Rap City: Tha Basement
BET - Black Entertainment Television (ended 2008)
Cast & Crew
EDIT
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Big Tigger
Host (Rap City: Tha Bassment)
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Mad Linx
Co host
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Cousin Jeff
Co host
Jeffrey Johnson, the voice for a new generation of leadership, is the new face of BET as "Cousin Jeff", Big Tigger's conscious cousin on Rap City. A social activist, AME minister, public speaker and leadership trainer, Jeff can be seen every Wednesday on Rap City engaging viewers on issues from violence to voting. He also has a show called The Jeff Johnson Chronicles, and co-hosts Meet the Faith. He has also served as the National Youth Director for the NAACP.moreless -
Chris Thomas
original host
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Aries Spears
Himself
He was a child comedic prodigy at the young age of 14. Spears started doing his own comedy routine around his hometown. Spears' first television appearance was cable's Russell Simmons' Def Comedy Jam, followed by It's Showtime at the Apollo. By the age of 17, he landed a part in the movie Malcolm X. In 1997, he became apart of the MADtv cast, which would become his most prominent role. Spear's most popular characters included Dollar Bill Montgomery, El Diablo Negro, Belma Buttons, Walter C. Hemphill, Mr. Daichai, Harvey Lachien, Mother Love, Reggie, Jameel, Brightling Greetings Employe, Mr. New Orleans Man, Emcee Esher and Blacula.moreless -
Bubba Sparxxx
Himself
Bubba Sparrx is a southeren rapper that is with Altantic Records and is also a pioneer of country-rap. -
Fat Joe
Himself
On Don Cartagena Fat Joe plays musical auteur directing each track dramatically and intensely. Fat Joe (a.k.a. Joey Crack) wields an album with diverse tentacles, reaching some of the complexities and contradictions of Hip Hop. Through the course of his six years in the industry, having fostered relationships with major players, and after growing up in the squalor of the South Bronx, he has good reason to call himself the Don of Rap. ;A lot of rappers talk that bullsh*t, but a lot of n****s ain't 'bout it 'bout it like Fat Joe. Rappers could have three times more money than me, but they know Fat Joe lives what he rhymes about, so they respect me like a Don. Fat Joe commands the power and respect most political leaders only dream of having, and as an MC, Fat Joe's persona is larger than life. Not only is Fat Joe armed with a new label (Mystic Entertainment, distributed by Atlantic Records), his own production company (Terror Squad Productions) and his own management company (Pay Up Management), he is armed with the Terror Squad Crew and the love of his people for support. But indeed, the road wasn't easy for Fat Joe.
Fat Joe grew up in a traditional Latino family- a strong, but silent father and a caring mother. Despite having both parents in the household, love and affection were absent. So as a shorty growing up in the South Bronx, Joey followed in the footsteps of his older brother Angel, from whom he learned to rhyme, amongst other things.I wanted to do everything that Angel did- rhyme, fight, and hustle. More importantly, Angel planted the seeds of Hip Hop in young Joey's heart.My brother would come back from the Zulu Nation parties and bring back tapes. I would hear everything- Theodore, Funky 4 + 1, and the Furious Five. Thus began the growth of this hardcore New York MC, who eventually emerged as the music industry's first notable Puerto Rican rapper.
Fat Joe's first album Represent, released by Relativity in 1993, was supported by Diamond D's c production. The album was embraced by Hip Hop's hardest fans everywhere and the infamous single ;Flow Joe; reached the #1 spot on Billboard's Hot Rap Singles chart. Two years later, Fat Joe's quest was to be respected for his lyrical skills. In 1995, Jealous One's Envy, bogarded the sophomore album jinx and bum rushed the entire industry with underground cs like ;The Sh*t is Real, ;Dedication, and ;Bronx Tales, which featured living legend, KRS One. Jealous One's Envy featured a new assemblage of producers such as DJ Premier, LES and Domingo. In addition to a noteworthy second album, illustrating Fat Joe's growth as an artist, he also appeared on LL Cool J's platinum hit, ;I Shot Ya, alongside Foxy Brown and Keith Murray and kept even more underground love coming with Wu Tang's Raekwon the Chef on ;Firewater, which also introduced Armageddon and Big Punisher, some of Fat Joe's growing Terror Squad (TS) family.
