^ pic jacked from Eat The Cake

If I learned anything from the record industry machines publicity of Drake was that the last thing the T.I.’s wanted was a popular artist to be independent of their slimy grasp. But then why would anyone want to voluntarily become chattel after all our ancestors did to become independent? What day did Drake declare his allegiance to Universal? On Juneteenth? SMH.

This is why I support movements like Afro Punk even if they don’t want me personally to publicize their events. These folks are so independent they already have enough media coverage from established outlets like Brooklyn Vegan. Yeah, I know, but trust me, even though Brooklyn Vegan may not have made the Vibe 50 but they are who the NYTimes calls when they want to talk about “urban” music.

Afro Punk is the largest collective of unsigned hype bands and performers. If you wanted to hear music by people that LIKE to make music as opposed to people trying to make music for the clothing lines then you need to fux with Afro Punk. They were at Suth by South West before that shit was even popular. Afro Punk opened the lane @ SxSW for artists like Kid Cudi.

Afro Punk puts on an annual festival every year around Independence Day. July 4th is significant for Black folks living in New York City. In 1827 the state senate finally abolished slavery. New York was the largest slave owning state north of the Mason Dixon line. Afro Punk has never forgotten their roots and the struggle for humanity that all types of people have fought for. The Afro Punk festival is a celebration concert.

This years’ festival is packed with some incredible acts. My favorite band is Game Rebellion. These dudes have been on their grizzly for several years now. Their music is rebel punk funk rock. Colored men with guitars and loud microphones. If you like to watch a rapper sit on a chair and act (poorly) then you should prA’li stay your ass home. Game Rebellion will NOT be quiet. They will be loud, angry and profane.

Holy shit B@tman! Saul Williams will be in the building (actually in the parking lot) along with CX Kidtronik and Jonelle Monae. Fresh out of the Abu Dabi prison we will also get a listen to the latest Dallas Austin musical incantation incarnation. The best part of the Afro Punk festival is that it is totally free. Nike and PepsiCo were major sponsors this year and the savings have been passed on to you the listener.

How about that? You would think that the fishsticks in the music business would realize the lifestyle partner model [ll] is the way to move their products now. Rappers say so much shit about liquor and other items we should get free CD’s everytime we buy a bottle of Nuvo. At least Afro Punk got it right. We get a FREE concert weekend for our troubles. We get to hear some of the best independent artists making music for the love of the craft. What more do you want?

Free your mind, and your ass will follow. -(c) George Clinton

Happy Independents Day.

Afro Punk Festival 2009

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As the lead MC of rap trio Brand Nubian, Maxwell Dixon a.k.a. Grand Puba was instrumental in making his group’s 1990 debut One For All a classic. A rarity, Puba walked the fine line between Native Tongues sensibility and more militant lyricism. Coupled with his smooth-as-buttah delivery and scorer’s aura, Puba’s righteous teachings didn’t just get heads nodding in approval—listeners walked away with life lessons learned about knowledge of self. Now, with Retroactive, his first solo venture in five years, Puba is back on his deen and by enlisting the likes of Large Professor, Q-Tip, and Kid Capri on production, he truly takes it back to the halcyon days.

XXL: With record sales down, what do you want out of this record—material to tour with, a segue into a Brand Nubian joint?

Grand Puba: Well, first and foremost, we always tour, so that’s really not it. It’s just to make a good album. Remember what we do—music is most important to us. As far as getting money, even when we had classic joints and albums, we ain’t really receive much off of that royalty-wise anyway because of samples and labels and shit like that, so we always basically made our money off of tours. We never really stopped working so we could really concentrate on just doing what we doing and loving what we doing and not really chase the dollar.

XXL: In an interview with Unkut, former Elektra A&R Dante Ross said of you, “He’s the world’s greatest underachiever. He was an amazing rapper and there really was a point when he was like ‘the dude’ – he really was ‘The Man’ – he really could’ve had a lengthy little run.” How do you feel about that?

