While some music elitist are quick to downplay the contributions of the south, writing Texas off as having nothing more to offer outside of “a screw tape and a white cup full of lean;” for those who may have forgotten, Texas gave the game such legends as Scarface, The Geto Boys, and UGK. All of whom added to the rich tapestry of Hip Hop, while making sure a star shined high above the Great State of Texas.

Presently, one finds a musical generation comprised of both new and established artists, still fighting to pull back the same blanket of stereotypes, ready for the rest of the country to finally catch the beat that has been pulsating inside of the Great State of Texas rich veins for years.

Enter, Killa Kyleon…

If you ever questioned the possibility of someone being certified prior to even releasing an official album, well welcome to 2011 and embrace Killa Kyleon. Firmly entrenched within Houston’sproliferating musical arena; he’s a lyrical gladiator. If the name doesn’t ring a bell, it will soon resonate in a city near you, for Killa is on a groundswell not seen in years.

 

Act One…

Though many link him with Houston’s infamous “Dead End Drive” located on the Southside of Houston, TX; due to being shuttled between parents in his youth, Killa Kyleon was schooled on theNorth side of the city, essentially skirting the once critical rivalry between the two areas by embracing the city as a whole.

An affinity for “Yo MTV Raps” and artists like Fab 5 Freddy, EPMD, and his childhood favorite Big Daddy Kane, served both as an introduction to the then burgeoning new genre as well as endeared him to it. [While flatly refusing to reveal his actual age instead stating “I’m old enough to party,” one can assume that he is solidly an early 80’s baby.] The formation of a rap group called “Criminal Assassins” in middle school made his path apparent early on, and music would become his drug of choice.

Until his passion could be turned into a viable career however; he would do what he needed to do in order to survive, escapades on the streets would later become woven into rhyme for the world to relate to.

“I hustled to live that life. I can’t rap about shit that I ain’t lived,” explains Kyleon.

Little did he know that the same mentality that allowed him to successfully navigate the streets would prove handy in the music industry as well. Two different worlds, chock full of the same types of predators.

“I didn’t give a damn about college because I had a damn good job, but basketball and rapping always got me into trouble,” says Kyleon.

In the end he would choose the latter.

Under the tutelage of Houston legends like DJ Screw, Big Hawk, Big Pokey, Lil Keke, and Fat Patjust to name a few, he would quickly immerse himself into the rap game.

Says Kyleon, “I grew up around S.U.C. [Screwed Up Click] and Dead End Alliance [comprised ofFat Pat, H.A.W.K., & DJ Screw] members, and then got into a group with Pokey” [MobbStyle.]

Eventually he would land under the wings of none other than Slim Thug, whom it can be said, rejuvenated the North Side of Houston and brought mainstream attention back to the city. As a part of the Boss Hog Outlaws, he would go on to be featured on a slew of noteworthy albums and tracks.

 

Breaking off….

In ’04 when the industry finally turned its eyes back to Houston, it seemed as if his dream had finally come to fruition after being signed with Interscope.  Unfortunately, to most large labels the South was still mainly a foreign entity.  Unsure of how to exactly push and promote him, the label would largely stifle him, and he would spend the majority of his contract waiting to be released.  He would not be the only casualty either; as quickly as the region was thrown onto the national stage, the curtain would be closed on the city not long after, as it relatively remains to this day.

 “I really gotta blame the industry for fucking up Houston music because they didn’t know how to present us, which is why we didn’t have a long run.”  Says Killa.

Though his first foray going national had gone awry, his determination to succeed in the game had not been deterred. He would simply take it back to the drawing board and grind it out. Hard.

Though a split from Boss Hog would later incite rumors of a rift between he and Slim Thug, whom Killa Kyleon stated “I’ve watched since I was 17,” he insists that there is no animosity between the two. For Killa Kyleon, it was simply time to test the waters on his own.



“We ain’t got no fuckin’ beef. That’s my nigga, He’s one of the most relevant dudes in Houston. I take my hat off to that nigga; he gave me so much fucking game. I commend him.” says Killa Kyleon. Adding, “I ain’t got beef with nobody but the bank teller because she counts too slowly.”

After aligning with Authentic Music Group, Killa Kyleon would take his talents on the road. Blazing the tracks of others like Rick Ross andDJ Khaled, and making sure that you would be reciting any verse he spit on a feature long after the track had ended. He would also show an incredible knack for choosing to work with artists who would later go on to blow nationally, like Big KRIT and Wiz Khalifa.

