Old School Video of The Week: Prodigy – “Keep It Thoro”



“When you see me in the streets soldier, salute me. You just a groupie, oh, you gangsta, then shoot me”

The unexpected death of Prodigy at the age of 42, of the group Mobb Deep, has rattled the hip-hop communities’ nerves. It’s starting to become normalized when we lose hip-hop icons at such a young age, and it also brings once again heath awareness with an emphasis on Black men in general. The exact cause of death has yet to be determined, but it is also well known that Prodigy has been battling sickle cell disease since he was an infant.

Prodigy’s entire aura, his voice, his lyrical delivery to coincide his street tales was intoxicating and Havoc’s lyrical contribution alongside with his stellar production, meshed well with Prodigy’s persona. Mobb Deep was an important duo when they emerged in the 90’s with a New York style, which left the bubble gum rap style in its dust, but came out and gave listeners a front row seat to the heart of the dark New York streets.

I was always fascinated by Prodigy’s voice, and I would state if he was at a supermarket and simply ask the cashier if an item was on sale, they would more than likely give him the items for free. Prodigy’s voice was one of the most intimidating voices in hip-hop, and it has Queensbridge all over it. When the duo disbanded, that didn’t stop Prodigy from continuing to get busy on the mic by representing hip-hop on his terms.

The year was 2000 when Prodigy released “Keep It Thoro” off his debut solo album H.N.I.C. “Keep It Thoro” is tough, a production banger, and it represented the Prodigy that we come to know and love as a member of Mobb Deep. Once again, leaving a legacy behind is just as important when we are no longer here in the physical. Prodigy did just that, in many ways. Another fallen hip-hop legend gave us a brief time on this earth, but left an infinite legacy behind that will be quite difficult to duplicate in the future. Rest in peace.

-Ms Scripter,

Just blogging for the masses, ya dig?


The Remy Ma vs. Nicki Minaj Beef Brings Out Misogyny & Complainers



nicki-minaj-remy-ma-2OPINION – The day Remy Ma and Nicki Minaj began throwing shade at each other; I just knew this would be a great opportunity for hip-hop in general. Not too many women on the mic are going at each other in MC Lyte versus Antoinette fashion and receiving a broader audience while doing it. I kind of miss rap beef, as long as it stayed on what we call wax. Furthermore, in this era of the genre not too many women are getting opportunities to shine and be talked about all over social media for their bars and disrespect for each other on a lyrical scale (even though the lyrics have become more sinister).

There is history concerning the beef between Remy and Minaj, that was in the making for a decade. Minaj released a mixtape back in 2007 when Remy was incarcerated entitled, Playtime Is Over. The track, “Dirty Money” over a Terror Squad beat, had many people including Remy thinking that Minaj was throwing verbal shade at her with this line:

“Tell that bitch with the crown to run it like Chris Brown,” “She won three rounds, I’mma need a hundred thou’…/Oh, y’all ain’t know? Bet y’all bitches know now.”

With the beat Minaj used and the fact that Remy won a $20,000 battle against Lady Luck, it didn’t take a genius to put two and two together. According to Remy, she stated in an interview while she was incarcerated that she confronted Minaj about it. The back and forth between the two has been brewing for quite some time, and it reached its peak in the present, where everything exploded, and social media went nuts.

With Minaj’s subliminal’s on tracks entitled, “Swalia” and with Gucci Mane’s “Make Love,” Minaj gave the appearance that she didn’t believe Remy Ma would answer her in such a fashion that it would have the internet on fire.

“Oooohhh, oh you the qu-e-e-the queen of this here?/One platinum plaque, album flopped, bitch, where?”-Nicki Minaj

Remy Ma responded less than 48 hours later with the track, “ShETHER,” which was a lyrical assault on Minaj that cause social media to explode:

“We call that Jelani, get it? Semen in your pants” and “And I got a few words for the moms of the young Barbz/Guess who supports a child molester? Nicki Minaj/You paid for your brother’s wedding? That’s hella foul/How you spending money to support a pedophile?/He a walking dead man, sending threats to him/I guess that’s why they call you Barbie, you was next to Ken/Talkin’ ‘bout your money long and your foreign sick/Why you ain’t help your bro hide his cum from forensics”.

