An Open Letter to BET

A friend of mine wrote this in response to all the BS that BET has been producing and promoting over the past few years. If necessary, I'll go into detail why BET is bad for black people, but until then, here's the letter.

To whomever it may concern:

I do not expect a personalized response from Viacom, Inc. In fact, I
write this assuming that the response I receive (if I receive one at
all) will read something like "we appreciate your comment and
concern". While this may be a quick and easy way out for the fine
folks at Viacom, it is not a satisfying response for myself and for
the many other proud Black people such as myself that feel the same
way that I do. You see, this message is neither a comment nor a
concern, because for it to be a concern, first I would have to give a
damn about your company. This message instead is a rejection of the
buffoonery that has become Black Entertainment Television, and under
Viacom's watch has gotten increasingly worse.

My name is Malcolm Martin Wyley, and I am a young Black male who, like
many other Black people, is tired of seeing Black people degrading
themselves on the network that supposedly best represents us and that
you [Viacom] own and operate. There are several opportunities to show
Black people in a positive light, or in general just doing something
else other than shaking their ass, getting drunk, smoking weed, or
just being flat out ignorant. You see, unlike MTV and VH1, some people
that aren't Black, unfortunately, can watch BET for a half hour and
walk away thinking that all Black men are sex-hungry, trigger-happy
gang members and that all Black women are loud, obnoxious skanky hoes.

Now, I could very well be completely wrong. BET very well could be a
beacon, somewhat of a guiding light for the Black community, to show
people that we as a people are more than what music videos may depict
us as. I wouldn't know for sure. I haven't watched BET in forever, and
I don't plan to. Therefore, I challenge someone within the network or
within Viacom, in your anticipated response, to educate me, and show
me an example of BET original programming, a show that comes on from
Monday to Saturday, that I would feel comfortable letting a
hypothetical teenage daughter of mine watch, and something that
doesn't fall just short of a modern-day "Birth of A Nation".

Ultimately, in the end, Viacom is a business. I understand that
completely. That is why I anticipate an automated response to this
message, because Viacom doesn't care about their customers. Debra Lee
doesn't care about the fact that she is slowly destroying Black
people. Viacom's only concern is getting MTV, VH1, BET, and
Nickelodeon into as many TV screens as possible, Black people be
damned. THAT is what Viacom cares about. That explains why a wholesome
show like "The Game", a show that BET shows in reruns, wasn't picked
up for new episodes by BET but Tiny and Toya get a new show and
Mo'Nique gets a late night talk show. [Could someone also explain to
me what the hell you were thinking to give THEM a show? What could
Tiny and Toya possibly share for 22 minutes that will be of any value
to anyone?]

The bottom line is that BET is helping to destroy Black people, and as
the owner, it is Viacom's problem to fix and fix quickly, whether that
means asking for Debra Lee's letter of resignation, I don't know, but
something needs to be done. Now. M

I await your response. Black people, the people you're supposed to be
entertaining, await your response.

Sincerely, Malcolm Martin Wyley

Hip-Hop Gone Emotional Part 1 of 2: Age and Autotune

Good afternoon ladies & gentlemen... and lowlifes

I'm still checking the feedback from my last blog. Didn't know you guys would feel so strongly the Music City. In other Hip-Hop news, Max B was found guilty on 9 of the 11 charges he faced... Yes it was murder, and yes his prostitute, I mean, girlfriend testified against him. Although I've been seeing Free Max B shirts, I can't find any reason to show support, but instead to not trust the women you sleep with.

Now onto the topic.

How many of you heard Jay-Z's new single? If you haven't, it's called D.O.A. (Death of Autotune). Jay put it out last week, and it's fuego in my opinion. Ironically, the Best Rapper Alive got some less than warm feedback from it. DJ Webstar (Remember him? Chicken Noodle Soup?) was the first to speak out against it, and he'll be the first I'll address.

