Phonte Coleman is a dimensional lyricist, and I attempt not to suggest that my comments below sum him up ("Ahhh, I've got you figured out now!") as that is the last thing I would do. With that said, Phonte's album that dropped today, Charity Starts at Home, highlights several very important traits of the lyricist that has had the most significant impact on me.
I am enjoying the album all the way through; as a fan from the beginning, it really feels like I was being taken back in time through the numerous chapters of Phonte's musical career; a dissertation of sorts.
"The Good Fight" (Prod. 9th Wonder) is a track for the "every (wo)man" and again gives you a look deeper into the man, rather than tossing a few rhyming lines together over a tight ass beat and calling it a day. Most of us from any walk of life can relate to this one in some form or fashion.
If you still weren't sure if Phonte was raw enough (i.e. an idiot), he proves it to you here once again, going Planters' Private Selection nuts on "We Go Off". Fatin may have produced the only backdrop possible that could withstand the verbal onslaught from both 'Te and Pharoahe Monch. Just pure filth from all three.
I cannot stop listening to "The Life of Kings" featuring Evidence & Big K.R.I.T.; if this isn't one of my favorite three songs from 2011 than I'll be shocked. Evidence is one of my two favorites from the West Coast.
On a side note, the night I REALLY became a fan of Evidence and not just Dilated Peoples as a whole was a show in the Winter of 2007 in Wilmington. Little Brother headlined and gave an emotional performance, but just before that Evidence made everyone in The Soapbox a fan, delivering a controlled, thunderous package known as The Weatherman LP. Since that night I've been an Evidence fan and it's dope to see that kind of come full circle on this track. And there's nothing not to like about Big K.R.I.T. - powerful.
True statement - "It's a bad time to be an emcee if you ain't rhymin' right." Hip-hop is alive and well.
The beat by 9th invokes a similar feeling inside of me to "Beautiful Morning" off Little Brother's second studio album, The Minstrel Show, Te's verse one that I remind myself of each morning when I look in the mirror.
Finally, the introduction, "Dance in the Reign" featuring Sy Smith and produced by Khrysis. They couldn't have picked a better track to set this album off.
The seasoned veteran is brutally honest about his intentions in the rap game before the he even drops a bar, whether you like it or not.
The first verse is a shot to anyone floating on Te's bad side. He walked up to the twenty top dogs and took all their chains, DeeBo style and you will just sit right there on that porch and take it. Surprised to see Phonte still has a chip on his shoulder? Shiiiiieeeeeeettttttt!!!!!!
But it's not the chip alone that makes it powerful, there are a lot of people with chips on their shoulders who use it in an adverse way, typically by blaming others or feeling sorry for themselves.
Everybody got a story, so here's mine.
It ain't heartbreakin'...because I've takin'...
the sour Grapes of Wrath and made Cheerwine.
You get the feeling people along the way have tried to steer him in ways. At this stage in his career/life, however, he seemingly understands this dynamic all too well and doesn't strike me as concerned with what "could" have been, what "should" have been, or what "should" be in the future.
I said, "Let me know the troubles on your mind young blood,
and Lord willing, me and you will solve 'em."
He said "Te I worry 'bout you in the rap game."
I said, "muh f*cker go and get a real problem."
Please beg pardon, but I'm not starvin'.
This rap sh*t is not the life I live.
It's a tool that I use, that's it.
No great fortune to show for it,
but fortunate that no one can "say his life ain't his."
Some might even say "underachiever"
'Cause they are not believers,
that I don't want the world,
but I done seen the world,
and if you ever saw it, hell, you wouldn't want it either.
I don't need a kingdom; just want a home.
You can take a seat, or you can take the throne.
As long as it is known ain't a damn thing changed.
Still the Underground King, ...dance in the rain.
The mic man-imal has always used his mentality as fuel, competitive even if he may lead you to believe otherwise at times. He's confident but at the same time humble, conveying a mentality that, before Phonte, I thought was impossible to put into words.
4th grade was a good year. I was thinning out SOME and becoming quite the ladies man. They must have known business was going very well.