Grand Puba: That’s his perspective. I can dig it, but at the same time, I’m a revolutionary. Both together is not really a good mix—it’s gonna end up somewhere in the middle. If I had kinda just went one way, then he’s right. I could’ve probably been, you know, one of the biggest there is. But the politics and the things I choose to talk about on certain songs, I knew that would be a limitation. I’m happy with that because it’s my duty first—I’m a civilized person. So basically, you can’t have both. I think if I’d had stuck to ‘party, bullshit, have fun, hoes, get money,’ I could’ve been where Dante thought I could’ve been, but it’s just the balance that I chose when I got into this game. I want to try to reach people and help people at the same—it was really that. I ain’t mad at that at all because a lot of time my pay comes from dudes like, ‘Yo, I just came out.’ ‘Yo, you held me down through my bid.’ ‘Yo, I got through college listening to you.’ ‘You got me wanting to get the knowledge of self.’ So I get paid in other ways, you know what I mean?

XXL: Dante also said you invented swag.

Grand Puba: I invented swag? [laughs] Okay, well, that’s what he feels. I mean I was just doing me so it’s really hard to say I set out to be the ‘swag’ man. I got that from the forefathers, the ones who started me. When I first used to hear them, that’s what they used to talk about—how ‘fresh, fly, and bold, that’s what makes the Krush so cold.’ That comes with the game.

XXL: Busta, Meth & Red, and even Sadat X, and others have also dropped albums recently. What do you think of this ‘90s revival in hip-hop?

Grand Puba: A revival? I guess you can kinda say that. That was the point in time when it was real good and I’m glad to be a part of that era. It’s something that’s missed by those who might be a little older—in their late twenties, thirties—so there’s always a place for it. It takes you back to whatever you were doing back then.

XXL: Do you feel like it’s necessary to go back to the essence of the game because maybe hip-hip has gone too far away from it?

Grand Puba: I wouldn’t say that because things change, nothing stays the same. But the more it changes, the more it does stay the same. Old ideas were once new ideas, and vice versa. It’s a cycle like everything else. It just comes back around. Where else can you go from the foundation of it? You can’t go but so far unless you rhymin’ in telepathy, you know what I mean? [Laughs.] It’s not like the dialect changes. It’s basically the same thing—putting words together that rhyme to beats. That’s the foundation—that’s the meat of it right there. You can’t go too far away from that. You might change the sounds a little bit. And even the sounds now—like a lot of the synth and keyboard sounds you hear right now in rap—they sayin’ it’s new but that’s not true because in the early ‘80s, that’s how Funky Four broke out. It’s the same thing, just a different kind. We went too sample-heavy, now we back to the keyboards and loopin’. It’s a mixture of everything so nothing really that’s being done is new.

XXL: As long as you’ve been in the game, are there any legendary beats you turned down?

Grand Puba: I can’t really think of none. I know there was a couple of beats that was gonna go platinum or gold that I tried to get clearance for and Dante said he couldn’t clear.

XXL: How about any high profile collaborations you did that were never released?

Grand Puba: The biggest one was probably the “Let’s Get It On” song with me, Biggie, Tupac, and Heavy D. That was never released. That was a crazy, crazy record. I mean it came out later on, but there was supposed to be a video for that and everything. That was a monster right there.

XXL: What was it like working with Big and Pac on the same record?

Grand Puba: Yo it was love! Everybody was on their thing, you know what I’m saying? It was just a good vibe—it’s just a bunch of good MCs rhyming together. It don’t get no better than that. Everybody’s confident in themselves, self-esteem is high, everything was fly, man.

XXL: Compared to a number of your peers, do you feel like you or Brand Nubian has been overlooked by some, such as VH1’s Hip-Hop Honors?

Grand Puba: Nah, nah, [VH1] was just talking about having us on there for an upcoming show where they do a new school act, then an old school one, but our name came up in the hat. It’s in the hat. That doesn’t bother me, man, but I think a lot of things with Brand Nubian was a lot of politics because of what we stood for. We had that problem, even with MTV. Fab 5 Freddy did our first video, “Wake Up,” and he was working with MTV at the time. They wouldn’t play it because they said it was offensive. We had the devil as blond haired, blue eyed in the video, so the only way they would play it was if we edited that part out of the video completely. It’s all politics, but I don’t mind. It kinda makes me feel good in a way, you know, because whenever they say you doing something wrong, it makes you feel you’re doing something right.- Devin Chanda

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It looks like Def Jam rookie Jeremih is on track to lead the hip-hop and R&B pack on next week’s Nielsen SoundScan.

According to projections from industry insider hitsdailydouble.com Jeremih’s self-titled disc is set to sell between 45,000 and 50,000 in its first week. On the flip side, both Brooklyn rapper Maino’s long delayed debut, If Tomorrow Comes…and Ace Hood’s Ruthless are set to land in the 18-23K range.

