isn’t a “hey, at our reunion, let’s ‘link up’” invitation. It’s a genuine “I’m sorry from the pit of my soul. Let’s be cool again if the cards should align that way.” Besides, I’m practically married these days because of my dealings with her. 

The situation taught me patience and to not spaz in music anytime someone said “eh, we coulddate, but…” Musically, I started to vibe more with songs like K.R.I.T.’s “Do You Love Me.” As I matured, I went for slightly more subdued looks at love and relationships than Eminem ranting about killing Kim and driving Hailie to the beach. I don't need those problems.


Truth be told, even when you’re coming from an honest place, your emotions can get the best of you. Look at Drake using ol’ girl’s voice on “Marvin’s Room.” She made some decent money off of that because of his emotional decision to include her to set the mood of the track. He also didn’t clear the sample, but that’s another issue. The point is: love—and emotions—can make you do some crazy, irrational things, musically or otherwise.

“Speed, what happened to the song,” you may ask.

I ended up parts of it on my The Sorest Loser project. The reimagined “Stuck on H.E.R.” began to, instead of taking heed from Em, Drake, or even K.R.I.T.’s comparisons of love to a clean-ass car, take guidance from another side of the feels fence.

Instead of singing love songs about a woman, I rapped about a “woman.” That is, the personification of hip-hop as seen by Common, for instance, in his classic “I Still Love H.E.R.” After all these years, it just felt right to do so and revisit these feelings and transplant them into my feelings about my place in rap.


Long story short, unless you can live without regretting your decision to talk about the person you’ve got feelings for, I’d stay away from dropping Loverman tracks. You don’t want to end up like me. Leave it to the professionals who give less than a tenth of a fuck.

What’s Your Addiction? – Exploring the Characters in @Jay_IDK’s Subtrap

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This is a throwback piece that I wrote some time ago regarding Jay IDK's 2015 release Subtrap. It has never seen the light of day--until now.


It’s been said that everyone has their vices in life. Even the seemingly harmless ones, if obsessed about enough, can turn into an enveloping lifestyle. In Jay IDK’s Subtrap, out now, he explores several of these addictions. However, instead of just laying them out there, Jay uses personas throughout the project. He’s even gone the extra step of, with his #HXLYTriBE team, creating social media accounts for each character to tweet out additional information from each perspective. Combined, this ultimately shapes and presents a central theme of the project: no one addiction is “better” than another, suburban or otherwise.

First, we have Jay himself. An up-and-coming artist, Jay, to gather money for his production fees, mixes, and so on, goes out and begins to dabble in trapping. On songs such as “God Said Trap,” his alter ego/”devil on his shoulder,” King Trippy III, tells him that selling drugs is the only way to go. Either you trap or you get trapped.

Additionally, he becomes almost enamored with the idea of pleasing “Her,” a representation of hip-hop music, sex addiction, and of the stereotypical fame-chasing woman. In “Sexy Bartender Pt. 1” and “Cookie Addiction,” “She” and Jay engage in sexually-charged banter which ultimately, as with lyrical representations of “Kim and Em,” ends with a murder-suicide on “Sexy Bartender Pt. 2.” In other words, through this plight to be accepted by “The Game,” Jay realizes that he must kill the game. And by killing the game he’s become so enamored and so intertwined with, he ends up having to kill part of himself.

King Trippy III, part parody, part manifestation of Jay’s past, also manages to, through the grace of Roland Reagan, weasel his way into the life of Jon Jon, an up-and-coming dealer. In a story which plays out similar to Jay’s addiction to music and wanting to put out the best product, Jon Jon wants to get money so he can help his family and get them out of the hood. This destructive cycle ultimately engulfs two feigns, Matt and Ed, who’ll perform sexual acts upon midgets to get their next fix.

And, then we have Chris. While Chris appears on only one song, “The Bio Student,” he through those three-plus minutes, becomes one of the most interesting characters in the album. His plight begins normally. He’s just a guy in college who smokes weed to relax himself. It’s simple and mostly relatable. But, eventually, as he comes down, he craves a bigger high to help him study, elevate past the simple 9-to-5 mentality, and release the stress. By the end of the song, he’s dabbled with more than just weed, still craves that bigger high, and has become a biology experiment in some ways. He’s less of the ambitious student and, essentially, a middle-upper-class version of Matt and Ed.


Perhaps Jay’s right in saying “We All Da Same.” Whether it be fame, fortune, sex, drugs, alcohol, or whatever, we all have a vice. And sometimes, whether we want them to or not, they take control. So, how do we get out of these traps and/or subtraps? Jay doesn’t force feed us an answer through this project, instead opting to show the “what” and “why” of each person’s trappings. And, for that, he must be commended, since it allows for open-ended interpretation, potentially sparking conversation about addition.
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