My net worth was up to an all-time high, primarily due to my first real job as an Ad-Pak delivery boy. I was a beast. Every month they handed out bonuses for the kids who took on additional routes, and if I could get a ride, I was down to do it. Ad-Pak had one rule: the paper must be delivered on the porch, not the steps, not the driveway, not anywhere but the porch. This was a really tough rule for me. I couldn't bear to walk up to each porch and place the Ad-Pak on it, as most houses in my neighborhood had accrued a backlog and probably hated me for continuing to deliver them despite the fact they obviously didn't give a flying f'.
I found my groove. It got to the point that I could sprint between yards, I would say 25 feet from the actual porches, and with just a slight flick I could fire out a rocket that landed on the porch every time without fail. It became a game, a competition, as so many small tasks in my life tend to become. We weren't supposed to listen to music but I couldn't help but have my headphones in blaring bangers. I was proud that I finished my route in no more than 40 minutes each week when the chump before me (and thus the expectation of time that I had to beat) was closer to one hour and 15 minutes, one hour at the absolute least.
I had other streams of income though. Car washing, cleaning, you name it. I never did yard work for money though. That was something that was never worth it for me. Too much anxiety out there. Too many bugs, too sweaty, too hot, too thirsty, too hungry, too tired. Every time I attempted to do yard work I would go inside after 10 minutes and have anywhere from 3-6 assorted Little Debbie snack cakes. I told you she was my queen. So no yard work.
I also started another business on the side selling art. Sometimes I sold my own art, but often times I worked as an intermediary between parties, collecting interest in the form of candy or small change. The children (my same age) loved the pictures they ended up with, I was doing something good.
I was counting my money on my bed and just knew this summer would be nuts.
Primarily due to the fact that it was the first summer where I was eligible to attend the overnight basketball camp at UNC. My mom and her siblings all went to UNC; it was naturally the school I wanted to attend when I was young. This was going to be a monster camp.
We stayed in the then-new Granville Towers, right off Franklin Street. There was something about being "on my own" that I loved. I know, we had tons of counselors and also had a curfew to be in the building, but it still FELT like I was fending for myself. That's always been a fun feeling for me. I got to go to the pool and explore Franklin Street with others my age, it felt surreal.
My roommate and I shared a bathroom with the room next to us, which was occupied by a couple of guys who's mothers never taught them to put the toilet down. Maybe it is because my mother laid that expectation down very early, but I was always shocked at how many cats leave a toilet seat up as I was growing up. Put it down, man, I do not want to touch it...so then we all have our shoes all over them because there isn't a chance in hell I touch that thing with my hands. Dudes need to keep a little sign above the toilet.
Their lack of manners wasn't the only thing I recall. One of the two kids I will never forget - a little punk named Wesley. Wesley was an annoying kid who was a couple years older than I was, thus this his third year at camp. He tried way too hard, bribing children to exchange their souls (er, friendship) for his candy. This kid's candy game was so nice, I couldn't hate on it. I was jealous but I had to respect it. Wesley was a douche though, I saw past the candy. He would use his new acquaintances to fight battles for him. He talked a lot but became a shell when he was challenged to man up. Wesley was "Fakin' Jax":
Although I didn't like Wesley, I was attracted to his room on one of our breaks when he was playing the classic "Crossroads" by Bone-Thugs-n-Harmony:
He may have had his issues, but could Wesley really be alright?
That night my roommate and I went to his room, more out of curiosity than anything. My roommate had been one of the people who Wesley had swayed (this one was lost to a simple Snickers), so that night we went to Wesley's room. My time was limited though, that night was the 1996 King of the Ring pay-per-view, and there was a new sheriff in town who went by the "The Ringmaster" that I had to see.
We were flipping through each other's CD cases, talking back and forth about which tracks we liked when we saw we had the same album. We had a connecting moment on ATLiens. I came to find out that Wesley had an older brother in high school and that Wesley essentially had stolen his brother's music for the week. As I was flipping through, I recognized most of the artists within his binder, until we got to an album with kids on the front and a name that I wasn't sure was in Spanish or English - was this even hip-hop? "Sort of."
I asked Wesley if we could listen to this CD next but he rejected me. I vividly recall a look like, "and don't you ever ask me again." He was embarrassed, and him feeling that embarrassment had me wanting more. So I asked if I could borrow the CD for a bit and forgo the numerous cones of soft-serve yogurt in the cafeteria for dinner. He agreed but I knew I would owe him something.