During the social media explosion, people on social media appear to have a problem with folks discussing this rap beef. Some cited that one couldn’t possibly be “woke” (I can’t stand that word now) and talk about hip-hop beef on social media. It’s a good thing to abandoned the same Trump news, or the consistent topics of racial oppression, etc. That does not mean the person is not “woke,” so folks need to stop shaming those who want to discuss something else. Are we supposed to be a program to address social issues 24/7? Sorry, I will talk about pop culture anytime I please, but it doesn’t make me less enlighten compared to the person who isn’t discussing it. With that being said, have several forced seats.

Then some individuals also said with a straight face that Remy’s response was weak and her bars weren’t all that to be discussing. The ones that I noticed had that comment escape from their computer screens are men. Some men, especially on Facebook hip-hop groups, are saying that Remy couldn’t possibly go toe to toe with a man on a lyrical scale. This leads me to believe that jealousy and misogyny plays an immense role in the criticism and has always been a blanket part of oppression against women in hip-hop. It pains some men that the topic of discussion where it involves hip-hop was about two women (especially Black women) and not masculine induced men for once. That’s another group that needs to have a full stadium of seats. They have been the most annoying out of the bunch, but some men can’t help hiding their sheer disgusting misogyny.

Then one has the generic complainers. They are mad because their timeline is filled with the Remy and Minaj topics, but there is a feature on one’s social media with emphasis on Facebook that can hide those who are talking about it. If one doesn’t want to read about it, either change the settings or just stop logging on, one has options, so use it.

So far, the only response Minaj was able to come up with was making fun of Remy’s album sales:

“Powered by the Platinum certified ‘All The Way Up,’ Remy Ma and Fat Joe’s joint effort ‘Plato O Plomo’ debuts disappointedly at #44 on the SPS count. Its combined numbers on that chart came in at 11,158. As for the project’s pure sales debut, that figure sat at a shocking 7,978. Although, this was enough to lift its placing on sales-only chart to #25.” Nicki captioned the photo with a “Yikes” and facepalm emoji.”

Great or mediocre album sales, doesn’t constitute one is a good rapper and has lyrical skills. If that is all Minaj can muster, she failed and lost the battle already. Harping on album sales, instead of getting in the booth and exhibit some bars is an appropriate response. Bringing the beef back to social media and not coming up with a lyrical arsenal, proves that Minaj doesn’t have that much of an answer for Remy Ma’s lyrical prowess. Of course, Minaj should have known better to poke the hornet’s nest concerning Remy. I mean Remy had me thinking, I can take all your money on the “Ante Up” remix, so her lyrical influence and overall delivery have always been stellar.

With that being said, this is the type of rap beef that is needed in hip-hop, especially when women are involved. The era has been dominated by one woman, which is Minaj far too long, and other women in hip-hop can’t seem to muscle in on the genre for extended periods of time because Minaj turned the imagery and rap music involving women, more into pop music, instead of real rap. Minaj comes across as if she should be the only woman in hip-hop that should be getting shine. There was an era, where one had Eve, Lauryn and Missy all in the same fold making music without having one dominate like Apple. Minaj comes across as if she should have a monopoly in the game of hip-hop concerning women. It’s time for Minaj to get some competition and test her to see if she has a lyrical foot to stand on and by the looks of things she doesn’t. I think hip-hop fans will attest (well the older generation) that women who can rap shouldn’t come across as mediocre pop stars, and should be awarded for their lyrical skills.

If Minaj doesn’t bring an array of bars, she will continue to be known as having one great verse on “Monster” as the only thing that made folks discuss her as a rapper in her career since her mixtape days. I’m starting to think that Minaj didn’t write her verse on “Monster, ” or maybe ghostwriters did all the work for her, and now she is being exposed as she has already been known for as just a gimmick rapper. The average rap fan has changed nevertheless, and may not care about lyrical delivery. That may save Minaj, but fans who respect artists who can deliver bars, write their lyrics will get the love from fans who aren’t easily swayed by gimmicks.

So let’s stop complaining because people are giving the appearance that they aren’t enlightened because we took a break from social issues for once and focused on the Remy and Minaj rap beef. Let’s stop showing our misogynistic behinds because we aren’t talking about the men in hip-hop for once (didn’t we talk about the Drake and Meek’s beef?). Allow this beef to manifest itself for as long as possible, as long as it stays non-violent. It’s good for hip-hop, and it allows those in the genre with an emphasis on women to step their game up or fade into obscurity because they can’t handle the weight, and that’s what rap fans deserve, where old schoolers like Lyte would be immensely proud.