Webstar went as far as to call Jigga out on his age and saying how a 40-year old can't relate to a 17 or 22 year old. He even talked about "lettin' the young niggas eat" or some bs. Ron Browz and T-Pain also addressed the song; however, T-Pain felt honored about it, and Ron Browz's response simply said that the streets should decide if autotune on a track is hot (which I agree with). Other people have chimed in saying the song was wack or whatever. Honestly, I think they're more offended than anything.

I find it ironic how even after American Gangster dropped, people still hailed him as the greatest rapper... ever. People were jocking Jigga so hard, claiming he beat Nas in that legendary beef, and basically everything he puts out is gold and no one could touch him. Now that he dropped D.O.A., people wanna say he's "old" and "irrelevant". He's been "old" and "irrelevant". He's a 40-year old multimillionaire that people like us can't relate to. Now I'm not gonna use that against him.

I'd be lying if I said I wasn't a Jay-Z fan (though there were some times I hated him), but it seems like Jay's getting the Nas treatment now. Think back to 2006-2007 when Hip-Hop Is Dead dropped. All of a sudden, Nas wasn't a good MC anymore. He was just old. That's what's happening to Jigga anymore. This brings up a question: Does Hip-Hop have an age limit? Think about it.
Even though the younger generation are the primary consumers of Hip-Hop, rap music has been around since the 70s. There are people in their 60s rappin' now (sometimes it's funny. Sometimes it's sad). My point is since when did age mark relevance? I understand that people of different generations are out of touch with each other, but how many of you guys can relate to Lil' Wayne? to Rick Ross? to Kanye West? Hell, to Gucci Mane? These are people of our generation and I can't relate to any of them. I don't have money. I'm not famous (in my mind at least). I'm not a dope boy, and I'm not on drugs. All I have to say about it is the oldheads have stories to tell that we could all use, but don't use someone's age as a reason not to listen to them. Chances are, they went through what you're going through. I'll go into detail on that another day though

Another question: Why are only the MCs of yesterday making statements that everyone's thinking? Nas said Hip-Hop was dead 2 years after people all over the streets and the Internet were politicking saying it was dead, but the mainstream said he was old. When Jay-Z said R.I.P. Autotune, people were already annoyed with the oversaturation of the autotune use (It's not for everybody so stop it). In my opinion, this generation has no leaders in the mainstream, just followers who call themselves leaders. People are afraid to stand up for something and are willing to sell their souls if it means they'll get a fast buck. To all you so-called rappers who call themselves the voices of the streets or whatever, if you really wanna be the voice of the streets, play your position and tell what the streets is thinking and what they're going through, not how fly you are or whatever.

Now to address the whole Autotune thing.

First off, in response to Webstar, I think we gotta worry more about Gucci Mane, Soulja Boy, and OJ da Juiceman as far as people who don't "let the young niggas eat". Ron Browz is right. The streets should judge what's hot and what isn't. Autotune's ok when used moderately. Zapp & Roger revolutionized it. T-Pain made it cool again, and Lil' Wayne made everyone else think they could use it. I like Z&R, and I liked T-Pain's use of it. Even Kanye's was tolerable, but when everybody and they're mama uses it, that's when I get a lil' disturbed. I mean, Young Berg, Baby, Lil' Kim and R. Kelly (The so-called King of R&B, the @#$%&?+ pied piper of R&B) were just examples of the overkill in autotune. some say people who can't sing shouldn't use it. I say if you can sing, why use it? Also, not everyone sounds good on it. Others just don't know how to use it. And for the record, I have no plans on using Autotune. I'm not a singer, but even if I was, I'd rather rely on my natural voice (unless the music's that trippy lol)

To sum it up, autotune's not for everybody, or everything. Unless you're seriously skilled with it, don't use it. And also, when you talk about a rapper's statement, don't always rely on age. Sometimes it's valid; other times it makes you look ignorant.