Stay tuned to XXLMag.com on Wednesday (July 8) morning to get the official sales figures.

In related news Maino stopped by the XXL offices yesterday where he engaged in a pushup competition with online news editor Jesse Gissen. [Watch Below to see who wins] –Elan Mancini

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“Cracker” media is enough to make a nigga…

“Hop back in the bed. Turn my swag off./
When I wake up I’mma roll another blunt./
Yeah. I’m gettin monayyy./”

If I were young DeAndre Way, I’d turn the computer and vaporizer off for a minute too. As many of you are already aware, Soulja Boy Tell ‘Em cracked on Twitter for a million followers to see last night. Media Take Out kept a pretty good record of the tweets… and cradled his nuts ever so gently.

Ronnie understands, Soulja Boy. Promoting ignorance is a hard job and these crackers won’t let you do it. Fair enough. But with anything worthwhile, a nigga’s gotta persevere. You think they just let BET programming hit the airwaves? There’s a team of porch monkeys doing their damnedest to make sure everything on that network is careless and mind-numbing. If you want to be considered among the greats, you’ve got to put in the work. Plus, we’s colored. So, there’s going to be opposition at every turn.

The way I see it, Soulja Boy’s really only a couple blunts-per-day away from being the icon colored ignorance hasn’t had since, well, Snoop Dogg.

Soulja Boy’s camera blunts are both a gift and a curse. While decreasing BPD (blunts-per-day) might help curtail the freakouts, he may not reach the lucid, ultra-conscious dream state necessary to understand that he’s been chasing a mirage. When you chicken dance for “cracker” media approval, you’re pandering to the attention of a terrible and fickle beast that will eventually tear you apart for entertainment.

That’s right. There’s whatever entertainment you provide. Then there’s the entertainment that comes in your slow, painful deconstruction. With that said, I ain’t even nobody, but I don’t lose a wink over what niggas have to say about what I do. Anyone who does isn’t built for the medium in which they operate.

As far as what’s being said that hurts so much, who the fuck watered down Soulja Boy’s watered-down-ass music? Who made Soulja Boy look ignorant in the media? I don’t think any bloggers hit the booth and whined lazy, cheap shit into expensive microphones. I damn sure didn’t set up and advertise his camera blunt uStream. Toure only asked a question. Soulja Boy answered it… by thanking slave masters. Ron Mexico doesn’t have any material to entertain the people with until niggas do stupid nigga shit.

On the other side of Soulja’s nonsensical argument with his own conscience, the fans are out to get him too. Unfortunately, the brilliant team that has shaped Soulja Boy’s career didn’t warn him that fans of fads don’t love shit unconditionally. That’s just the way fast food hip-hop works. #Swag will be replaced with a new keyword by year’s end. Tight and bright fashion will give way to some other uniquely expressive means of popular dress. There will be a new raptastic combo meal on 106 & Park. Unless Soulja figures out a way to become that timeless, home-cooked catfish dinner complete with hush puppies and collard greens, he might as well stay under them Gucci sheets.

Before Soulja Boy deleted last night’s tirade, I thought he may have been emerging from a co-coon of sorts. That’s a hyphy-nated word, right? I notice that his profile name is “Dre’” instead of “Soulja Boy”, and that he’s now promoting “dretellem.com”. Reportedly, his forthcoming album will be called The DeAndre Way. I thought this whole bitchfest might have been another “genius”, calculated advanced social networking technique.

“Fuck all this cracka hatten shit. I ain’t Soulja Boy no more. Soulja Boy is dead. After I finish smoken this clip of Afganistan teroriss weed I’mma be Dre Tellem. A man. Pow!”

No such luck, though. It looks like Tyrese, a man with actual discernible talent, straightened him out with some good hookerly advice. I can imagine it included putting “Actor” before “whatever it is you actually do” in his Twitter bio.

I sincerely hope Soulja’s next reefer cloud takes him back to the introspective place that spawned last night’s tirade. He may just stumble upon a plan to better himself there.