I sat down at the desk, popped the headphones in, and opened the CD case of De La Soul's Stakes is High. I had to be efficient; I couldn't waste time on any one song.
Skip the intro. Gave "Supa Emcees" half a minute before I was on to the next (over time, grew to adore this track)....the third song, the day my Com-cherry was popped, "The Bizness":
Dave started the track off real nice. Dude is real smooth. This was the first track I really, really LISTENED to Common, and thank the lawd I did. He fits a gang of metaphors, similes, puns, and references into a short period of time, yet it didn't feel forced at all to me. And then Pos comes through again leaving you thinking, "OK, this cat would whoop my ass in Chess."
I like all 12 of the next tracks, each have their own mind state, so I wouldn't ignore them; if you do you will regret it. After these 12 comes another first for me with another legend I would become very familiar with in the coming years... "Big Brother Beat" feat. Mos Def:
I never mind a back-and-forth track such as this. Sure, there is something incredibly special about a lyricist able to keep you on the edge of your set for bars upon bars. If you only listened to Mos' first run through you would understandably walk away feeling like you were missing something, "Just two lines?" He teases again about a minute through, but finally takes off the gloves come 1:45 and goes to verbal war.
Wesley had, in a way, introduced me to two of the finest lyricists. Does one thank someone for this?
"Down Syndrome" wasn't one of my favorites, neither was "Pony Ride", but I was still going to buy the album. I had a few minutes before King of the Ring started, and just a couple tracks left - I had checked out a bit. "Stakes is High" (Prod. by J Dilla)
The voice in my head went nuts.. Wait, what was that? WHAT THE F*#& WAS THAT? No.. No way.. Stop playing with me. This must be a dream. Is that James Brown in the background? What was this sound and why had it taken this long to find it. I went to look in the book, got a quick glace before noticing I had two minutes to get down to the commons area to watch history unfold. That night a legend emerged, changed his name, and proceeded to become one of the all-time greats in the game.
It was the last Saturday in August when I began packing my bag for New York, nearly a week in advance - I wanted to be prepared for what I could control, the fixed risks. I knew the logistical nightmare of the Big Apple was as significant of a variable risk someone like me could experience. I figured if I covered 100% of the fixed risks that I could hopefully win SOME of the battles I would have with the variable risks.
My brother from another mother (literally and figuratively) and another close friend had decided they would stay with a Brooklyn resident, also a friend, while me and my Rock the Bells partner in crime (four years running) would stay at a Brooklyn hotel (had already paid for it and could not cancel). The first two were arriving in NYC mid-morning while the hotel dwellers weren't getting in until late afternoon. The five of us now planned to meet at the Yankees game Friday night.
When we landed at LaGuardia Friday afternoon, it was apparent that traffic was going to be a bitch with the US Open and also the time of arrival. We got to our hotel around 6:00 pm, which, had we jumped on the Subway without eating or showering would have put us to Yankee Stadium right before the first pitch. It was decided to relax a bit, refuel, get some drinks, and most importantly get fresh. We left the hotel around 7:25, thinking we'd get to the stadium by 8:30 and still catch the meat of the game - the morning duo wasn't getting to the game until about that time too.
It was about 65 degrees out; a perfect night for baseball. We hopped off one line to the next, excited for what was to come. After close to an hour on the Subway, the line suddenly stopped, "This is the last stop on this line. You are now in Coney Island."
Wait...WHAT?!
How it unfolded:
It was now about 8:30 and yes, we had gone an hour in the wrong direction. We were told by one of the operators that by the time we got to the stadium it would probably be about 10 o'clock; we may have gotten to see just the last few outs. Discouraged, demoralized, frustrated, you name it, I felt it. "Think Good Thoughts."
I did feel like a total douchebag for being a part of this story, but can't say I was surprised. I tried to look at the bright side. We only spent $15 on the tickets (bleacher seats, to move down later in the game) BUT we saved the $10 per beer (we'll say $40) and $7 hotdog - I had SAVED money! We took the Subway back to our hotel stop and found a pizza joint. What followed was nothing short of a pillage of a large, cheesy mushroom pizza doused in an exorbitant amount of Parmesan cheese, red pepper flakes, and hot sauce. I'm most certainly an emotional eater, and I walked away feeling like the pizza knew that (in a bizarre way, perhaps the goal?).