-Ms Scripter

Just blogging for the masses, ya dig?




KRS-One Needs To Stop Defending An Alleged Child Molester



OPINION-I will be a fan of the hip-hop culture for infinity, and nothing will change that fact. Since, I am classified as a hip-hop baby so to speak, I have been fortunate enough to watch nearly the early beginnings of the culture, which includes the five elements: The B-Boy/B-Girl, DJing, The Emcee, Graffiti, and Knowledge. With that being said, the culture has evolved into different things, and some of them aren’t good.

When I heard one of the founding founders of hip-hop in Afrika Bambaataa being accused by several young men of being molested by him a while back, it became more than just giving Bambaataa the side-eyed. Yes, I know Bambaataa wasn’t formally brought up on charges, and it doesn’t help the accusations allegedly occurred decades ago. Like the old saying where there is smoke, there is fire immediately popped up in my head. Too many accusers have stepped forward stating that Bambaataa molested them. Bambaataa was subsequently kicked out of the Zulu Nation due to the allegations after the scandal broke.

There were a few rappers that came to the defense of Bambaataa like KRS-One and Monie Love early on when the news about the allegations reached the media. I thought it would be a few supporters earlier on, so I wasn’t in the least surprised. The story died down, due to other events in the media, but that didn’t stop KRS-One from rehashing things again, but this time giving hip-hop fans the business.

“When you’re talking about Afrika Bambaataa, first of all, you’re talking about the person who invented hip-hop,” KRS-One said in the sit-down. “Not participated in it. There was no hip-hop before Afrika Bambaataa. Let’s start there, so anyone who has a problem with Afrika Bambaataa should quit hip-hop.”

The “South Bronx” rapper also dismissed the allegations as “accusations and gossip” and said he believed Bambaataa was beyond reprimand.

“Some of us are infallible,” KRS-One said. “Some of us are going to have to be untouchable or our entire culture is going to fall. Our culture cannot fall on the accusations of four people, that’s weak.”

It is so disappointing to hear a guy we affectionally nickname “The Teacher” because he has kicked some serious knowledge tell hip-hop fans that if anyone of us has a problem with Bambaataa, we should quit hip-hop. What KRS-One needs to understand (which I’m sure he does, he is just willfully playing ignorant) this has nothing to do with hip-hop, it’s all about ethics and integrity. One can still praise Bambaataa for his contributions to the culture, but one can’t dismiss the allegations as just a pure rumor. Nor, should we protect Bambaataa because he is one of the founding founders of hip-hop. That’s like praising a man like Thomas Jefferson, just because he is a founding father. We all know Jefferson is a rapist and a slave owner, that I’m sure committed more than rape against Black women, but I’ll digress. Therefore, I couldn’t care less how much influence and Bambaataa’s contribution to the culture, has been enacted. If these allegations are true (which we will probably never know), he should receive added scrutiny and critique.

There have been so many artists that I admired on a entertainment, innovative level that has skeletons in their closet. Some artists have been accused of heinous crimes, but I still love them as artists, and learned how to separate the two. KRS-One needs to do the same thing, and stop defending alleged child molesters by claiming it is corrupting what Bambaataa has accomplished for the culture. I know if there were a Mount Rushmore of hip-hop, Bambaataa would work on it. At the same time, just because Bambaataa is on a mountain, doesn’t mean he should be exempt from any backlash.

KRS-One, who I continue to have in my top 3 emcees of all-time, is being deflective, and Bambaataa’s defense attorney. KRS-One is an artist that only cares about the imagery of the hip-hop culture, then ensuring those that have possibly violated the law be held accountable, regardless of the fact they are hip-hop royalty. That’s not something one should strive to wear that distinctive title, especially if one is called “The Teacher” because honestly the only thing he is teaching is how to be an apologist for an alleged child molester.

-Ms Scripter

Just blogging for the masses, ya dig?