I'm done for today. Peace

Next: Hip-Hop Gone Emotional Part 2: The J in J Dilla Stands for Jesus


Just for laughs, but T-Pain wins the Guiness World Record for pushing black people back the furthest by pushing us back to the stone age, beating out Soulja Boy's record which only pushed us back to the pyramids

Music City Blues

I hope I don't offend anyone... On second thought, I don't care if I do. I got some things to get off my chest that I've been thinking about for a long time. I'm constantly confronted with the question as to why Nashville's never on the Hip-Hop map. As Nashville's Native Son, I figured it's only right to address the so-called city of music. This is coming from the perspective of an aspiring artist, college student, and observant resident.

First of all, this one's to the artists... GET OFF YOUR OWN DICKS!!!!!
Now Classic Williams calls himself the Jesus of Nashville, Black Noize is 615's king and I call myself the Music City Messiah... What sets us apart is that we're all trying to build up Nashville as a city completely and not just ourselves. I understand that if you don't believe in yourself nobody will, but if we really wanna make it as a city, we gotta work together and acknowledge the people behind the scenes and the fans. I understand that we all live busy lives and we have needs that we can't handle on our own (art, promotion, etc.) but we gotta show everybody respect, and not let our egos get the best of us, no matter how high up there we are. I was gonna say names, but some know who they are. I know not all of you are like this, but the ones that are are the reason why people don't wanna work with us. Understand that it's not always (actually, it's never) all about you so listen to everyone who approaches you. You may learn something.

In Nashville, everyone's either a rapper, singer, songwriter, producer, musician, or all of the above. The problem with that is... Alot of them suck. This is where I get at the artists, and the gatekeepers. I'm the type of artist where I'll work with anyone who's talented, loves music, and is willing to work with me. There's alot of artists that are just as talented and they're willing to work with me... for a price. This is a problem not just in Nashville, but probably worldwide. people are only willing to work with you if you have something to offer. I've also noticed a rising trend of garbage rappers getting on songs and tapes with skilled, acclaimed artists and DJs. Ron Artest got a Gangsta Grillz mixtape... smh. Now I'm not saying don't work with someone who sucks, but don't take their money and do something with them, knowing they're garbage. That just sets them up for failure (Except Lil' Goonie. That track set him up for a record deal).

As a broke college student, I've seen the worst come out of people due to money. All I can say is that we're in a recession and this is the only business where people are still raising prices and not cutting deals to work with the artists. I know that we all gotta make our money, and I won't knock that at all, but the job market is too competitive to the point where you gotta know someone just to get a job at McDonalds. Screw the backhanded deals and I.O.Us, but something's gotta give, especially when we all know the artists are the last to get paid.

This next one's for Music Row. First of all, I'm shocked because I'm am one of the few, if not only, Nashville natives on Music Row. Almost everyone out here is from a different state. Another thing that's killing Nashville Hip-Hop is the stereotype. one side is that Nashville is nothing but country. I admit our country music roots are deep, but that's not the only thing we're known for. I told an MC from NY that I was an artist (not rapper, but artist) from Nashville and the first thing she asked me was "Are you a country singer?" Now I was ten seconds away from e-slappin' her for that, but that's the image that was put on us. Music Row needs to reach out to its urban environment because we are terribly underrepresented. Our urban environment also needs to stop acting like ignorant niggas, because that just makes us look bad. It's sad that Colton Entertainment LLC is the only company on Music Row that is willing to work with urban artists on a major scale.


To the listeners and fans, stop hating on artists and listen to them. I know alot of them suck, but you can relate to alot of them. People in Nashville have a tendency to only pay attention to big names. You're garbage if they haven't heard of you. What makes it more difficult is the fact that we only have two urban radio stations and only one of them plays Hip-Hop and appeals to the younger audience... and that radio station is owned by Clear Channel.

Nashville is notorious for its crab mentality. Nobody wants to work together. There's alot of hate in the city. There are too many cliques that call themselves movements, and they stand for nothing. It's really disturbing.