I had planned on staying up relatively late that night (past 9:00 pm or so), but after the pizza and a several drinks the clock read midnight and I was down for the count. I felt defeated, yet all I could do was laugh about the night...tomorrow would make up for it.
But then in the morning, the gym at the hotel was terrible. My head pounded into the ceiling on the only elliptical and treadmill they had. I did move the square piece of the ceiling right above the elliptical, but the actual duct work was still rubbing my face. I exercised about 10 minutes before my neck was permanently cramped, my ears itched from what was rubbing me, and a weird Euro guy in tiny shorts was looking a little too closely amidst the fact I was already kind of heated.
The continental breakfast was no better. The most stale frozen bagels, the absolute worst coffee you have ever tasted (I will take any taste test from any store or gas station around the United States), and a lot of weird combinations of strange folks that made breakfast seem both surreal and extremely awkward at the same time.
Luckily the trip getting to Governor's Island was relatively smooth (although we did see a woman barfing in the trashcan for three minutes straight, not more than a foot away from us). A few minor hiccups along the trip but nothing major like MISSING THE WHOLE EVENT. I was able to breath a sigh of relief when we got to the water and jumped on the BK Ferry for the quick five minute ride to the Island.
The first act I wanted to see was Random Axe, the triumvirate of Sean Price, Guilty Simpson, and the man on the keys, Black Milk. I saw most of the Boot Camp Clik for the Duck Down 15th Anniversary tour in Wilmington, NC at the Soapbox last year - easily one of my top 10 shows. The four of us rolled into the gates right as Sean the Barbarian began his verse on "Chewbacca," the headline track of the Random Axe self-titled debut album that dropped earlier this year:
I hadn't seen either of Guilty Simpson or Black Milk live before. I've been a fan of Guilty Simpson since his early works with Dilla, and got into Black Milk heavier when Elzhi began slaying his beats a few years back. It's an effective trio. Two of the illest cats from the D and my epitome of New York raw hip-hop with Sean P.
Due to our late entrance (and thus further spot back earlier on), the Random song that got me oh so hyped was "The Hex":
I've always liked producers that can hold it down on the mic and it doesn't seem forced. Black Milk is one of those dudes.
We were holding down a terrific spot in the crowd, no more than a few rows back of the barricade. I'm never afraid to nicely and responsibly get as close as possible. Don't confuse this with the drunk idiot bumping his way to the front and stepping on every female foot he can along the way.
"Ay…ay, dawg, ay..stepped on my sneaker man."
Random Axe was simply an appetizer; up next for us was Black Star, performing their 1998 classic, Mos Def & Talib Kweli are Black Star. After a lengthy interlude of commercials being played at the Main Stage (how many times do I need to see Boost Mobile ads?), Mos Def and Talib Kweli hit the stage hard.
I've seen Talib a few times, and Mos only once a few years back at Rock the Bells 2009 in Columbia, MD. That performance, however, was heavy on The New Danger with no BlackStar tracks and just one song from Black on Both Sides. I don't hate that album, but it wasn't what I wanted from Mighty Mos in that performance. This time around, however, I was somewhat unexpectedly blown away. The first song that really got a huge eruption from the crowd was "Definition":
After "Definition" it felt like the crowd was really ready for not only the remainder of Black Star, but for the entire event.
A few songs later the duo tore the proverbial roof off the non-existent building with "Respiration":
After the Black Star performance we thought we had a decent break on our hands, but as we were grabbing an elephant-sized burrito and brews we were told GZA's time got flipped and that he was already blasting classics on the 36 Chambers Stage.
It pains be to admit this, but I missed "Liquid Swords," smash hit from Legend of the Liquid Swords album. I felt cheated, but again, there was no time for fretting. We headed to the 36 Chambers Stage and really started off quite far away - I began to get anxious; I had to get further up for Black Moon and Mobb Deep.
So I began to make moves and within no more than 5 minutes we carved a way to the front, about two rows back.