KRS-One Says Afrika Bambaataa Detractors Should ‘Quit Hip-Hop’




Old School Video of The Week: King of Swing – “Nod Your Head To This”



King of Swing

The year was 1990 when the group King of Swing released the track, “Nod Your Head To This” off their only album entitled Strategy. The group consisted of Sugar Kay, Mike Master, and DJ Cocoa Chanelle. One couldn’t travel in NYC, without hearing this track blaring out of Volvos, Nissans and Wrangler jeeps. “Nod Your Head To This,” was part of the 1990 summer anthem.

King of Swing may have had a head nodding single, but their success was minimized, and Sugar Kay and Mike Master fell off to obscurity. One can’t find too much info on King of Swing, they appeared and contributed to the golden-age of hip-hop in a flash, and was gone as fast as they arrived.

Unlike her group members, DJ Cocoa Chanelle made a name for herself, as a DJ in the New York scene. Chanelle was the first woman to DJ for BET’s Teen Summit (whatever happened to that show?), and she secured a gig at Hot 97. It is a rarity that a woman spun for a group of men who rocked the mic. In fact, I don’t think that has been done after Chanelle (where are my hip hop scholars who dispute this?) Chanelle is hip-hop royalty, and even though King of Swing didn’t have a longevity on the hip-hop scene, their contribution to the genre should always be recognized.

-Ms Scripter

Just blogging for the masses, ya dig?


Why Are People Still Paying To See Lauryn Hill In Concert?



OPINION- The beautiful and talented Lauryn Hill, continues to make things difficult for herself. The place of Ms. Hill (hey she likes to be called that), latest shenanigans is in Atlanta, Georgia.

Ms. Hill was supposed to have her happy ass on the Chastain Park Amphitheater stage, by 8 p.m. Well if one has been following Ms. Hill’s concert arrival times, since the Rohan Marley love affair, everyone knows she is always late. You see, Ms. Hill takes being late as a Black person to another dimension of tardiness that even we can’t seem to understand or even participate in; we can’t compete. It’s so bad, that if one was going to be more than one-hour late, they simply need to text: “I’m going to be Lauryn Hill late, so we may have to reschedule.”

Ms. Hill finally arrived at the stage at 10:20 pm and performed a few songs, until the 11 p.m. cut off time. When Ms. Hill finally arrived on stage, a chorus of boos erupted from the crowd, and Ms. Hill claimed her driver got lost. Well after hearing the criticism and being dragged all over social media, Ms. Hill released a statement:

I don’t show up late to shows because I don’t care. And I have nothing but Love and respect for my fans. The challenge is aligning my energy with the time, taking something that isn’t easily classified or contained, and trying to make it available for others. I don’t have an on/off switch. I am at my best when I am open, rested, sensitive and liberated to express myself as truthfully as possible. For every performance that I’ve arrived to late, there have been countless others where I’ve performed in excess of two hours, beyond what I am contracted to do, pouring everything out on the stage.

Because I care so deeply about the artistic process, I scrutinize, have perfectionist tendencies, and want space made for spontaneity, which is not an easy process, with the many moving parts on the road.

Some days we are more successful than others re time. However, the vitality that is infused into the performances is always appreciated by the audiences, who may not know exactly what it took to accomplish. What hasn’t been touched upon by the media, I’m sure, are the hundreds of people who rushed the stage and stayed in excess of an hour after the show ended last night, just to connect.

Our challenge is to figure out the best way to accommodate the vitality, spontaneity, and spirit that make the performances worthwhile and special to begin with, while also making that experience available and accessible to others. If I didn’t Love and respect the art, I wouldn’t be doing this. The audience and I should have that in common.

My true audience knows emphatically that I care. It isn’t possible to affect people in any deep and meaningful way without putting sacrificial time in.

I have nothing but Love and appreciation for the fans in Atlanta, and regret not being able to give you a full show. We are figuring out a plan to make it up to you, and will announce details as soon as we have them.



Is Ms. Hill waiting for the stars to align to gather enough energy to bring her butt to the stage? Someone is better off transporting her a bowl of Lucky Charms, and tell her that will be her signal to perform because that’s the closest one will get to stars, rainbows, and scientific energy. Better yet, someone, please burn some incense in front of her dressing room or in the limo and let her know it’s now perfect to go on stage as she becomes spiritually ready. What’s her excuse next? All this mumbo-jumbo doesn’t make much sense, and the only advice Ms. Hill should take is to make an appointment to see her therapist.