Questions? Comments? Requests? Haters ruining your life? ron@ronmexicocity.com

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On June 25, 2009 I was lamping on my homie’s stoop when someone screamed out, “Michael Jackson is dead!!!” Naturally I brushed it off as some fiend’s rant of his imaginary world. But not too long after that my hip was blowing up with news of the King of Pop’s passing. Me being a mixtape head I was already imagining the countless kinds of mixes and blends that were bound to flood the hood in the coming hours and days. Sure enough I counted at least two compilation mixtapes, three blends and 34 mixes so far. But I must say that I was amped to see Cookin’ Soul drop a MJ tribute of their own. For the past minute their creations and production have satisfied my hunger in a way Snickers never could (that’s my favorite chocolate bar too).

The premise on this one was to keep the original Michael Jackson songs in tact and add rappers verses to it in hopes of making it a street banger. First we have Kid Cudi’s “Day N Nite” verse on MJ’s “Beat It.” The sped up vocals and overall demeanor just didn’t mesh well with Mike’s “gangsta” hit. But CS bounced back with back-to-back bangers when he threw in 50’s 2nd verse from “Like My Style” over “Remember The Time” and made something that’ll have the dance floor violating countless fire codes and paired Luda with “Bad” to create something pretty damn decent. Not to mention blending Wayne’s verse with the Jackson 5’s “I Want You Back.” Went together like peanut butter and jelly on a roll.

While I was disappointed with a few blends like Em’s “Real Slim Shady” verse tacked on to “Black or White” and Biggie’s “Nasty Boy” verse mixed into “Thriller” (“Rock With You” was pretty hot though), I was feeling the majority of the blends and the fact that this was a Michael Jackson mixtape. The blends were made to compliment his classics, not the other way around. CS didn’t try to add Neptunes production or a T-Pain hook into any of these songs. It was all Mike all day and until the end of time. Though Michael wasn’t the perfect human being, he was more than your average one. He was a showman who not only changed lives but literally changed the world through his music and his life. I just hope he finds the peace in his death that he could never find in his life. R.I.P. Michael Jackson.-The Infamous O

Hottest Joint: “Remember The Time” (feat. 50 Cent)

Weakest Joint: “Black or White”

Rating: HOOD

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How is it that I don’t even like Drake, and I must be the only one who likes his new video? The Internets today are full of people saying he played himself with the clip for “Best I Ever Had.”

I checked Twitter a couple of hours ago, to see what my favorite pr0n stars had for breakfast, other than loads (arggh!), and it seemed like Drake was the only thing people were talking about. Even as early as last night, which I guess is when the video first hit the Internets, I notice both Drake’s name and the name of his song were “trending.” But I was little bit too far gone on Yellow Tail, which I fucks with hardbody (nullus), to realize it was because he had new video out.

I thought that may have just been how popular the song had become. I mean, if it’s supposedly become the most played song on Hot 97, without the TIs sending someone to blow Funkmaster Flex (note to self: take some DJing classes at the community college). Maybe it had just become this huge cultural phenomenon, to the point where it’s the leading topic of discussion on Twitter, in an age when celebrities stay dropping dead, or are rumored to have done so.

The consensus amongst the people I follow on Twitter is that Kanye West, who directed “Best I Ever Had,” dropped the ball. Some are even suggesting he may have purposely sabotaged the video, perhaps out of jealousy for how Drake’s career is taking off.

Indeed, “Best I Ever Had” isn’t a very good video, in the sense that it’s kinda dark and drab, the concept hardly has anything to do with the song itself, and none of the jokes really connect. As my boy $habooty pointed out just now, you do kinda get the douche chills just looking at it. Kanye might not be a very skilled director, but he has somehow managed to fill this video with his essence. No Boutros.

So yeah, almost anyone could have made Drake a better video. Maybe even Rik Cordero. But have you seen the cans on the girls in this video? Jesus H. Tapdancing Christ! Like I said, I could do without hearing this song again, but I’m not gonna lie. I’ve seen the video three times now. And I’m probably not done with it. I might keep it in a constant rotation with my new favorite video evar, “We are not robots,” for the rest of the holiday weekend.

No, really, god bless America.

It just goes to show the power of a prodigious rack. And it makes you wonder why all rap videos don’t consist of footage of women with huge cans in tiny t-shirts running up flights of stairs.

Not to let you guys in on more than you need to know about me, or how I might be spending my free time, but I’ve heard every episode of the Adam Carolla Podcast, and he has this theory that the reason you don’t see women with big cans on TV is because Hollywood is run by gay guys and women. Like, if you notice, there doesn’t seem to be much consistency in how we perceive nudity in film. If a girl gets naked on screen and she’s built like an 8 year-old boy, it’s considered artistic, but if she’s built like one of the broads in this Drake video, it’s considered gratuitous. But why? As far as I’m concerned, there’s nothing quite as artistic as a nice rack.