GZA was rockin' the stage with Killah Priest but I was concerned that the times on the stage had been all effed up; what else had and I and would I miss? ODB's son came out and performed "Shimmy Shimmy Ya" which was nice, but "B.I.B.L.E" took the cake for my favorite of this performance:
The day was just getting warmed up. I had missed the main event from GZA's album, but there was still plenty ahead of us. Black Moon and Mobb Deep would be on this stage and I wouldn't leave for any calling of nature. The crowd was thick and I was not going to chance not getting back up for two of my favorite groups and albums.
After a short break in the action, DJ Evil Dee of Black Moon stepped up the boards, followed by a full band (keys, two saxophones, electric guitar, bass guitar, and drums). Black Moon's debut album, Enta Da Stage has such a strong jazzy impact that I began to get chills before the other two-thirds of the group made their way out. Buckshot and 5 ft. came out to roars from the crowd. It was really great seeing Evil Dee, 5 ft, and Buckshot together on the same stage - looking forward to the upcoming album.
Buckshot's performance at last year's Rock the Bells was one of my most resonating live hip-hop memories of all-time, a feeling only strengthened at the Duck Down Anniversary show previously mentioned. His emotion, patience, and deliberate delivery all make him one of my top dogs. "CAN'T WAIT" for Buckshot's third album with 9th Wonder, "The Solution".
When "U Da Man" hit, Tek came on to the stage on a dude's shoulders that was quite a bit smaller than him. Steele then made his way from backstage. An even more unexpected stage appearance was from Dru Ha, the co-founder of Duck Down Records with Buckshot, who proceeded to grab a mic and spit his verse forcefully. I was surprised with how much comfort he had up there.
Smif-N-Wessun (Tek and Steele) proceeded to move the crowd with another one of my top 100's, "Bucktown" off the duo's 1995 debut album Dah Shinin:
What a dope, somewhat under-appreciated duo. At this point I had already easily gotten enough on the day to walk away from Rock the Bells fully satisfied. I really had. The shit-storm of the previous evening was long forgotten, the intensity of the sun was fading, and the feeling in the air was becoming just a little..bit..thicker.
You could smell, hear, and feel the anticipation growing. Everyone at the 36 Chambers stage knew what was coming and had positioned themselves before Black Moon even began. If you hadn't than shame on you. Mobb Deep was right around the corner and it felt like Christmas morning.
One of the fellas knew I would hold down the spot so he sprinted to the restroom. This was easily the most nervous I was during the entire trip (I mean flight, getting lost and missing the Yankees game, getting ice-grilled in the liquor store, etc). I couldn't let the crowd close in on the opening. I went with a wider base, began to kind of flail my arms like Busta in the "Scenario" video, fake-sneezed a couple times, and prayed to Dilla that I could maintain. Luckily, he was back in maybe two minutes due to the fact there would be no washing hands in the Port-A-Potties, but that didn't stop me from dappin' him up upon his return. You know I had a travel bottle of hand sanitizer that I used probably once every 30 minutes to an hour.
It was time. On June 9th, 2011 I purchased my ticket for Rock the Bells, in large part due to the moment I was about to experience.
Mobb Deep in New York City.
The duo decided not perform many of the songs off the classic Infamous album ("The Start of Your Ending (41st Side)", "Trife Life", and "Drink Away the Pain") despite the prevailing notion we would get the entire album. I wasn't that happy at first. But we all soon realized this wasn't going to be just a 10 song performance, and that for every Infamous track we missed, we got two more Mobb classics. I was along for the ride.
Alchemist was on the boards for the entire performance, playing some of his classics with the group. Although I prefer early Havoc production to Alchemist production with Mobb Deep's sound, it did allow me to hear one of my Alchemist favorites, "Keep It Thoro" (which, if I might add, was so superbly remixed by 9th):
We got a treat when Big Noyd joined the party and helped on many of his classics with Mobb Deep; this guy was dripping with intensity, really was fun to watch. The hypest of his verses came on "Party's Over":
But honestly, without question, no matter howwwww raw it was to hear Mobb Deep guillotine a Peso-favorite, "Trife Life"...the top song of the entire night for me was...well, wait just a second.