“After that I put in so much work, I wanted to do with AMG what Slim did with Swisha House.” Says Killa Kyleon.

This string of noteworthy features and credits would bring not only rap credibility, but respect. Killa Kyleon learned early on that sometimes you have to blow outside of your city to gain real recognition and longevity within it.

“When everyone notice you, that’s when they want to claim you. It ain’t no disrespect to Houston, I love my fans, but some are fair weather. When you’re big outside of this market, that’s when you’re big in this market.”

 

Act Two….

But eventually his lyrical notoriety would buzz so loudly abroad, that the sound couldn’t help but be heard in Houston. Though the sole hip hop station in the city has seemingly slept on an array of fresh talent….the streets have noticed.

 “It’s so many dope artists here; Doughbeezy, The Nice Guys, Marcus Manchild, Delo, Le$, Dre Day, Propain. You should be these guys on the radio non-stop. I really wish they would get in tune with the streets. The streets determine what the radio plays. That’s Hip Hop. We gone give ya’ll what the fuck ya’ll want, but we gone break new shit with it.” He adds, “When you go to another city,  you know who to listen to when you turn on the radio, instead of having to go to a computer. I just wish they could hear all this fucking talent!” Killa says.

In Houston there is an abundance of talent floating around, patiently awaiting its turn for mainstream approval. This is the current state of affairs for new artists in Houston, dubbed “New Houston” by some.

“I’m actually a fan of New Houston; I just don’t like the term. I’d just rather say ‘New Generation Houston’ but I ain’t knocking it, I can see where it comes from,” states Kyleon.

Like Killa Kyleon himself, Houston is proving that that their diversity should prevent them from being placed in the pre-labeled box that the industry has given them. There are many, both old and “new,” who need to be heard; and Killa Kyleon stands behind not only his own lyrical skill, but the talent pulsing within the city as well.

Talent like Doughbeezy , whom is a young artist that Killa has taken under his wing and who is quickly proving his own lyrical prowess throughout the city as well.

“He reminds me of how I started; the drive, the hunger. He ain’t looking for no hand out.  I ain’t have no hand out, I had to prove myself.  I’m here if he needs me, but he out here getting it on his own.” Killa states of his young protégée, Doughbeezy.

“Once I get established,  I really want to help others. It takes an artist to make an artist,” states Kyleon.

 

The Present….

With no solo album out, one can only be astounded by the buzz and recognition he has received off of features alone. For Killa Kyleon, an album isn’t a question of “if” but of “when,” and he adheres to the timeless motto of “supply and demand.”

“I need a demand. It’s like ‘The Dedication’ when Wayne put so much shit out that he had to give the people Tha Carter II and III, because they demanded it,” he said before adding, “The underground is running rap right now, I don’t care what nobody say.”

And with each new feature, each new mixtape, he has definitely created one. The streets are now clamoring for an official Killa Kyleon release.



Team “RUN IT,” (a catch phrase of sorts that Kyleon adopted after hearing a track fromBiggie and Busta Rhymes) is well in demand these days.

For Killa Kyleon it’s not just about releasing a hot song, but it’s about creating an enduring catalogue of music in order to enjoy a career with real longevity.

“I don’t want to be known off of one song, look at my body of work! It’s about depth,” explains Killa Kyleon.

In an age where many younger artists are inclined to downplay the contributions of their rap elders, Kyleon may reap long term benefits from patterning his career after them instead.

“It’s about staying relevant; I mean look at Hov. They want to put a timeline on hip hop that they don’t do in R&B. Don’t shit get old but shoes and clothes, and that’s just called being vintage.” He explains, “Jordan is selling my nine year-old the same shoe that he sold to me. You mean to tell me that I can’t sell raps like that?”

It is this reasoning that has prevented Kyleon from falling into the trap of a one song artist, instead focusing on the cultivation of an entire body of work.

 

Showtime….

“I put my heart into every fucking line, every fucking rap. If I die tomorrow I want people to know that I went in. I feel like a rose in the concrete. They can’t possibly be seeing what a nigga do, because if they did, they’d have to fuck with me.”

And Oh do they! With mentions in prominent hip hop magazines, notable features, well received mixtapes, and a creditable work ethic; those who have actively followed his career are simply waiting for the success awarded to those like Kyleon with persistence and raw talent.

For the lyrical gladiator like Kyleon, no battle shall be left less than victorious; thus his work ethic reflects that of a champion. Even his ferocious flow and intense stage presence is hand crafted, via practice in a mirror.

“I’m not arrogant but I know that I’m good. I feel like the rap Kobe Bryant. The studio is my gym, and I’m in that muthafucka every damn day,” states Kyleon.