While a young Joe was gearing up for the rap game, he was also learning the art of entrepreneurism through his father, who would take Joey with him to sell baked goods at Orchard Beach. Fit to succeed, Fat Joe was taught two lessons at once- Hip Hop and business- elements that would serve one purpose later on in his life. Since releasing his first album, Joe went legit and put his money where his mouth was by starting a number of local businesses in the same community he once terrorized. The idea was to provide a positive presence in the community, according to Fat Joe. He opened a clothing store, Fat Joe's Halftime, a barber shop, and he recently launched a fashion line, FJ560. From community businesses to the music industry, Fat Joe has had his sights set on the next level. Upon his departure from Relativity, Fat Joe and partner, Big Greg inked a production and distriubtion deal with Atlantic Records, forming the Mystic Entertainment label imprint. When Fat Joe declared ;I'm trying to retire and play golf with Russell Simmons, on ;Fat Joe's In Town; off Jealous One's Envy, he meant it. With Don Cartagena Fat Joe's formula for success is in place.
In Don Cartagena Fat Joe reaches a new plateau with his rhymes and the entire approach on the album brings ;the art of rap at the illest form, as poignantly said by Fat Joe in ;Crack Attack, produced by LES of the Trackmasterz. Fat Joe has expanded his reach as an artist, while not compromising his hardcore essence and this time around, more than ever, manages to sprinkle jewels everywhere in his lyrics. In the title track and first single off the album, ;Don Cartagena; (an eloquent piano looped track featuring Puff Daddy and produced by Younglord of ;The Hitmen;), Fat Joe proclaims ;modesty will get you no where/ that's why I go there/ and let you know where/ to by the new Fat Joe gear, and later in the verse asks, ;Let's choose what life you'd rather live/ on the streets stabbing kids or living mad sweet in lavish cribs?; Word. Another of the bound-to-be-cs is ;John Blaze, a symphony track that guest stars Nas, Raekwon, Big Pun, and Jadakiss (The Lox) and was co-produced by Younglord and Grease with scratches by DJ Spinbad. With a minimalist track, the MC's flex lyrically. Fat Joe boldly professes, ;I used to run many spots/now I own many shops/ gortex with the lock/ 560s - 4 bills a pop/I'm hot/who wanna get burned?;
A part of Fat Joe's persona is a new found consciousness and goal to reach a balance, keeping it both real and right. Inspired by a meeting he had with Minister Louis Farrakhan, Fat Joe enlisted the Terror Squad to create a politically-charged song. The result was ;The Hidden Hand. Produced by Spunk Bigga, this emotionally-tinged track is reflective in nature with peaks captured by a subtle violin. On this track, Joe talks of his trials as a youth and his dreams for the future: ;I was a wild adolescent/ blessed with the foul essence/ messing with the wrong crowd/ I learned my lessons/.../ but now I understand the bigger picture/f*ck crying about the struggle/ I teach ya how to get richer.
Don Cartagena is truly a trip through a myriad of sounds and escapades. Fat Joe keeps to his essence with the hardcore anthems ;Find Out, produced by Marley Marl and ;Misery Needs Company, featuring Noreaga. Fat Joe also provides us with, ;My World, a Baby Paul-produced track which will have crowds chanting ;It's my life, my money, my world, my girls. TS electrify the sky like the third rail; alongside Big Pun.
In addition to the star studded names above, the album also features rising rap queen, Charli Baltimore and rap super group Bone Thugs & Harmony. Fat Joe's growth as an artist is reflected by the assembled artists and producers that appear on Don Cartagena. With lots of love come blessings, and with blessings come protection. Blessed by his peoples in entertainment, his family, and the people in the streets, Fat Joe is surrounded and protected by a legion of friends and loved ones.
Men who move with that much reverence, power, and respect deserve the title of Don. This summer, prepare to welcome Don Cartagena.If I ever make a hundered million, I'll still walk these streets freely; this is what I love man. More importantly, this is reality. Spoken like a true man of the people.moreless -
Common
Himself
Common was born Lonnie Rashid Lynn, Jr. on March 13, 1972 in Chicago, Illinois. He is son of former ABA basketball player Lonnie Lynn. Known to be a underground rapper, his lyrics focus on love and spirituality. He is a big supporter of PETA and has recently appeared in a print advertisement for PETA entitled "Think Before You Eat".moreless -
T.I.