One has to be crazy to purchase tickets to see Lauryn Hill. The late 90’s Lauryn Hill has evaporated and will not be coming back (It’s like the backpack Kanye), so why even waste time in spending one’s hard earn money to watch an empty stage for over an hour? One would be better off hearing Pras recite his verse to “Ghetto Superstar” or Wyclef verse on “We Trying To Stay Alive” because that is the closest one will ever get to see a Fugee that will arrive on time. Let’s be honest; these shenanigans never took place at a Michael Jackson, or Prince concert and they were ten-times more talented than Ms. Hill.

Ms. Hill has lost all sense of reality, and by her erratic and downright nonsensical statement, it’s confirmed. Why waste time and money on someone who apparently doesn’t care about her fans? When one stops buying tickets to her shows, and her money dwindles, then maybe she will show respect and start arriving at her shows on time. If one continues to purchase tickets to see Ms. Hill and then complains when she is late, one has no one to blame but themselves. It’s time to send Ms. Hill star up to the hip-hop legendary rafters as the rapper who was such a talented and bright star, who faded to obliviation to no one’s fault but her own.

-Ms. Scripture

Just blogging for the masses, ya dig?


Old School Video of The Week Tribute: A Tribe Called Quest – “Oh My God”



Used to have a crush on Dawn from En Vogue
It’s not like honey dip would wanna get with me
But just in case I own more condoms than T.L.C-Phife Dawg

There are times when I reminisce about my years in high school and can always identify with groups and artists, that paved the way to the soundtrack to my life. That is the case when it comes to A Tribe Called Quest. From the very beginnings of my teenage years, ATCQ were the blueprint, and I would continue to play their music, even when they had stopped making music together in the present.

With the news of the passing of one of the founding fathers of ATCQ in Malik Taylor who goes by the stage name Phife Dawg, something clicked inside of me. I felt a blanket of sadness because I knew the group would no longer be the same without the “five-foot assassin”. There have been too many instances lately, where parts of our golden-age of hip-hop legends have departed too soon. From Heavy D, Guru, and now Phife, the sudden death of these icons has left a residual feeling of grief though out the hip-hop community.

Phife’s contribution to the young genre has had a significant, profound impact on the hip-hop. From Phife’s witty lyricism and wordplay, he has had a definite influence on the new breed of rappers that have emerged. Phife Dawg will be missed, but never forgotten as he is forever embedded into the rafters of hip-hop royalty.

There are too many songs to choose from out of the ATCQ’s catalogue that would have made the old school video of the week. I have tons of favorites, like “Electric Relaxation”, “Scenario”, “God Lives Through” etc, l decided to go with “Oh My God” featuring Busta Rhymes off of ATCQ’s classic and downright epic album 1993 Midnight Marauders. Rest in peace Phife; you will be immensely missed.


-Ms Scripter

Just blogging for the masses, ya dig?


Old School Video of The Week – O.C. “Time’s Up”



“So why you pushing it? Why you lying for? I know where you live. I know your folks, you was a sucka as a kid. You persona’s drama, that you acquired in high school in acting class. Your whole aura is plexi-glass.”-O.C.

The year was 1994 when O.C. the Brooklyn native released “Time’s Up” off of his Word…Life album. 1994 was a great year in hip-hop and this particular record stands out as one of the timeless of them all. O.C.’s “Time’s Up” was a sheer reminder of a lot of posers who were in the rap game. The sample of Slick Rick’s “Hey Young World” adds the old-school flavor to make this one of my favorite records of that year.

O.C. was a member of the crew D.I.T.C. which included Lord Finesse, Fat Joe, Buckwild, Showbiz & A.G., Diamond D and the late Big L. O.C.’s brief success on the mainstream level was due in part to bad timing and the eventual ending of Wild Pitch Records . “Time’s Up” still remains an ultimate classic and ranks up there as key reminder of the east coast sound of the 90’s that dominated.

-Ms Scripter

Just blogging for the masses, ya dig?


Da Brat feat. T-Boz – “Ghetto Love”



Da Brat Ghetto Love

The year was 1997 when Da Brat released the single, “Ghetto Love” featuring T-Boz. The single was off of Da Brat’s Anuthatantrum and debuted at #16 on the Billboard charts and was the 2nd highest of Da Brat’s career. T-Boz provides her signature raspy singing voice to the hook, to coincide with the Da Brat’s rapid fire flow, which makes “Ghetto Love” one of my favorites from the former So So Def star.