It’s only a matter of time before someone pulls the curtain back to reveal Killa Kyleon to a national audience.

“I ain’t never followed TRENDs, I set them bitches.” Killa Kyleon Proclaims.

Now Run that♠

In an industry as fickle as it is rapidly evolving, the 3 years that have passed since the 2008 release of “The Recession” is easily enough time for the public to forget the artist behind it and drop him into the graveyard of broken careers…

Yet for Young Jeezy, the anticipation has only grown stronger, and the streets have clamored for a voice to their frustration; a role that Jeezy has never shied away from. During a recent conference call for the press via Def Jam, Jeezy came forth to clear the air:

Said Jeezy, “I ain’t dropped since “The Recession,” this is the hustler’s ambition, and I’m picking up where I left off at.”

Though many have been left jaded at the album being pushed back, most recently from an intended September release, Jeezy insists that December 20 will mark the release of his new project; aptly titled “TM103” in a nod to his previous  “Thug Motivation” effort.

In conjunction with the album, a documentary will be released as a visual accompaniment; and will be narrated by none other than the legendary Samuel L. Jackson.

“He’s one of the realest cats I know. I called him, and he told me don’t worry about it. He also told me that he’s a fan. That surprised me, he brought over a few mixtapes and everything,” said Jeezy in reference to Jackson.

When asked if we can look forward to more songs relating to the nations bitter political climate, or another street anthem like the popular “My President is Black,” he advised “To be honest I think the songs are all politically charged. Right now the world is a fucked up place, and the only way to get through it is for us to live through our music.”

On the President himself, including his view on a projected second term he added “Obama’s in a serious situation…at the end of the day we all need money to live. I’m glad they see it now, we’ve been struggling.”

Said Jeezy, “I think the music, the strength of the people, staying strong…will get us to the other side.”

Many are anticipating what appears to be a return to what first endeared the world to Jeezy, brutal honesty via relatable flows. It seems this Christmas will indeed see the return of the Snowman.♦

There’s a musical renaissance underway in Houston. While it will forever hold dear the title of the “City of Screw,” gone are the days when its artists will settle for being known for little else. With a wave of new artists pushing to shore, the Houston music scene has begun to swell; spawning numerous concerts, events, and shows, some of which were memorable, while some were not.

An event sure to be buzzing for quite a while is last night’s (Sunday 10-23-2011) “Urban Woodstock.” Named and loosely fashioned after 1969s Woodstock, a 3-day music and art festival most memorable for performances by The Who, Janis Joplin, The Grateful Dead, and Jimi Hendrix just to name a few; this version was both an ode to smoker’s and musicians alike.

Coming fresh off a stomach virus, upon entering the venue I felt like an outsider armed with a purse full of crackers, medication, and a water bottle surrounded by stoners and alcohol enthusiasts; however the vibe was relaxed and welcoming.

At the front lay the stage, directly in front of which stood picnic tables in the sand, beyond that lay both a kitchen for Mexican cuisine, as well as a line of vendors with their wares on full display. It must be noted that whoever lined up the vendors cleverly did so with the target audience in mind. Big Tho’s Smoke Shop, various jewelry and trinkets, Moonstar clothing, and Kevo’s Tattoos were among a few of the local businesses there.

While I missed some of the performances while conversing with the many familiar faces in the crowd, here’s what I caught…

Varrie V:

Though at times her music seemed to drown out her vocals, during an acapella she shined and the audience got a chance to really appreciate her voice. I must also note that having seen her perform before, her choreography is on point. Complete with professional background dancers, the girl knows how to perform.

Highlight: The debut of a new track from Hoodstar Chantz ft Varrie from his upcoming project “Before the Fame.”

Hoodstar Chantz:

Having missed him at the Redbull Freestyle competition, I was eager to see the young man that seems to have everyone buzzing lately. Walking onto the stage while freestyling, his delivery was both clear and crisp; always energetic, he easily commands a stage alone.

Highlight: There was a young lady, and I use this term loosely, who damn near knocked me over trying to get to the stage to see him. Salute.

Delo:

Now Delo is a lyrical serial killer. Having been to numerous performances of his I have seen his prowess. Last night however, he was “fucked up,” as he admitted, which ultimately affected his performance. [It must be noted however, that the death of a friend’s family member may have been a contributing factor.] Overall one off night and a few missed lyrics doesn’t change the fact that he wrote the lyrics. And we know them well.