So this is what I'm suggesting: First, we stop hatin' and start working together. Also, we stop bragging about how great we are and listen to each other. Third, we come together (all our cliques or whatever, artists, businesses, etc.) and take on Music Row as well as the streets. We also need to stop jocking Atlanta. That's just irritating.

I'll do my part as well. I'm willing to work with any artist who's talented and wants to help build up the city as a whole to put it on the map and expand our Hip-Hop scene. All I ask for in return is studio time :-P

We complain alot about the problems in Nashville, but I don't see too much action. The action I do see is too spread apart. We also gotta inform each other about some things. Becky the Great mentioned the first annual Tenn Hip-Hop awards and how few Cashville artists showed up. Honestly, I didn't even know about it. I saw nothing in the press or anything. This city's got to do better if we really wanna call ourselves "The Music City".

Before I finish, I wanna give love and shouts to these guys. They're on their way and have (or would have) held me down without asking for much, if anything.

• DJ Legacy
• KDV
• Black Noize
• Soundmind
• J. Roca
• Becky the Great
• Jeremy Mr. Nashvillekickit.com Jones
• Bunks Muzak
• Streetlight Allstars
• I.V.Y. League
• Mario Moore
• Word Up!
• Jaque Lewis
• Big Fella
• Ashthon Jones
• Classic Williams
• Blu P.
• F.A.M.I.L.Y
  
• The whole Cashville Hip-Hop Movement
  

There's alot more, some fans, some artists, some just do everything, but it's all love for these guys.

One more thing: stop shootin' shit up. How are we supposed to better ourselves if every party/club/open mic we go to gets shot up? That's why Forbes made us the #9 most dangerous city in USA.

I'm done ranting. Peace.
MTK

Some news: mixtapes and blogs

Hey hey again.
Alot's been going on since the last post. I got alot of Feedback (mostly positive) about it. Well, I figured it's time to let you know what I have going on. I started an internship at the greatest company on Music Row (shouts to Colton Ent. LLC), and I got a new girl in which things are really picking up. That means free time is a thing of the past now.

1. I'm starting a blog dedicated to reviewing the latest in music, movies, and video games. As bad as things are right now, we could all use some entertainment. I dunno when I'll start it yet. Just be on the look out.

2. Over a year after the release of The Great American Paper Chase and about 6 months since "Tha Best" dropped, I'm finally going back to the studio pretty soon. Here's what I got going on for 2009:

• The 8-Track - My debut EP. No features, but production credits go to Rob Reed, Snare Jordan, True, Tactik, TeckNiq, Opie, and Bhon of Audio Ink. I'll keep you posted on the tracklist and release date
• Raw Material - I've been talking about this mixtape since GAPC dropped. Hosted by Mick Boogie, this is gonna be straight out the 90's. Expect features from Black Noize, Verbal Incision, Mark II, KDV and others as well as production from DJ Premier, Rob Reed, MF DOOM, Cold Legistics, and alot more.
• 6:15 Day Dreamsz - The revolutionary mixtape with my Soundmind brother Black Noize, hosted by the mixtress herself, DJ Legacy. This mixtape will change the face of Nashville Hip-Hop. Most of the production will be handled by Rob Reed and M.I.L. Minded Productions, and features will be from KDV, Hades & Seaizy of I.V.Y. League and Mike Scruggs & PIWA of Rare Breed Ent.
  

Also, expect collab mixtapes/albums with

1. KDV
2. Rob Doe (Tentatively titled "Distant Twinz")
3. Verbal Incision
4. GDup (Tentatively titled "Nashville, Ontario")
5. Bhon of Audio Ink

Much love. Peace
MTK

A Message to the Rappers, and those that listen to rap

Before I begin, my heart goes out to Dolla and his family. Nobody deserves to have their life taken from them, especially at such a young age. Rest In Peace to the man. I think what hits me so hard is that he's only a few months older than me. Just goes to show the good die young.