Himself
Since his emergence in 2001, T.I. has been a bit of a mystery, an elusive chameleon of sorts; like an illusionist who has mastered his sleight of hand magic so flawlessly that you can't really tell where he is at any given point in time. Now you see him, now you don't. One minute you think you understand him, the next you're totally baffled. Today he's a street kid skirting the law, tomorrow he's a creative genius churning out timeless hip-hop classics. And although it may seem that way, none of it is smoke and mirrors. Rather it's a man revealing his many dimensions and indulging his own evolution. Based in Atlanta, T.I. has made a name for himself simply by being himself. Not with gimmicky, quirky facades, not with hype and hoaxes. He has earned the respect of his fans and his peers because he is a man who reveals himself wholly - warts and all - and holds it down for the streets even, sometimes, in the face of adversity. In the summer of '03, T.I. exploded into national prominence with the release of his acclaimed sophomore album, "TRAP MUZIK," his first for Atlantic. The set debuted at #4 on the Billboard 200 album chart and went on to earn RIAA gold, spawning such top-charters as "24's," "Rubber Band Man," and "Let's Get Away." Now, the "King of the South" is back with his eagerly awaited second Grand Hustle/Atlantic outing, "URBAN LEGEND," which has quickly confirmed T.I.'s superstar status - making an explosive debut in the #1 spot on Billboard's "Top R&B/Hip-Hip Albums" chart and in the #7 spot on the Billboard 200. The legend we know as T.I. seems like the stuff tall tales are made of, but it's all true: the good, the bad, and the ugly and anyone who thinks they've got T.I. pegged had better think again. On "URBAN LEGEND," T.I. digs deep to uncover his true identity, reminding his fans and his colleagues that, like most of us, he is a complex individual who has far more layers than you can ever see by looking at his boyish face. "First of all, I just want people to know that no matter how much you see me, no matter how much you hear about me, if you haven't really been on a one-to-one personal level with me then you don't really know me. You may know things about me, you may know things I used to do, you may know some things that I put out front but don't take that and run with it and feel like you can categorize me because I wear my hat a certain way or because I talk with a certain slang or a certain accent or because I wear my pants down low. Just as soon as I can put on a white T-shirt and some Jordans, I can put on a tailor-made suit. Just as soon as I can wear a Rolex, I can change up and put on a Frank Muller King Conquistador. Just as soon as I can ride in a Chevy, I can go and get in a Benz. This is not just in music, this is in life. I never wanted to be predictable or pre-determined, for somebody to think of me and automatically say 'this is him,' 'this is his arena,' 'this is his lane.' I can do what I wanna do." That's the T.I. that we've come to know: outspoken, brash, and confident. To say that he laid his own groundwork is a major understatement: he's been rapping since age 9, signed a record deal at 19 and released one major-label album (I'm Serious, Arista, 2001) before joining Atlantic with his own Grand Hustle imprint. Under the name T.I. and the P$C, he generated a powerful underground buzz with the hugely successful Grand Hustle Records release, "IN DA STREETS, PARTS 1 AND 2." He increased his growing street credibility with a number of guest appearances, including such tracks as Baby's "Keep Spinnin'" and 2 Pac's "Changed Man," as well as Bone Crusher's hit single, "Never Scared." With the success of "TRAP MUZIK," he dramatically clinched his reputation as one of the South's most electrifying young rappers. Now, with "URBAN LEGEND," T.I. kicks it to the next level. On song after song, T.I spits out his innermost thoughts in that charming southern drawl that distinguishes him from his peers. His goal on this CD, he says, was to "elevate." "I feel like 'TRAP MUZIK' was an evolution from 'I'M SERIOUS,' and I feel that 'URBAN LEGEND' should be the same from 'TRAP MUZIK.' I just wanted to do it bigger and better and more efficiently," he says. "I wanted to give people the same emotions, the same feeling, the same intensity, the same urgency, and the same top quality jammin' urban music." For T.I., the album's title has a double meaning: "One, an urban legend, by definition, is a myth: something that may hold no truth to it but you hear it so much that you think it's the truth - like if you eat Pop Rocks and drink Coca-Cola your stomach will blow up, or the Loch Ness Monster, or me having three years in prison and a lotta other stories that people just conjured up about me. The other meaning for it is based on the fact that I'm seemingly a legend or approaching legendary status in urban areas across the United States." "URBAN LEGEND" shows the many dimensions of T.I., taking us beyond the 'trap,' behind the beefs and deep inside the corridors of his heart and mind. "It's somewhat contrary and conflicting at times," T.I. says of the CD, "because just like I could go and make a record like 'U Don't Know Me' or 'ASAP,' I can go and make a 'Prayin For Help' and 'Motivation' I got a lotta different dimensions. 