Mookie Jones:

Right in line with the Woodstock vibe, Jones came out hair wild, to the backdrop of Jimi Hendrix’s version of the Star Spangled Banner. Anybody who appreciates Hendrix is instantly cool, that’s the rule. Not being familiar with his music I actually enjoyed his performance. He exerts confidence while resisting stepping across the cocky line, and his music had a good vibe to it. A nice solid performance.

Dante Higgins:

Being the owner of both of his previous projects, it’s not hard to see why the Houston Press named him this year’s “Houston Best Lyrical Genius.” So his performance was one I was looking forward to the most. Unfortunately, due to a mix-up with the artist roster, confusion occurred, causing another young man to rush upon the stage as Dante, whose performance had already been pushed back numerous times, was finally set to perform. Although the situation was de-escalated Dante decided not to perform.

Highlight: When Doughbeezy picked up the mic that had been dropped in the melee, I thought we might get a surprise performance, but alas, it was not meant to be. *le sigh*

The Flamez:

Hailing from New Orleans, this was one of my favorite performances of the night. This group had energy  from start to finish, and like Wayne, were able to cleverly cover a medley of current tracks with their own lyrics and still make it entertaining. High energy, great songs, and great hooks, I hope that they make Houston a regular stop while traveling.

MC Beezy & Rai P:

Finding yourself the last act of the night, after an incident, when half of the crowd has already left is a tremendous feat. Yet Beezy performed like a true professional, making it clear that be it an audience of 50 or 500, if he’s performing he will put his all into it. By the time they got to their signature, “Swagged Up I Be Killing” one of Houston’s hottest songs out right now, I was doing my little jig in front of the stage.

All in all, while there were a few glitches, its far easier to criticize an event, than to throw one yourself. Brought to you by Jessica Vickery and Molo “Vicious Indian,” it was a great concept of what I hope will be a continued trend of providing a platform for this city’s rising talent.

The cry of a tortured artist is one that resonates loudly, the notes ringing crisp and clear. Yet often we ignore their pain, placated by the music that it produces, lauding the result, while disregarding the cause.On July 23, 2011, troubled Grammy-award winning singer Amy Winehouse was found dead in her Camden, North London apartment. She was just 27.

Known for her 1960s inspired beehived tresses, a smoky fusion of jazz and soul, and a protracted battle with drugs and alcohol, the British singer now joins the ranks of Janis Joplin, Kurt Cobain, Jimi Hendrix, Brian Jones, and Jim Morrison in an ill-fated assemblage of tormented artists that some have coined as the “27-Club.”

Whether this deserves a mention in musical lore, or is pure coincidence is debatable; but one thing is certain:

They died too young, and far too soon.

With the passing of Winehouse, we see yet another well of talent left behind, the depths of which will never fully be brought to the surface.

But the music remains.

Winehouse’s musical ambitions were sparked at a young age, and stints in two performing arts institutes both honed her craft and fueled her drive.

As her New York Times obituary reads, “Winehouse showed an early talent for performing, as well as an eclecticism that would characterize her later work. She loved her father’s Sinatra records, but also liked hip-hop; at age 10 she and a friend formed a rap group called Sweet ‘n’ Sour that Ms. Winehouse later described as “the little white Jewish Salt-N-Pepa.”

Winehouse was “Sour” of course.

She first gained prominence in the UK in 2003 with her debut album “Frank.” Hailed as a re-introduction of jazz for a new generation, Winehouse soon found herself being mentioned among the likes of Macy Gray. Although critically praised, she would later admit that she was “only 80% behind the project,” yet it would go on to garner her accolades, including a Mercury Prize, a prominent UK music award for Best Album, nomination.

If “Frank” introduced her to Europe, it would be the 2006 follow-up “Back to Black,” that would introduce her to the world. Universally praised, the masses became enamored by the young woman with the bigsultry voice that belted out a concoction of jazz, soul, and rock. Spurred by a string of hits including the now eerily prophetic “Rehab,” the album would go on to win five Grammy awards, making her the first female British artist to do so.

But like many musicians before her, the rich tapestry that she wove her notes upon, were fueled by inner demons; resulting in the turmoil that she would eventually succumb to.

Though riding high on her commercial success, Winehouse would eventually begin a slow descent that would make it hard to discern if her life were imitating art, or if her art was inspired by her life.

Rumors began to swirl about her tumultous relationship with Blake Fielder-Civil, a man that some have cited as an “industry hanger-on”, and was reported by a tabloid as having admitted to introducing Winehouse to drugs. Against the wishes of her family the two would wed, but the union would be marred by domestic abuse, self-destruction, and dangerous binges on drugs and alcohol.