This just adds on to the number of talented MCs who are senselessly gunned down. You can add him to the list of those fallen. This violence has to stop.

Now to the point of this blog.

The first thing I want to point out is that, with all due respect, to everyone who has said R.I.P. to Dolla through their Facebook/Twitter statuses, MySpace IDs or whatever, how many of you were actually fans of his music before he died? Who listened to him or even heard of him before he passed? The reason I asked is because alot of people bandwagon when someone dies. Hear me out on this one. There's alotta hate towards rappers nowadays for various reasons, but when they die, everyone's suddenly on their jocks. I'll be honest. I never heard of Dolla, but I still respect him. That doesn't mean I'm gonna front like I followed him since he first started. Alotta people didn't care when he lived his struggle, but they want to care now that he's dead and gone? Nigga Please

Take Pimp C for example. I remember from Big Pimpin' to the Int'l Player's Anthem, people hated hard on Pimp, sayin' he was irrelevant and not lyrical, despite being half of the legendary UGK. Once the man died, everyone suddenly ate their words and gave him the credit he deserved. My point is, why is it so hard to respect someone when they're alive and kickin' but so easy to treat them like a king/queen when they die? Kanye said it best. You never get flowers when you can smell 'em.

The second thing I wanted to point out came to me seeing a video of Jay Rock saying that this violence needs to stop. I completely agree with him. Unfortunately, Alot of rappers talk about guns and selling drugs. We all know the drug game can be messy when something goes wrong, and violence can be common in any area, regardless of the fact that it's a hood or suburb. Rappers need to smarten up and think before they speak. There's been a rise in rats turned rappers (I'm talking about you Ross, and Alfamega) who make claims about bustin' guns, sellin' coke, and all that stuff. People listen and take some of it seriously, and if they don't, some will test you on that. It is true that in certain environments, that in order to survive and live peacefully, war is necessary. That doesn't mean we can't end the cycle. We as rappers need to step up and show another side besides violence and drugs. Not everyone sold drugs or pulled triggers. It's pretty obvious. But you can't expect to talk that talk without facing repercussions. You live by the sword, you die by the sword. It never changed.
Don't get me wrong. I know it really is hectic out there and that if you leave the hood, sometimes the hood will follow you, but that doesn't mean that we have to promote the lifestyle. That's the reason why these kids are so messed up right now. They talk gangsta, but they go MLK when guns are fired. And for what? Street cred? Street cred doesn't pay bills or feed families. The worst part is that it seems like the ones who do it the most either never did it, or dropped a dime, though there are a few rappers who were confirmed to have caught bodies.

To sum it up, appreciate the people while they're still living, because they can be gone in an instant. And if you really want the violence in Hip-Hop to stop, then take the senseless bullshit out of your lyrics (if you're a rapper) and stop buying into it (if you're a consumer). Otherwise, don't be surprised if you see on the news that your favorite rapper was gunned down. I hope this got the point across, because I'm tired of seeing young talent going to waste. I'm done ranting. Peace

R.I.P to the slain
Freaky Tah
Big L
Tupac
Biggie
Jam Master Jay
Mac Dre
Soulja Slim
Camoflage
VL Mike
Scott La-Rock
Bugz
Half-A-Mil
Dolla

and the list goes on

First Quarter 2009 in Review... As of April 1

Hello all,
I dunno how many e-mails I got with that opening, but screw it. April is here now and the first thing I want to say is HAPPY 9TH BIRTHDAY TO MY LITTLE BROTHER JORDAN. I love you lil' dude. Now that that's out of the way, I wanna get down to business. It's been a while since I reached out, so I'll just let Internet fans know what's up.

First off, I've been doing quite a few shows since the year started. Rain or sun, sick or dying, I still performed. I even did a show to celebrate my 21st birthday. I just recently performed at BB King's in Downtown Nashville... All I could say was tough crowd. Much love to DJ Legacy, Jeremy Jones, Weetu, B. Howard and Mario Moore. This summer, I hope to start traveling. I'll keep you posted on that.