'T.I. vs. T.I.P' on 'TRAP MUZIK' was a prime example." This time around, T.I. is joined by a crew of special guests, including Pharrell, Nelly, Lil' Kim, Trick Daddy, Lil Jon, Lil Wayne, Jazze Pha, and others. From the smash Swizz Beatz-produced single, "Bring Em Out," to the self-explanatory "U Don't Know Me" (produced by DJ Toomp), the urgent "ASAP," and the self-affirming "Tha King," T.I. sets the record straight for wanna-be contenders to his Southern hip-hop kingdom. "'ASAP' is basically saying if anybody contests my rulership or tries to deny me my just due then I'm gonna address it Basically what this song is saying is I'm a man of respect. I give it and I demand it and if you cross my line, I'm gon' deal with you, I'm gon' have to come see about ya ASAP. I will spare no expense on your ass." On "Tha King," T.I. revisits his familiar and often controversial 'King of the South' proclamation. "People keep on bringing it up so I'm gon' keep on addressing it. The more people deny it and the more people try and run away from it, the more I'm gon' prove it That's my belief. That's how I feel. That's me saying those are my intentions, those are my goals. That's the bar that I set for myself and I'm not gonna let anybody out there - no journalist, no rapper, no producer, no fan, nobody's gon' tell me that I can't reach my goal. Nobody." Though T.I. takes clear aim at his hip-hop adversaries on "URBAN LEGEND," he vows that he won't "waste his music" on other rappers again. "I'm done rapping about rappers. I'm done getting into it with rappers as far as music is concerned. If I feel disrespected by another rapper then I'll just wait 'til I see him and we'll handle it then but I'm done wasting my music on 'em. I just don't feel that it's worthy." T.I. shows yet another side of himself on the Neptunes-produced "Freak Though" (featuring Pharrell). "That's a record that's basically talking about a guy who really likes a girl but her reputation precedes her," he says. "Everybody who knows her and dealt with her considers her a freak. The chorus is 'She's got angel eyes and a baby face, but she a freak though/ I want my mama and daddy to meet her, maybe have my baby but she a freak though.' And in that record I'm like, 'She a freak but that might be one of the things I like about her.' There are other things that other people may not have gotten a chance to see, so instead of focusing on what you don't like about her, I'm gon' focus on what I do like about her." On "Why U Mad At Me," T.I. makes reference to the legal problems that landed him in jail, and the somewhat overzealous efforts by police officers determined to make him pay his debt to society. "I'm basically speaking to the police and detectives who thought that just because they heard a song like 'Dope Boyz In The Trap' or 'Never Scared' or just songs that maybe catered to the ghetto or the 'hood or the lifestyle that I used to live before I got a record deal, they figured that I was still like that, that that was the lifestyle that I still lived. So I'm tellin' them don't be mad at me because I'm still the one who's gonna rep for the 'hood. Don't be mad at me just because I got money and I can do what you wanna do, and you work hard and do what your boss tells you to do yet you're making a fraction of what I'm making. Don't be mad at me because I'm young and living the way you wanna live when you retire. You can't make me what you want me to be I'm far from a petty thief, a thug, a street hustler. I was once that, but I've grown and evolved from that and I feel like it's disrespectful and an insult to still try to put me in that category, put me in that box." More emotional still is the poignant "Prayin for Help." "I feel like I've taken a lotta flak and carried a lotta loads that a lot of other rappers were scared to take and a lotta other rappers didn't wanna get too involved in," says T.I. "When it got hot in the kitchen they got out. When it got hot in the kitchen I started cooking, and I did that for the streets because that's where I came from and that's what I hold valuable. Right or wrong, good or bad, it's made me what I am today. It plays a great part in the inspiration in my songs, my business sense, my swagger as a whole, my determination, my self-esteem, my confidence and my willingness to say this is how I feel and if you don't like it I don't care. There was a time when I was hard-headed so I was just praying for help. Praying that somebody else would come and help me carry the load, because right now I'm the only person that's really bucking for the 'hood like that so I'm gon' take all the flak, I'm gon' get all the bumps and bruises. But as I thought about it and continued to pray, it came to me that I don't really need no help. If God's with me I can do it by myself. I been doing it by myself. I just gotta learn from my mistakes, correct my flaws. I can do it myself. If nobody else ever stands up for the 'hood, if nobody else cares about the kids, cool. I do and I'm gon' remain present."moreless -
