Lerkot

Well it will probably be on willsmith.com tomorrow anyway ^^

How many hours is it left before its time?

Gah.. Lost is good and Desperate Housewives ok, but O.C? Damn thats crap! I hate that program.

50 and Usher on da list would have been ok if someone of them had something in charm that replaces what they lack in look.. but they dont...

Yo I just read this: "For the first time in Australia three of hip hops most influential and well renowned personalities are coming to Australia to take us back to a day where hip-hop was all about having fun and parting. This event will be party that will not be forgotten in a hurry and will be never repeated again Dates: August 31st Melbourne The Metro September 1st Sydney The Enmore Theatre September 2nd Adelaide The Barton Theatre September 3rd Perth The Leederville Hotel Kurtis Blow As the first commercially successful rap artist, Kurtis Blow is a towering figure in hip-hop history. His popularity and charisma helped prove that rap music was something more than a flash-in-the-pan novelty, paving the way for the even greater advances of Grandmaster Flash and Run-D.M.C. Blow was the first rapper to sign with (and release an album for) a major label; the first to have a single certified gold (1980's landmark "The Breaks"); the first to embark on a national (and international) concert tour; and the first to cement rap's mainstream marketability by signing an endorsement deal. For that matter, he was really the first significant solo rapper on record, and as such he was a natural focal point for many aspiring young MCs in the early days of hip-hop. Kurtis Blow was born Kurtis Walker in Harlem in 1959. He was in on the earliest stages of hip-hop culture in the '70s -- first as a breakdancer, then as a block-party and club DJ performing under the name Kool DJ Kurt; after enrolling at CCNY in 1976, he also served as program director for the college radio station. He became an MC in his own right around 1977, and changed his name to Kurtis Blow (as in a body blow) at the suggestion of his manager, future Def Jam founder and rap mogul Russell Simmons. Blow performed with legendary DJs like Grandmaster Flash, and for a time his regular DJ was Simmons' teenage brother Joseph -- who, after changing his stage name from "Son of Kurtis Blow," would go on to become the first half of Run-D.M.C. Over 1977-1978, Blow's club gigs around Harlem and the Bronx made him an underground sensation, and Billboard magazine writer Robert Ford approached Simmons about making a record. Blow cut a song co-written by Ford and financier J.B. Moore called "Christmas Rappin'," and it helped him get a deal with Mercury once the Sugarhill Gang's "Rapper's Delight" had climbed into the R&B Top Five. Blow's second single, "The Breaks," was an out-of-the-box smash, following "Rapper's Delight" into the Top Five of the R&B charts in 1980 and eventually going gold; it still ranks as one of old school rap's greatest and most enduring moments. Blow followed it with an appearance in the cult hip-hop film Krush Groove, in which he performed "If I Ruled the World," his biggest hit since "The Breaks." Blow's music has also been revived by younger artists seeking to pay tribute; Nas covered "If I Rule the World" on 1996's It Was Written, and R&B group Next sampled "Christmas Rappin'" for their 1998 smash "Too Close." Big Daddy Kane Emerging during hip-hop's massive creative expansion of the late '80s, Big Daddy Kane was the ultimate lover man of rap's first decade, yet there was more to him than the stylish wardrobe, gold jewelry, and sophisticated charisma. Kane possessed a prodigious rhyming technique honed from numerous B-boy battles; he could also be an Afrocentric consciousness-raiser versed in the philosophy of the Nation of Islam's Five Percent school, or a smooth urban soul crooner whose singing was no match for his talents as an MC. While he never scored much pop-crossover success, his best material ranks among the finest hip-hop of its era, and his sex-drenched persona was enormously influential on countless future would-be players. Big Daddy Kane was born Antonio Hardy in Brooklyn on September 10, 1968; the stage name "Kane" was an acronym for King Asiatic Nobody's Equal. In 1984, he met Biz Markie, and the two struck up a friendship. Kane would go on to co-write some of the Biz's best-known raps, and both eventually became important members of the Queens-based Juice Crew, a collective headed by renowned producer Marley Marl. Kane signed with Marl's Cold Chillin' label in 1987 and debuted the following year with the 12" single "Raw," which became an underground sensation. His first album, Long Live the Kane, followed not long after and was equally well-received, producing another underground classic in "Ain't No Half-Steppin'." Kane consolidated his success with 1989's It's a Big Daddy Thing, which spawned arguably his most effective love-man song in "Smooth Operator" (and also found him working with new jack producer Teddy Riley on "I Get the Job Done"). 1990's A Taste of Chocolate was a wide-ranging effort, highlighted by Kane's duets with Barry White and comedian Rudy Ray Moore, aka Dolemite. Slick Rick A modern rap music genius, Slick Rick’s legend precedes him like no others. Originally known as Doug E. Fresh’s vocal partner in the Get Fresh Crew, MC Ricky D’s (as he was then known) unforgettable performances on 1985’s double-sided single, “The Show”b/w “La Di Da Di,”brought a new kind of hip hop hero to light. Suave, debonair and capable of great poignancy and bawdy humor, Rick’s charisma wouldn’t actually flourish fully until the commencement of his own solo career. Highlighted by classics like “Children’s Story,”“Mona Lisa”and “Hey Young World,”1988’s platinum selling The Great Adventures Of Slick Rick found the U.K. Expatriate/Bronx resident displaying a remarkable talent for wit-filled narratives like some lyrical crossbreed of Bob Dylan and Richard Pryor. His influence on a generation of rappers from Snoop Dogg to the late Notorious BIG continues to be felt through contemporary times. The next two releases-1990’s The Ruler’s Back and 1995’s Behind Bars, However now, after three years comes news from the East that will warm the hearts of rap fans worldwide: with his new album, The Art of Storytelling, hip hop’s most storied storyteller, Slick Rick, makes his triumphant return. “I decide to call the album ‘The Art of Storytelling’ because that is exactly what I am known for! I wanted re-introduce the art form by making an album that included many different variations of stories and rap styles.” “When you start gettin’ back into the flavor and the fun of making music,” the rhyme veteran continues reflectively, “it doesn’t really matter how old you are. Just as long as you can still entertain people at a high rate.” An entertainer of unparalleled ingenuity, Slick Rick’s gifts may finally again be shared with the public. Tickets are available though the following outlets Melbourne Ticketek – 132 849 Sydney Ticketek – 132 849 Adelaide VenueTix – 08 8225 8888 Perth Bocs Ticketing – 08 9484 1133 Ticket’s on Sale – Friday 29th of July 2005" Tim are you going there? Sounds really cool I gotta say and through my secret mafia contacts, maybe I could get some multimedia from this tour, but it would be alot easier if Tim knows some radio channel or somethin that might pick something up lol. Good to see three vets touring.