Next up, I've also been getting a little press lately. Nashville Hype! was the first to notice me. Then Po Politickin and Nashville Scene caught wind of my presence. Expect more soon. I noticed something though: I live and go to school in Murfreesboro for the moment, but I have very close ties in Nashville, being that's where I'm from. Murfreesboro people call me a Nashville MC and Nashville people call me a Murfreesboro MC. It's random, but ironic

Now for future ideas and plans. Me & my Soundmind brother Black Noize were supposed to have released 6:15 Day Dreamsz back in January. Our lead-off single, Tha Best has been buzzing through the area and gained overall positive feedback, but numerous complications has continued to delay the release of the tape. Don't worry though. It'll be coming this year. Me & DJ Legacy are starting a campaign very soon to win the 2010 SEA awards. Raw Material is still in the works, but I'm releasing very little information until the tape's released. My debut EP The 8-Track is already highly anticipated. The current projected release date is December 15. I'll release the tracklisting, and maybe a few samples pretty soon. Also, expect mixtapes with Vithym, Rob Doe, KDV, GDup, and others in the next year or so. A movement's on the rise in Nashville

Now for the bs. Of course with every triumph came its trials. I'm still undergoing mine. One issue I've been facing is legal problems. The cops have been on my ass like toilet paper up until recently. That was hell, considering these cops have nothing better to do.
Socially, I've gone back to being a hermit. I'm getting too close to people I shouldn't be, so I gotta focus on myself again. But instead of taking a break from recording, expect a surge in songs (provided everything works out).
Right now I'm undergoing my biggest challenge yet: Finishing College.
Yep. After this month, I'll only have a year left before I take that walk onto greatness. However, there are currently 2 roadblocks that could ultimately screw me over: 1.) I currently don't have enough hours to be where I need to be. That could hold me back by a semester. Doesn't sound too bad, right? Well, my ticket to college expires next May, meaning I'll have to fork over another $2,000+ if I don't finish school by next August. 2.) I just lost my job. It was stupid how it happened, but I won't go into detail. That dealt a serious blow to my chances of getting back in order. Despite all that, I can't help but be hopeful. I guess I feel I'm destined to overcome insurmountable odds.

With that said, expect nothing but greatness from Micky Blaze. Peace

MTK

The Great American Paper Chase

Here's the link to download The Great American Paper Chase, as well as a review from Mark II
Click here to download

Hip Hop is the last thing on a person's mind when one thinks of the city of Nashville, Tennessee aka The Mecca of All That is Country Music. Don't believe me? The Ville's Ryman Auditorium is called "The Mother Church of Country Music", the Country Music Hall of Fame has been running strong at 222 Fifth Avenue since 1961, and each year the CMA Music Festival brings thousands of country fans to the city. In a musical environment such as this, it is highly unlikely from an outsiders point of view that ANY Hip Hop exists in Nashville. Hell, even Young Buck, the city's only mainstream rap representative had to go to New York to get things poppin'.

Out of the miraged one-sided music scene of Nashville arises an emcee named Mac the Knife. In such dire circumstances, MTK is ready and determined to put his beloved city on the map of the Hip Hop scene. First operation: the mixtape circuit. I, Mark II, will traverse through uncharted territory and give you a song-by-song analysis of Mac's premiere mixtape: The Great American Paper Chase 1.5. Lock and load.

1) Intro (Dilla Said Go)

The Nashville lyricist enlists help from the Heavens as he rips through the late great James "J. Dilla" Yancey's "Dilla Says Go" Donut. A great introduction to Mac's overall attitude: brash yet smooth, fundamental yet genuine. There is clearly a full command of multisyllable patterns and breath control displayed on this track, along with a down to earth approach with lyrics such as "...all I want is silence and pizza, chicken wings, ribs, and hawaiian punch." This hunger (pun intended) is prevalent throughout the tape.

