Kidz In The Hall Present…Class Dismissed

schoolhustle.jpgWell, it’s Friday which means our time here is just about up (although you can always send emails to the good folks at XXL asking them to re-up!) We are honored and want to thank XXL for giving us the opportunity to use this section as a medium to reach you all.

We just go back from Baltimore, doing a show w/ a group we are big fans of, Clipse. (Make sure to support them when they drop!) Judging from the response to our set, people are starting to take notice. We love to perform and hopefully, it shows and we can do more and more dates as we continue to grow our movement. Hey, if you have a school function, wedding, sweet 16, bar mitzvah, let us know! We got you!

It’s important that we leave you understanding what it is we do and why we do it. Hip Hop started as a form of expression, and not necesarily personal expression. Hip Hop music was made to represent “the people.” Too often these days, we see it representing the individual. Trust, we want the house and the cars as much as the next man, but if we can do it through good music, and represent a generation of people by being your voice, it is that much sweeter when such luxuries CAN be afforded. And why do we do it? We love it! While this is our job, and with that comes pressure, stress, and all the ups and downs of being a profession, there is not another job in the world we’d rather have.

Please tell a friend to tell a friend, that hip-hop ain’t dead. In fact, you can cop it at Virgin Megastore or Best Buy or Fat Beats or Dr. Waxx, lol. Please support the album, School Was My Hustle, in stores as we speak. And more importantly, be one of the kidz in the hall, who stands for SOMETHING, whatever it may be. We fucks wit you.
Make sure to continue following our journey at www.kidzinthehall.com. And remember, 2007, NALEDGE IS POWER! The solo album is coming. We will have a video ready next week, and if you are in NY this weekend, come out to the Knitting Factory tomorrow (Saturday) and see us tear it down with Clipse!

We’ll leave you some lyrics off the album that we hope can resonante in a hip-hop world full of complacency:

“Fears of a nightmare never kept me from dreamin’, trippin’ and fallin’/Dog it never kept me from walkin’/So if I fall on deaf ears it won’t keep me from talkin’/The fuel to my fire keeps me steadily sparking”

Hear the full song:

Kidz In the Hall “Move On Up” (2006)

from School Was My Hustle, in stores now!

We are the Kidz In The Hall…

  • SONNY CHEEBA

    1st?

  • SONNY CHEEBA

    and YEAH!

  • SONNY CHEEBA

    …to the blog!

  • http://ww.ww.com **FRESHERTHANYOUANDYOURZ**

    Dope album I just copped it today!!!! good to see real hip hop in new catz and mediums!!

    peace!

    fresh

  • Black London….

    NALEDGE & Double-0………

    You brothas are on an indie label what to you think of this article (found over @ hitsdailydouble.com) about how MAJORS are operating?

    MAJORS SORTING OUT THE NEW RULES OF ENGAGEMENT

    Revamped Guidelines Are Radically Altering the Way the Big Four Operate

    November 3, 2006

    Most major labels are presently deep into the process of planning their 2007 budgets and trying to figure out what aspects of the new business model will best enable them to be profitable in these challenging times. The current thinking involves several new guidelines that will take some getting used to for the staffs of the major labels, who in essence have to relearn their jobs. According to the execs we queried (each of whom asked to remain anonymous, for obvious reasons), these new realities include the following:

    Labels can no longer indiscriminately drill multiple oil wells in the hopes of hitting the occasional gusher:

    “In the good old days, we had the personnel and the deep pockets to simultaneously work any number of projects,” groused one veteran executive. “These days money’s tight and our staff is stretched so thin that it’s nearing the breaking point. So we have to be extremely judicious in terms of the projects we prioritize—and quite frankly, there are more and more records on our release schedule that don’t have a snowball’s chance in hell, and everybody knows it but the act, and sometimes the management.”

    The majors must quickly cut bait on their stiffs:

    We’ve seen it a number of times since the start of the fourth quarter—new albums from acts with proven track records that fall well short of expectations. “The conventional wisdom used to be that a new release had six-to-eight weeks and/or two singles to prove itself,” a marketing chief confided. “But now it’s more like the movie business—if you don’t meet or exceed projections, it’s ‘See ya! Next.’”

    Regarding new acts, labels must let the market speak rather than attempting to dictate to it:

    “Let’s face it,” one label head acknowledged, “the majors can no longer afford to be in the business of developing a number of artists at one time by taking a high-profile marketing approach.” Stated another exec: “You can’t anoint artists from the top of the label, like in the old days. My former president used to say, ‘This record’s a smash,’ and we’d drop everything, including a couple of million bucks, before we had any research to prove him right or wrong. Now that the powers to be have dropped my former president, we’re trying to make informed choices about which new act to chase by listening to the market and trying to see which ones raise their heads, because it takes all of our resources to chase potential hits. Sometimes we get lucky with a new band, but that’s because the kids know something we don’t and take an act to critical mass essentially without the label’s participation. In fact, the best way to kill momentum on a developing act is to overtly market to their core audience. These fans are turned off by anything that seems to be generated by a major label.” This new reality resembles a Zen riddle—the harder you push, the more resistance you encounter. Without question, the days of throwing money willy-nilly at new and developing acts to see which one sticks are long gone.

  • http://www.kidzinthehall.com Double-0

    It’s a step in the right direction… but the riddle is far from solved.

    The question for distribution is simple… Get music to ipod in the fastest (and most profitable) way…

    For labels it is a lot harder.. How can you sustain a business built on selling physical product when physical product is losing its relevance.

    Shits pretty confusing

  • 110 street

    i love educated black men (no homo) you can tell from the reviews you guys got that there are many uneducated dudes reading these blogs that just want to hear commercial ryhme, but any how keep progress alive, and to each’s own. 1 hunit.

  • Xavier

    On The Strength Of That Lyric, I Will Cop.

  • http://www.kaisorsosa.com Kaisor Sosa

    Good music is good music. Whether its the Clipse or Gym Class Heroes. I mean diversity in music is necessary its a market for everyone you dig. One of my favorite movies is that Brown Sugar flick and not just cause Sanna Lathan is really beautiful but its this line where the dude at the label is like either you wanna sell records or make real music its to hard to do both?