Although her family would try in vain to seperate the duo, blaming Civil for Winehouse’s troubles, ultimately it would be the court that would do so for them. After Civil was jailed for a previous offense, Winehouse would be left to her own devices.

But after a public disclosure of her battles with self mutilation, substance abuse, and eating disorders it became clear that although Civil may have enabled her, Winehouse was the problem. She needed protection from herself.

Though she attempted to regain her former self, even (gasp) entering rehab; the demons that she carried with her would remain on her shoulders, whispering in her ear.

Erratic behavior including incoherent performances, cancelled shows, drug fueled weight flucuations, an ardent love of alcohol binges and hard partying would soon overshadow what mattered most; the music.

As she continued to falter we could only look on, knowing that a star that had once shined so brightly, was eventually destined to crash and burn.

And crash she did.

For many, her death has been received with poignant grief, yet is void of surprise.

In the end perhaps she said it best, “I don’t need help because if I can’t help myself I can’t be helped,” she once stated.

While she was unable to help herself, her music provides solace for those who loved her.

Though she is now beyond the music…her music lives.

May she rest in peace.

As I stated during our last encounter, I am an ardent lover of music, primarily of the 80s/90s, the era that I consider to be the "Golden Age of Hip Hop."

Thus with Jordan retired and MJ dead; I jumped at the chance to see the reclusive Lauryn Hill in concert.

Note to self: The 90s are over. Let it go boo.

Not to be deterred by the plethora of complaints against her, or her now infamous love of "fashionably late" arrivals; I foolishly arrived at 7pm for a concert slated to begin at 8.

Made it to my seat by 8:30.

10:07 I'm told I fell asleep.

11:02 the DJ arrives. Attempts to placate the crowd by playing TX classics. Sorry sir I'm from Oakland, CA I'll riot before I allow myself to forgive the insult of your tardiness.

12:31 Ms. Hill comes to the stage. Let the games begin.

To be fair, Lauryn Hill has skirted the Whitney Houston path and preserved her voice. There are few that can compare to it. To hear Lauryn live is to be placed squarely in many of your fondest memories of the 90s. Lamenting over a devastating break-up via "Ex-Factor," then blushing at the memory of your first love via "The Sweetest Thing."

And then reality set in.

Ms. Hill has apparently added "conductor" to her resume, for that is exactly what she did to her haphazard band and background singers. Throughout each number, she publicly berated them with cries of "faster, no this way." Which created a distraction for those of us already anxious from hours of sitting. [Imagine the discomfort of those who were in the "Standing Room Only" section!]

Midway through she paused to speak with the stage manager with complaints of a blown speaker. Things that are corrected during rehersals...if you're on time to have one.

1:33 am Ms. Hill announces that this will be her last song due to a request to end the show by the venue. The same venue that has a weekly club night in which they stay open till 2am. Apparently the patrons had not suffered enough that night.
Midway through the song, after already turning off her microphone, they began to closing the curtains.

And with that closure...the final part of my youth closed as well. The remnants to be thrown in a box along with my Sister Act 2 VHS, a Thriller album, and a Bulls jersey.

*deep sigh*

I am a twitter enthusist. Twitter is truly an ideal place for all of my ecclectic thoughts, and random sarcastic ramblings. It is also however, the breeding ground for a melding of everything from conspiracies to online beef. The latter causing me constant amusement. I'll admit I've gotten a kick out of celebrities suddenly going into Hulk mode behind keyboards, only to later claim "a hacking."

What hasn't amused me is the falling of our icons. Gone are the days when we knew nothing more about stars than what their publicist allowed. The line between private and public personas is now long gone. And while it sometimes makes your favorite star more personable, in the wrong context we see sides of them that we were never meant to.

Case in point. While I have bitterly resigned myself to the fact that everything I held dear musically is gone. The 90s are over. Tupac is dead. Ok I get it. However it seems some of the artists themselves are even more bitter than me.

Its because of the internet that I know how poorly LiL Kim has adjusted to her waning popularity and shifting of the times. Instead of maintaing her place in hip hop lore, and making an educated, and more importantly, good business decision. I.e. team up with Nicki Minaj, piggy back on her current popularity, put a mixtape out, sue her plastic surgeon, and chill.  She instead chose to use social media to display her insecurities to the world.

Flexibility is the name of the game. And unfortunately we've just been privy to the fall of another icon. Here's some advice Kim. You can't go to war with a demographic that doesn't even remember Tupac or BIG..let alone you.