2) Blaze

The refreshingly smooth intro transitions into dark menacing horns, crashing symbols, and fast paced hi hats courtesy of Crack City. Mac goes on a tirade against whack rappers, emphasising on Hip Hop's current epidemics: Soulja Boy & The Shop Boyz. A very free associative track, the structure seems to lack any coherency whatsoever, and the rhymes are just too predictable at times. However, peep the massive roll call verse of Mac's comrades at the end. Names can only be stringed together so long, but Mac pulls it off. This one's probably my least favorite track on the tape.

3) Music City

Things go back to smooth yet grand as Mac reps his town to the fullest, even going as far as to call Nashville the City of Music itself. A very vivid description of the real Nashville: the proverbial wrong sides of the city, the flourishing music scene, Jefferson St.: the place where you can get anything (Mac, I gotta take you to Melrose Ave. if you in LA one of these days). He even shows love to the Country music scene, shouts out to all districts and landmarks of the city, and shows love to Nashville's sports teams. Damn, it got to the point where I was thinking I was going to hear something about Nashville's gross domestic product calculations or sewer pipe routes or something. Mac definitely covers the Ville from head to toe. I'd be proud of him if I was a Nashvillain listening to this track.

4) Trifecta featuring Pandana, Mark II (as Illuminate) & DJ Mor

My favorite track on the whole tape. Just kidding. A standout track nonetheless. Mac takes the listener back to the Golden Age along with comrades Pandana of Atlanta's Penguin Society & Illuminate of Los Angeles-based collective Freelanced Obsessions. Laying down lyrical acrobatics over Run DMC's "Down With the King" instrumental, Pandana (sounding a hell of alot like Chamillionaire) delivers one of the illest analogies ever, calling himself "the Gravity" of Penguin Society, "holding it down" while other emcees can't breathe because they're "in outer space", while he's "down to earth" Gravity. Earth. Brilliant. After some very 90's influenced scratches courtesy of DJ Mor, the late great Lumi comes through and single handedly steals your girlfriend, makes her a candlelight dinner, and marries her in 16 bars. Mac then takes the grand finale and goes beast mode on a quadruple time flow that would make the late Big L proud.

5) Dead Presidents 2006

One of Mac's first recorded tracks, the legendary Ski beat from Reasonable Doubt serves as the perfect backdrop to MTK's soul bearing yet fluid monologues on the fear of poverty.

6) Paper Chase (Skit)

7) Divide The Team featuring KDV

"You're nothing but a hanger, you just stay in the closet." Mac goes on a swaggerdocious massacre over 2toxics strings, clappers, and bongos. KDV of Mac's crew, Fresh City comes through on second verse displaying a uniquely agile flow accompanied with a southern drawl.

8) Illmatic (My Poetry's Deep)

How ironic that after a song using a Reasonable Doubt beat, Mac comes through and does a song called Illmatic. Here Mac describes his lyrical DNA, being descended from primarily east coast Hip Hop. Tennessee's next big producer, True Skills provides the crisp drums and ambient melodies. Look out for more collaborations between Mac & True. I most definitely will.

9) Fancy Clown

WEST COAST ALL DAY. Madlib the Beat Konducta's bouncy keys allow Mac to tell an autobiographical tale of academic and financial mishaps. Contrary to the title, the Knife doesn't clown around on this track. The song was a little too short, clocking in with only one verse. I would've enjoyed it more if there were more verses. However, time is money and "college is expensive"

10) Failed Lies Part 2 featuring G-Dup

Lighthearted keys transform into sparse minor keys and violins as Mac & Grindstar Entertainment's G-Dup aim scathing remarks at the current policies of the government, the murder of Sean Bell, Jena 6, and other injustices going down in the greatest country in the world. psh. Great track, however, the thing that makes it great is that it serves as the ideal sequel to the original track, Failed Lies Part 1. Ask Mac for it, you'll see what I mean.