Lil Scrappy
Himself
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Lil Jon
Himself
Lil Jon is an Atlanta-based hype man, rapper, and producer. He began his career as a DJ before he was invited to work for So So Def Records. He started hosting his own radio station where he made remixes to songs by many popular artists in the Atlanta area. He moved on to working on a project called Lil Jon and the Eastside Boys, where he found much success. Lil Jon has been extremely successful in his career.moreless -
Lil' Flip
Himself
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Guerilla Black
Himself
His flow is undeniable. His lyrical landscapes bring to mind the depth of a Donald Goines novel. His sly humor is as biting as a Chris Rock stand-up routine. That's right, Guerilla Black has it all and delivers it lovely on the microphone. After heating up the streets of Southern California with his "Hood Affiliated Mix Tape Vol. 1," the Los Angeles rapper (government name: Charles Tony Williamson) brings us GUERILLA CITY, one of the most talked-about debut albums to surface in the hip-hop universe. Producers on GUERILLA CITY include such street music luminaries as Jazze Pha (Big Tymers, Nappy Roots, T.I.), Carlos Broady (The Notorious B.I.G., Lil' Kim, Nas), Red Spyda (50 Cent & G-Unit), Fred Wreck (Dr. Dre, Snoop, Westside Connection) and Mario Winans (R. Kelly, P. Diddy, 3LW). Among the guest appearances on the album are King of the Dancehall Beenie Man (on the blazin' hot street anthem "Compton"), Nate Dogg ("What We Gonna Do"), Jazze Pha ("Girlfriend") and Mario Winans ("You're The One"). One track that had already garnered G. Black plenty of attention is "Guerilla Nasty" (featuring rising ingnue Brooke Valentine), a driving Jazze Pha-produced cut that showcases his verbal gymnastics. The street creeper "Hearts of Fire" (produced by Broady) was already getting attention at the mixtape level. Now that the sizzling "Compton," has surfaced, G. Black is poised to explode. The cut, a head-nodding ode to the streets where he grew up, features Beenie Man, and has put the artist on the map. [The Gil Green-directed video takes the whole experience one step further. The success of these tracks have set the stage for GUERILLA CITY - landing in record stores September 28 - which arrives as the L.A.-based artist (who was discovered by original gangsta Ice-T) continues to solidify a strong base in the underground mix tape world. The fact that the artist has spent quality time in several markets - Dallas, Houston, New Orleans, Chicago, Detroit, Miami & Atlanta among them - on his grind, meeting deejays, clubgoers and consumers, speaks to his passion for getting his message out there. The press has come to the table early to explore the story of Guerilla Black. Early features on this exciting new artist include The Source, XXL and Smooth. On the television side, he has appeared on Playboy TV, and MTV showed early interest with a 'You Hear It First' profile. "The industry just isn't the same," 27-year-old G. Black explains. "A lot of cats, they'll throw an album out there... My thing is to give people 50 mix tape joints so that when I do come with my album the fans will feel me on a much bigger level. It'll be like I've done one album, but I've got three albums worth of material out there." Fortunately for G. Black and his fans, he has a wealth of material to draw from. Born in the Chicago area (Jolliet, IL), his family moved to Mississippi before he hit puberty. After one of his uncles boasted of the economic promise waiting in the West, G. Black's mother moved the family out to California. That move ended up being a bit premature, and the family was homeless for a spell. They bounced between shelters in Long Beach for a minute before finally making a home in Compton, when G. Black was about eight years old. At age 11 or 12, G. Black was clearly influenced by the rampant gang activity in his Compton neighborhood. By that time, he was already hustling, "stealing cars and things of that nature," he says. He never forgot about living in homeless shelters, however, often falling asleep listening to NWA, LL Cool J, Run DMC, Rakim and the like. "Even though I was young, when NWA came out, they made me feel like that ultimate nigga. I was also feelin' Fat Joe, Kool G