The sun was long gone, and although it was cooler out now, we were all so close together and feeling the music that the sweat still was rolling down everyone's faces - not just mine! Everyone in attendance at the 36 Chambers Stage had just been pulled through an hour of the trials and tribulations these two experienced in Queens Bridge. They went over their performance time by a solid 20 minutes at this time but even the staff in charge of the clock wouldn't dare end this. The security guards who were supposed to be facing the crowd were all turned around to the show, spitting the same bars as Prodigy without giving a damn about if a fight ensued in the crowd. This was simply too amazing to miss and I think everyone there knew it. We knew it ending soon though; it was just too damn serious in there not to end it.
And just like that the beat dropped for "Shook Ones Part II", which caused every person watching to go Buzz Lightyear Turbo-H.A.M. I had chills, and could do nothing more than look up at the sky, look around me, and recite to words to the hip-hop classic:
Satisfied, I had one more very important decision. To remain at the 36 Chambers Stage at the very front for Raekwon and Ghostface performing Only Built 4 Cuban Linx... or to get back to the Main Stage for Lauryn's Miseducation of Lauryn Hill. If it were a sheer one-for-one decision with no other factors, my decision would have been pretty simple: Rae and Ghost, hands down, which says more about my adoration of the Wu members than it does about Ms. Hill. This was a moot point though because it wasn't a one-for-one decision and I had to admit that to myself as I made a choice my heart didn't quite want.
You see, Lauryn's case was so largely assisted by the simple fact that Nasty Nas was up after her and it would be imperative I get a prime view for my favorite album of all-time, Illmatic. All four comrades made the same decision, something none of us pressured each other into prior to the show or even when the decision needed to be made. We were like sheep.
We all dealt with nature, one of those, "there will be no more stops, make sure you are empty" times that you were taught my your parents at a very young age. As we approached the Main Stage it was clear we were in for a nightmare. We were what seemed to be a mile away from the stage on the far right, our view obstructed by a huge camera.
During the first half of Lauryn's performance I was crushing myself, the little voice in my head asking, "why in the hell did you leave that filthy, prime location for Raekwon and Ghostface?" They were probably hammering "Verbal Intercourse" right now and I was missing it! For this! We couldn't make our way to the front by just walking; there was nowhere to walk. At this point we had all split up, yet all remained in eye sight of each other just enough to where we could shake our heads in dismay over our unexplainable decision. So why did we make the decision? From my account, I knew I was playing with house money - we were all satisfied, and a knock out performance from Nas would have made this one of the greatest evenings of any of our lives. Let's roll the dice baby!
Lauryn was performing but I was still sidetracked. I knew I couldn't continue to punish myself for this decision; a "tactic" I am very well known to implore. Instead, I had to live with my decision and make the very best of what was AHEAD. I knew I wouldn't ever be able to forgive myself if I didn't make the best of this, especially after being blessed on stage by Random Axe, Black Star, GZA, Black Moon, Smif-n-Wessun, and Mobb Deep. Man the eff up! And so I made an internal decision; after all, I couldn't talk to any of the others, there would be no sheep herd this time around.
Lauryn made it quite easy for me once I began to listen to her, and I quickly found myself back in the game when she performed "Everything is Everything":
Once I let go of my frustration, I quickly began working through our options of getting closer while STILL enjoying the music. Ultimately, I began imploring a maneuver I will keep in my repertoire until the end of time.
Every time a person would come out from the humongous grouping of people, everyone's tendency is to step back, right, or left in order to let the person exit. And so the crowd that opens for the person exiting is super vulnerable. I studied it. How could I best maneuver at the most opportune vulnerability point? Before the crowd settled back in, I put pressure on whoever was in front of me, stepping up so that they were either forced to also step forward, or in most cases, a slight step to the side so I could jump them. I don't want anyone to get the wrong idea about this. It was NOT forceful, and I did not use my powerful man strength that I have gained since turning 25. No, I was gentle. I talked to everyone around me and met some really cool people.
The Challenge: Pass as many people as possible all the while building goodwill and obtaining their good graces for further moves up. -- I easily took home MVP, no question.
I turned my back and noticed I had improved my standing by 60-75 feet. I was ecstatic.