The reason, of course, is that this world is filled with people who hate nothing more than to see a man have a good time. Case in point, someone who wrote to Sandra Rose today to bitch about Best I Ever Had.

And I quote:

Sandra as a woman I am offended that this is all Kanye West, the director, could come up with for one of the hottest songs of the summer. He should be ashamed of this depiction of females. This video in a nutshell basically says a woman’s beauty is defined by how big her boobs are and light her skin is.

Wait, it isn’t?

And Kanye being a black man raised by black parents and Drake being bi-raicial (half black and half white) why are they only showcasing ALL Hispanic girls in this video? [...] Why is it the black men have a problem showcasing their beautiful black sisters? You never see all non-white models in popular White rock artists videos.

Not if they want to sell any records, they don’t!

No but really, this bitchfit just goes to show how women think. A man would never write an angry letter to a blogger because the guys on TV are too attractive, and it’s bad for his self-esteem. But that’s because a man knows better than to seek validation based on whether or not women think he’s cute. Men could give a rat’s ass what women think about how we look. Our self-esteem is based on who we are and what we do. (And that’s why I still don’t have any self-esteem.)

You guys know I don’t normally do this, but… props to Kanye West for creating a video that speaks to a man’s aesthetic values. Music videos always should have been like this.

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Havoc continues holding down Mobb Deep while Prodigy is locked up, working on his third solo album and a mixtape, both titled From Now On.

The album, slated for a 4th quarter release, will be mostly self-produced with contributions also coming from Chinky P and Sid Roams, according to Hav’s manager. Prodigy will appear on the album, along verses from Nyce, 40 Glocc and Philthy.

The LP’s first single drops early August, while the Ty Fyffe-produced intro to the mixtape “Smells Like Nine/Five” hit the web today (July 2). [Listen here]

Havoc’s previous album, Hidden Files, was released in Feburary on E1 Music. –John Kennedy

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Reports that surfaced yesterday (June 1) claiming DJ Big Mike’s home was raided by the RIAA are false, according to karencivil.com.

“The story is completely bogus,” said Mike, real name Mike Wilcox. “While I do have a prior legal situation I can’t speak on, I can say today’s claim is absolutely false.”

The rumor mill began buzzing Wednesday afternoon, as websites reported a bust reminiscent of DJ Drama’s January 2007 shakedown. Reports said about $200,000 in cash and 15,000 mix CDs were seized from Big Mike’s Danbury, Connecticut home.

This year, Big Mike has hosted mixtapes by Styles P (Phantom Empire), Cassidy (Apply Pressure) and Max B (Quarantine). –John Kennedy

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It’s been a long time since I had anything to write about Fab. Do I need to post the ‘Throw It In The Bag’ track like I do at dallaspenn.com? Is that what y’all are into now? I admit that I don’t like this song and I also admit that when this shit comes on the radio I reflexively do the Cabbage Patch dance. I can’t even stop myself (believe me I’ve tried).

I was stanned out the other night when my boss, er, supervisor, Carl Chery (we all know Vanessa Satten’s the boss) let me know I had crossed over into the Hip-Hop publishing world’s VIP room. I was on the list for the party that XXL was throwing along with Def Jam to celebrate Fabolous on the mag’s cover next month. I was happy as fuck to be going to this party. Elliott Wilson never invited me to any XXL parties because he knew my reputation for open bars. Datwon Thomas never invited me to shit because he hates me. The only Dallas he fux with is Austin [ll].

So I showered and put on some clean clothes for the shindig. There would be some magazine chicks in the building. These girls work so hard and they never have time to let the boys play with them. I’m definitely looking to cop feels on Clover Hope if she shows up. I like the way she writes. I ended up not meeting any young tender journalistas except for this one chick named Mariel Concepcion from Vibe magazine. If I had known that Vibe was assed out I would have attempted to console Mariel by offering her a free drink (and I would’ve copped a feel).

Sadly, the party wasn’t as crowded as I imagined these industry things are and the free drinks were wamp-wamp. Patron with lemonade? Women are definitely running this rap shit. My homey Panama came through and beat me in the head for not coming to his ‘Make It Last Forever’ video premiere party. Panama is my dude and all, but I have a serious issue with buying liquor. If you want me to appear at your party you need to make sure I am drinking for free.