11) Failure (Shit Is Real)

Minimalistic boom bap combined with Jazz seems to be this southern emcee's forte. Mac seriously sounds the most comfortable in this type of environment, as it allows him to talk about things on a personal level. One of my favorites on the tape.

12) Stained

Now I know the 90's style is all that and a bag of chips, but damn....STAIND? Now, I wont knock on the beat selection that much (damn, Staind?!), but what I will point out is that I think the whole topic of Mac being in academic, financial, and industrial turmoil gets a bit repetitive up to this point in the tape. I also believe an extremely rockbottom situation on some Cage Kennylz tip would've fit better.

13) Destiny (skit)

14) The Crown of Destiny

Finland makes some bangin beats. Such is the thought that comes to mind after hearing those triumphant horns courtesy of Finnish producer Hi Fly. This track gets the award for perfect placement. After a barrage of tracks of Mac talking about his troubles and misfortunes, he comes through displaying his determination and drive to not make hits, but instead, make history. Word life.

15) Slave

Oh what the hell, the vibe got bipolar on me. Another song about troubles. However, this is more on a cautionary perspective of the music industry, so the structure is much more fluid and unrepetitive.

16) Fall In Love Snippet

Upon hearing this track, I felt bad it was just a snippet. The beat is extremely addicting (word to Opie) and Mac shows another side as he talks about the at many times confusing aspect of our lives: The L Word (No Lesbo). Guess we'll have to wait til Mac's LP comes out to hear this 11th hour banger.

17) Lyrical Samurai featuring DJ Mor

Given the fact that Mac goes Bushido on the pen over the Asiatic style beat, the delivery seems uninspired and doesn't really put much heart behind the words. All I can say about this one is that theres not much replay factor, but a reworking of the vocal delivery would've made this track one of the best on the mixtape.

18) Late At Night featuring Hectic, Dramatik, Basic, & Vithym

This is my favorite track on the mixtape. For real this time. One of the most interesting posse cuts I've ever heard, each emcee comes through and speaks on what they do late at night. Simple but effective. The diversity of perspectives is great all the way through, and damn why wasn't I called up to be on this!!!

19) Dedication

I'll let Mac's girlfriend review this one.

20) Life (skit)

21) The People

This is Mac's most passionate song, you can tell the verses are coming straight from the heart, literally, as this track is rumored to be freestyled. I'll leave that to the eye of the beholder.

22) The End of the Day

Like I said, the hunger is prevalent. Mmm...Food. MTK basically sums up everything he's been talking about in a nutshell, FREESTYLED. Nuff said.

23) Outro (A Sign of Things to Come)

You think its all over, and its just another skit conclusion shoutout monologue type thing but then.......gasp......A HIDDEN TRACK. DJ Premier's "Get It Done" instrumental joins forces with Mac's verbal dartistry, guaranteed to hit the bullseye.

24) Dead Presidents 2006 (Respiration Remix) featuring KDV

Oh yes, it is definitely not over yet folks. To ice the cake, the Fresh City boys rework Mac's first song. A little sketchy with the sound quality, but it really complements the original well.

At the end of the day, this mixtape shatters all you thought about Nashville's Hip Hop scene. First of all, there IS a scene to begin with. Not only that, but there is also consious rap, and a thorough understanding of the culture itself shines through the tape. Almost all aspects of Mac's life are explored throughout this tape, struggle, poverty, pride, determination, love, soul. It is revealed that he is quite well rounded, being able to adapt to many different styles of beats as well as being able to freestyle, which I don't know about yall in other states, is highly respected in the west coast. All though at times this tape seems to have way too many tracks on it, they are really just little pieces of what Mac is really capable of. Making the mixtape seem like an album, it only gathers more momentum and interest to see what Mac can really do on a grand scale level of an LP. Much love and daps from the west, Mac. This is Mark II of Freelanced Obsessions representing the City of Angels. Don't sleep on the City of Music! CHURCH.