"They also look at the fact that Kanye is not a single-song person.. Most people will buy his album cause they'll know it's good. Not for the singles or popfactor." If you by "they" mean the buyers, I'm not sure what world you are living in. When quality starts to sell, thats the same point when the army starts using arrows instead of guns. I dont think there is a chance in hell that people buy it cause they'll know its good, they'll buy it for the same reason people buy 50 Cent... No reason at all, it just happens.

Hahaha! Lots of interesting stuff.. or should i say scary stuff.

Will.

THERES GONNA BE ANOTHER JJFP ALBUM PLEASE KILL ME WITH A BIG STICK IM SO HAPPY I COULD BUY A CORNHOUSE (WHATEVER THAT IS) AND STILL HAVE THE AUTUMN PAPERS LEFT IN MY POCKET WHO JOINED THE SAS CREW WHEN IT WAS HEAVILY STEADILY LAYING ON A BUNCH OF TASTELESS MACCARONES!

You know... I dont know. She sounds like a nice person and all but I think she is really disrespecting her son if you look at her decisions and the only reason I can find is money. She seems to like money. Hard thing to say, but what more is there to say when she lets people abuse his voice and words to earn money..

Well a radio station here played The Rain when I begged for a Will Smith track.

KRS shouldnt do this misstake stay back and let 50 have the cake he gotta step into a major label make 50 and them to an easily forgotten fable people needs to hear KRS and he gotta show that he cares whats so wrong with going on radio he knows a lot young rappers needs to know take some responsability like stuart pearce in manchester city throw out the wackest and bring in the knowledge cause krs are a rapper with a sharp edge but as i said, staying "underground" is wrong people really got to hear his songs Lets slaughter a dead body and use his rhymes to earn money What they do to Tupac aint at all funny using his old rhymes releasing new albums featuring people we all know are real dumb Disrespected by Eminem, G-Unit and even his damn mum I see Tupac made a track with Elton John next month he's gonna tour with elvis and once again get his messages mixed Pacs mother is, excuse me, a real bitch throwing her sons works down a deep ditch if you want the world to hear him even tho he's dead let someone smart produce it, maybe a hiphop head right now he aint got no producer cause eminem and them are all abusers let our damn tupac sleep i his grave let tupac rest in peace instead of use him as eminems slave Written in ten minutes, not that good but I said what I felt I had to say.

The album is way better than B2R, thats a fact but I dont think Will can make good albums when Jeff aint involved in it enough. Will needs Jeff and he knows it, but does Jeff know?

Depends on what you mean with mainstream. Personally I dont think anything JJFP has done is mainstream.

Hard work and KRS pressuring me to new heights by screaming through my speakers. I scored two times at the level 8 before it killed me three times in a row.

Well the only thing I know is that its extremely annoying to hear scratching in Wills tracks when its not Jeff scratching.

Actually, lets bump this topic a little since its quite interesting now a half year later. Were we right? No. If they dont release the Party Starter vid soon, then 650k US will be the answer. Hero1s first guess were pretty close to the truth tho.

24 hours ago I sent mails to seven different record companies (I was testing their ability to speak to the fans). Three have answered, Interscope is not one of them.

Its ok but the music video was quite boring I have to say. Most music videos are boring these days tho.

One reason why i love Will is because the greatest hits version of Summertime is one second longer than the Homebase version.

Begging and whining is not a way of getting potna status. hero1 will choose the right people even in the future just like he's done all the time. Just be patient, helpful and nice and ya'all will get potna status if you stick around under a long time.

a couple of tracks a day.

← Yup I think so to.

While talking about Run and DMC, I just read Runs "Mind On The Road" is gonna be put into the video game Madden 2006.

lvl 7 again and again and again...