. Back in Time | Detroit Hip Hop

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Back in Time

When Tommy Lee took an ‘L’ in the D

I was saving this post/picture for a special occasion and what better than DetroitHipHop.net’s 200th post?

Super Bowl XL will always be memorable to Detroit as it’s when Jerome Bettis won the big dance in the city he calls home. However, thats not the only fond memory we have.

Along with the football related festivities brought to Detroit by the NFL were entertainment’s and pop culture’s brightest embarking on the D.

With the shear number of events and parties taking place in Metro Detroit, you would have to expect that someone famous would be taking an ‘L’ in one way or another.

Washed up Tommy Lee would be the one provide a great story for years to come.

As the story goes, Tommy Lee was at a party and in his stupor was talking mad greasy about his ex’s next, Kid Rock, and the city of Detroit in general. Well you know that wasn’t going to be taken lightly. Long story short, Tommy Lee’s lights were turned out leaving him dazed and his lip all busted.

Click on the pic for a bigger version.

Tommy Lee in Detroit

What’s even better is that Big Proof posted that picture on his MySpace page afterwards (as told at NahRight).

Artists and Personalities
Back in Time
Proof (D12)
Pictures

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The case against WJLB

This is a 6 year old article by Jacarl Melton detailing “The Case against WJLB”.

It could have very well been written about today’s FM 98, yesterdays 105.9 Jamz, or todays Hot 102.7. The claims of “We are Hip Hop” or “Detroit’s station for hip hop and R&B” evidentally don’t ring true when Detroit’s most successful artists haven’t been introduced by local radio and continue to be shunned for airplay. Sure Bushman had Big Proof do his show intro, Wax-Tax’n-Dre had Royce Da 5′9″ do his, but all of this only adds up to token support from low-level station employees. It seems the only time you hear Slum Village on Detroit radio is during traffic reports. The more things change…

Radio killed the underground star: The case against WJLB

By W. Jacarl Melton
Daily Arts Writer

On the seemingly rare occasions that hip-hop shows occur in Ann Arbor, I make a concerted effort to attend. Last Friday was no different. I, like the other hundred or so people in the audience, was at the Michigan League to see the night’s headliner, Detroit’s Slum Village. Although I enjoyed the show, I left a little discouraged by the crowd. Don’t get me wrong, people were feeling the show. However, interest visibly waned when the crowd didn’t recognize a song. Even worse, I could sense a “who’s that?”-type of vibe from a good portion of the crowd when talented opening acts like S.U.N., Athletic Mic League and Phat Kat graced the stage. I consider myself lucky not to suffer from this syndrome since I’ve seen every performer multiple times and/or own their work. I have to wonder, though, why so many folks are unfamiliar with artists from “around the way” when, especially in Slum Village’s case, they have a national, if not international, following?

The easiest answer points a finger at Detroit radio, especially WJLB 98 FM. WJLB is the target of what I think is a justified protest and boycott by the Detroit Hip-Hop Coalition. The Coalition consists of Michigan hip-hop artists, DJs and promoters, among others, who want to promote the work of local artists and bands. This Friday, the Coalition plans a protest at the WJLB studios to draw attention to the station’s weak on-air support of area artists while also encouraging a boycott presumably of the station’s musical events and programming. The Coalition contends that not only does WJLB stiff local artists by providing little or no airplay and denying phone requests for their music by fans, but WJLB also makes a profit off of these same artists when the station sponsors events at which they perform. All of this happens under WJLB’s proclamation that it’s the “voice of the community.” Obviously, if local artists don’t have a mass venue, like radio, to spread their music, how can the area’s number two station, according to the latest Radio & Records poll, make such a bold claim? My call to WJLB programming director Michael Saunders regarding this question went unreturned.

Before I go any further, I have to make some things clear. When I say “local artist,” I’m excluding Eminem, Aaliyah (yes, you ARE from Detroit) and, at this point in time, Mercedes. These three are getting more than their share of airtime and have the contracts to boot. Also, I’m not taking WJLB to task for its coat drives for kids or other programs of that nature. These are extremely admirable. My beef lies in the fact that I know there are artists in the Detroit area who have talent and are deserving of airplay…

Read the rest of the article at the Michigan Daily.

Commentary
Royce Da 5'9"
Back in Time
Slum Village
Detroit Hip Hop History
Proof (D12)
FM 98 WJLB

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MC Breed “Ain’t no future in yo frontin” audio

A gold-selling single in 1991, this is one of the tracks that played a big part in putting Midwest rap on the map.

MC Breed - “Ain’t no future in yo frontin”

MC Breed

Artists and Personalities
Back in Time
Audio

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A look back: Proof’s first feature in The Source

Part of 7 days of Proof at DetroitHipHop.net.

Before Eminem and D12 burst onto the scene, Proof was already making a name for himself. Well known in the Detroit underground through his Goon Sqwad, 5 Ela affiliations (and others), Proof was also honing his MC skills as a host and participant of various battles (including those at Maurice Malone’s Hip Hop Shop).
In the late 90’s Proof ventured out of state with a Jay Dee produced demo in hand and snatched the “Unsigned Hype Live Tour” battle championship which got many peoples’ attention, including The Source.

Riggs Morales had a “Unsigned Hype” write-up in the May 1999 issue of The Source:

The fact that Detroit’s Proof won this column’s live tour battle and happened to take out some of the nations’s finest is only 25 percent of the reason he’s earned his dap on Unsigned Hype. Fifty percent goes to his unique freestyle ability which, if spilt, would be divided between spontaneous punchlines and charisma. the remaining quarter is given to the tactics which he controlled the crowd. From his Motor-city hometown to NY’s club Expo, where he was crowned champion, Proof constantly kept his audience on their toes, looking forward to his next lines. Then, when it was his opponent’s time to rhyme, Proof would taunt his adversary, making them lose focus. Taking advantage of the distraction, Proof hit with lines like: “I can’t believe you people/ Y’all actually like him?/ The nigga so wack/ He makes Master P sound like Rakim.” The response? Roars. The outcome? Victory.

Most of the cuts on his demo were produced by the Ummah’s Jay Dee, a producer known for his countless contributions to the Native Tongue projects and the upcoming Slum Village album. Jay Dee best captures Proof’s ability for making a record by providing a varied, melodic background. With numerous ways to please the ear stored within Proof’s impressive catalogue, it’ll only be time before he gets his chance to show the full 100 percent of his talent that could one day make any label happy.

-From issue 116 of The Source.

How unfortunate is it that Eminem never put out a Proof album on Shady Records. Several other artists were signed and subsequently released albums on Shady while Proof and fans waited and waited. Finally in 2005, Proof released his national debut, Searching for Jerry Garcia, on his own, independently. Although the D12 experiences gave him a taste of super-stardom, those albums were never a true barometer of his artistry. Sadly it took the tragedy of his death for many to realize his talent.

Commentary
Jay Dee aka J-Dilla
Back in Time
Proof (D12)

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