Rap, and my old school R&B joints." His younger brother, Hot, who had already been writing rhymes, urged his older sibling to do the same. It lit a creative spark. "I just started rhyming here and there, kickin' a bar here, two bars there," G. Black says. "Before I knew it, I had raps and just kept rhymin.' I just started logging them in my brain on a daily basis." To this day, G. Black never writes down his rhymes, preferring to keep them in his head. "Back in the day when me and my girl would argue, she used to throw away some of my notepads that had my rhymes in them," he explains. "I learned to keep it all up top, that way no one could ever take them away from me." G. Black got a record deal early on, but ended up being so distraught with the way the industry drama unfolded that he temporarily gave up his hip-hop dreams. "It was a hard thing for me to do, turn my back on something that I really, really love," he says. "I love rap. I love to hear someone spit verses, especially when they got skills and can spit fire." G. Black returned to the daily activities of the streets (both legal and otherwise) and lost his young bride who was all of 21 when she died of meningitis all in the same stretch. Despite these devastating events, G. Black's brother was again about to change his life. His brother had kept rhyming and encouraged him to do the same, urging him to return to a creative outlet. On his birthday, Hot invited G. Black to the studio. The results were surprising. "They pulled up a track and I ran through it," the artist says. "There was only three of us in there, but the other guy must have run out and told everybody what I was doing. Then, it seemed like there was 30 cats up in the spot by the time I hit the second song." Word quickly spread to L.A.-based A&R executive Pete 'Volcano' Farmer, who signed G. Black to Virgin Records. But rather than just rhyme about trendy topics, G. Black chose to explore the range of his life experiences. This forced him to really examine his very being revisiting both the most fulfilling and the most heartbreaking parts of his life in his rhymes particularly after watching his wife die in UCLA's Harbor Hospital. "After that, everything I started writing and rhyming was about my life," he remembers. "I had watched all these people die since I had gotten to Cali and you can love all those cats in the streets, but it's nothing like your wife or someone you cherish and who loves you unconditionally. When I lost her, that messed me up for real." The album track "My First, My Last & My Only" is dedicated to her. After this tragedy, G. Black channeled all of his energy into his lyrics, which are among the sharpest, most thought-provoking rap music has ever experienced. That journey has come full circle on GUERILLA CITY. Through listening to the album, you begin to understand the man that is Guerilla Black.moreless -
G.I.
Himself
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Trillville
Interview
The boisterous and brash Trillville began their bid for the title "Gods of Crunk" in 1997 while attending ninth grade in Atlanta's public school system. Dirty Mouth was leader of the school's snare drum line along with writing his own rhymes, Don P was rapping and working on producing beats with his keyboard, and Lil LA (aka Lil Atlanta) was an aspiring promoter, later to become a rapper himself. Lil LA guaranteed and delivered a packed house every time the group hit the stage as young Atlanta took to their new crunk sound. Over the years Lil LA joined with his own raps and the group named themselves Trillville, a combination of "truth" and "real." Lil Jon attended one of the group's sold-out shows and soon had them signed to the BME label. Their single "Neva Eva" started heading up the charts in late 2003, with the full-length King of Crunk & BME Recordings Present: Trillville following in early 2004.moreless -
Trillville
Themselves
The boisterous and brash Trillville began their bid for the title "Gods of Crunk" in 1997 while attending ninth grade in Atlanta's public school system. Dirty Mouth was leader of the school's snare drum line along with writing his own rhymes, Don P was rapping and working on producing beats with his keyboard, and Lil LA (aka Lil Atlanta) was an aspiring promoter, later to become a rapper himself. Lil LA guaranteed and delivered a packed house every time the group hit the stage as young Atlanta took to their new crunk sound. Over the years Lil LA joined with his own raps and the group named themselves Trillville, a combination of "truth" and "real." Lil Jon attended one of the group's sold-out shows and soon had them signed to the BME label. Their single "Neva Eva" started heading up the charts in late 2003, with the full-length King of Crunk & BME Recordings Present: Trillville following in early 2004.moreless
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