Another superstar in the building was Gabe T. who I want to say is the general manager over at Def Jam. When Gabe T. is working an artist he is working that artist. He’s been excited about the Fabolous project for a minute, but then again he was excited about the Jadakiss and Rick Ro$$ albums too. I’m sure Gabe T. will be telling me to fux with the Juelz Santana joint later this summer. Even though the crowd was meager and lazy Fab still made his appearance. Fab has to be a good dude because he let some fugly chick hug his ass for a minute.

If I was a real life celebrity I wouldn’t let fugly chicks hug me, but since I am only a celebrity on the internets I am down to hug any chick that wants it. Retarded with Down’s Syndrome? Quadriplegic? Amputee? Leper? Hells yeah to all of ‘em. I’m a sucker for love and free booze. Now that I am getting invites to the industry elite soirees I think its time I bathed on the regulack.

Seed Popular from Rule 4080 on the lens

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If ya’ll noticed this week I’m on some real positive shit, I’m still reflecting on the tragedies of the last week. We’ve lost a legendary artist, but the future is bright if we just choose to embrace it. I’ve been a Drake fan for a minute, before there was a “buzz.” Right now shit looks promising, but nothing is guaranteed. A sub-par song here, a lackluster album there and everything is lost. Still as a hip-hop fan you gotta enjoy the moment right? I mean there are folks who are infuriated by Drizzy’s buzz, as if it’s undeserved. All a buzz really means is that people are excited about you and how can that be undeserved? Ya’ll seen the YouTube videos of his concerts where fans are reciting every lyric to every song, that’s no industry parlor trick.

Before dropping Illmatic Nas had a pretty big buzz himself and that was just off two verses, one from Main Source’s “Live at the BBQ,” and the other on MC Serch’s “Back to the Grill.” Back then you could build a buzz off of just one guest appearance; look at AZ. But times have changed there were a lot less rappers then. Now, for a kid like Drake to get to the position he’s in today, he has to drop three mixtapes for free, tour with Wayne and work his record on radio without major label backing. I mean we can’t discount the fact that the kid is working hard or the fact that he is smart and aligned himself with some pretty established folks early on. Still I fail to understand, why are folks so mad at his buzz?

Imagine if critics cut Nas down before he ever got the chance to make Illmatic? When Nas first emerged my older brother HATED him, “He bit Rakim,” he said. Sounds ridiculous now, but quite a few folks felt that way. We’ll thank the hip-hop Gods that Nas got to fulfill his legacy. Then there was Canibus. During his rise he could do no wrong, every verse was like gold. There were few folks who contended Bis’s buzz. Then he dropped his debut album Can-I-Bus and fulfilled his legacy too, it’s a damn shame what happened to that guy.

So where does that leave Young Drake? Right now I see him and I’m reminded of Snoop when he was on “Deep Cover” with Dr. Dre. We knew he was nice as hell, but he wasn’t anywhere near his peak. If you remember the “Deep Cover” video you’ll recall how uncomfortable Snoop looked in front of the camera and it was the same thing in the “Nuthin’ But a G-Thang” video. Actually it wasn’t until Doggystyle and the “Gin and Juice” clip that Snoop finally stepped into that star role, sealing his fate as a hip-hop great. The point being is that even for someone as legendary as Snoop, it took time. 50 said that Drake’s buzz is nothing like his, but Fif isn’t exactly the most impartial dude. Maybe the tactics that Drake used to earn his buzz isn’t the same, but fundamentally the hype is similar. Kobe isn’t Jordan, but in 2009 he’s the closet thing we’ve got and that’s why they often get compared. So talking about Drake and a young 50 in the same breath makes sense to me.

Ultimately my point is this, I’m pretty excited about Drake, as we all should be. Maybe he ends up having a long-lasting, legendary and impactful career like Nas or maybe he ends up like Canibus, or maybe somewhere in between like AZ. Regardless of the outcome it’s fun to watch. I’m just saying let’s enjoy the moment for what it is, because it’s not often we get to see a young star develop in this fashion. As for me, I’m sold; dude’s buzz is so big that I’d probably buy a blank disc. Then of course I’d have to tear him to shreds in a blog once I realized I got got. – Rob The Music Ed

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