Towards the end of her set, Ms. Hill was joined by Pras Michel, another third of the Fugees. It wasn't a total reunion as Wyclef Jean was nowhere to be found, but Pras and Lauryn still performed "Ready or Not" to the delight of everyone in attendance:
Between acts we sat through an eternity-long break. It was 10:30, the body was sore, but then the great DJ Premier made his way to the booth, with Peter Rosenberg grabbing the mic for the introduction to the grand finale.
The Subway sound dropped on the background and "The Genesis", the introduction to Illmatic, began. The time had come for one of the G.O.A.T.S. to take this thing home.
After a few minutes of Primo hyping the crowd up, the magical L.E.S. beat dropped and AZ joined Nas on stage for "Life's a Bitch":
Midway through the performance, Pete Rock joined the party and made his way to the boards as well, where he and Premier held a mini beat battle with some of their utmost classics. Nas then performed "The World is Yours" (Prod. by Pete Rock):
Thennnn, there were several surprises. Main Source and Akinyele made their way out and joined Nas in performing "Live at the Barbeque", the 1991 classic of Main Source's debut album Breaking Atoms:
Unfortunately my iPhone battery was long gone and I didn't get any pictures of the chaos that was ensuing on stage. Akinyele then blew it out of the water with "Put It In Your Mouth" (DANGER: HIGHLY explicit...lol):
The hits kept coming.
MC Serch came out (!) and, along with Nas, performed "Back to the Grill Again", what we all found out to be the first time in history these two have performed this track live:
I thought it strange that Premier did not use a certain track in his "beat battle" with Pete Rock, but when Nas told the legend he wanted to play a song Premier had produced, I knew it was about to go down. And so we had it, the classic, "Nas Is Like" off his third album I Am, when I went in to this performance only expecting to hear Illmatic:
And then one final appearance that I had expected, but not one I would take for granted. Lauryn Hill made her way back to the stage for the moving "If I Ruled the World (Imagine That)":
Nas closed with "Made Ya Look" and just like that, the evening was over. Or so I thought.
In hindsight, we should have left 30 minutes earlier; we were in what looked to be a never-ending line to board the ferry. The line was not moving, and there was no space to even bend your legs. My back ached. I was thirsty. I needed to relieve myself. I needed something to eat. I felt like those guys in the Snickers commercials.
Come to find out, one thing did go our way. During our wait it came to light that Raekwon and Ghostface experienced some poor lighting, sound, something, I haven't done the research nor really care to prove this next point wrong (so please, don't spoil it for me if it was the best Rae & Ghost show ever)...I overheard one man saying the duo might have walked off the stage early and so I will take that guy 100% at his word and assume this is what happened, so we were even more right for going to Lauryn! That "rough experience" was actually a positive.
Right after this tidbit of good news, after nearly an hour and a half of standing within the same 20 feet trying to even come close to seeing the ferry, anticipating another two to three hour wait, the floodgates opened.
We boarded the ferry at 12:30 and were to the Subway by 1:00, but unfortunately no one down there knew that the "R" line stopped running this late and we should have hopped on the line that had passed us 5 or 6 times in the past hour. We boarded just past 2:00 in the morning and arrived to the hotel really soon after.
No matter the amount of bullshit I had to sift through, Rock the Bells 2011 was everything I expected multiplied by 100. No words can describe my personal emotional high, and no cost could serve to detract from the memories I will always keep with me from this night. I wasn't exhausted, I was energized.
I didn't get to see a lot of acts I wanted to due to scheduling, namely Evidence, Blu, Big K.R.I.T., Erykah, Doom, Rae & Ghost, and Souls of Mischief, but even with missing what I missed I would not have done anything different. From to start to finish of the actual event I couldn't have been happier (I mean, if we are being picky/honest, could have been 15 degrees cooler).
My favorites of the evening were, in fact, the three I was most excited to see from the day I saw the lineup: Black Moon, Mobb Deep, and Nas.
Although I have never lived in New York City, I do feel such a connection to the city when I am there. It feels like I home; patience and composure. The occurrences of NYC that made the trip difficult made the positive occurrences that much more rewarding. I had begun typing that this trip was an important one for me, music aside. But that isn't so, music had all the impact in the world. Once again, with hip-hop music as a catalyst, I have learned something new about myself and continue to grow.