-Ms Scripter

Just blogging for the masses, ya dig?

Da Brat & T-Boz – Ghetto Love (12" Radio REM!X... by OldschooloveGermany


Rappers Are Dying Young: Time To Focus On Preventive Healthcare


Sean PriceOPINION- Another rapper has died who did not reach the age of 50. Sean Price, who I loved, from the rap duo Helter Skelter passed away in his sleep, recently. Rappers dying at a young age has been a reoccurring theme in the hip-hop community for quite some time, but it’s a cause for alarm. I took noticed of rap artists dying at a young age when Eazy-E of the legendary group N.W.A. died of complications from AIDS. Eazy E was only 31 years old. I remember hearing the news of his death and being shocked that the AIDS epidemic has hit hip-hop and took the life of a legend.

The list of hip-hop artists that have all passed away at a young age is problematic. I am a strong believer that record companies should provide health benefits to their artists like other jobs and if one is an independent, Obamacare should be one of the things that these artists should consider and use.

Here are just a few artists who have died at such a young age, thus far:

  • Heavy D – 44 years old
  • Nate Dogg – 41 years old
  • Ms. Melodie – 43 years old
  • Guru of Gangstarr – 48 years old
  • Lord Infamous of 36 Mafia – 40 years old
  • Sean Price – 43 years old
  • DJ EZ Rock – 46 years old
  • Cowboy of The Furious Five – 38 years old
  • Big Pun – 28 years old
  • Old Dirty Bastard -35 years old
  • Pimp C – 33 years old
  • MC Breed – 37 years old
  • Aoache – 45 years old
  • Tim Dog -46 years old
  • Chris Kelly of Kriss Kross – 34 years old

These are only a few that I’ve listed; I’m sure there are others who contributed to the genre in some fashion would have made this list. These deaths could have been avoided with proper health care and preventive actions. Yearly physicals and staying on top of one’s health is imperative to living a long life. What needs to take place is educating oneself on how to improve one’s health to live a long prosperous life.

Musicians like Keith Richards from the group The Rolling Stones, for example, is still alive and kicking at the age of 7 1 years old. Richards was heavy in the drug scene and hasn’t faced the same fate as a lot of these hip-hop artists have unfortunately faced. Richards has been real coy about how he can still maintain playing on the road and living. If I were to guess, Richards has doctors on his side, but for some reason he isn’t going to reveal too much concerning his routine, as far as his health is concerned. Richards did say this in an interview in 2013 about his past drug use:

“I’ve got to stop now, or I’m going to go in for hard time.” The cocaine I quit because I fell on my head! Due to that – no more coke. Actually, my body tells me when to stop . . . the hard way. It’s a knock on the head – OK. It’s no big deal to me, to give things up.”

Richards knew when to stop living a hard life, and he is the epitome of what an artist resembles concerning drugs and alcohol. Richards is still alive and kicking because he realized at the rate he was going, The Rolling Stones would have a dead member eventually.

I just wish hip-hop artists focus on their health, get educated to avoid being on the list of hip-hop artists dying fairly young. Without the education, and staying on top of one’s health, we are going to have more of these artists facing the same fate. Lastly, this isn’t just in hip-hop, it’s the Black community in general who need to get serious about one’s health. Don’t get mad at the wife, husband, girlfriend, boyfriend and family members who nagged you about following up on physicals, eating right, minimizing alcohol intake, exercising, and such. Simple routine doctors visits, improving eating habits, and avoiding bad habits in general can save one’s life.

Check out the U.S. Department of Health Services that provides a list of preventive measures to improve one’s health: hhs.gov


-Ms Scripture

Just blogging for the masses, ya dig?




Ep 29: Interview With HipHop-Album-Debate Writer DeCorey Hale


FTM LogoIn episode 29, Debbie and Chris interview DeCorey Hale, who is a writer for the website www.hiphop-album-debate.com. We discuss the focus of the site, about the upcoming Mayweather vs. Pacquaio fight, and the most recent state of police brutality including the killing of unarmed Black men and women in America.

Also, to see DeCorey and the founder of hiphop-album-debate.com, check out their latest YouTube episode after this podcast below:

Just blogging for the masses, ya dig?