SnappScenes: Lil’ Wayne – “6 Foot, 7 Foot” ft. Cory Gunz

SnapTrakks, Soundtrek, TrapperKeeper

The Cash Money/Young Money ship continues to sail full-speed ahead with the release of Lil’ Wayne’s “6 Foot, 7 Foot” video featuring Cory Gunz. Naturally, Hype Williams directed the Inception-influenced four-minute foray into the street-pristine psyche of a one Mr. TuneChi.

I speak the truth, but I guess that’s a foreign language to y’all; and I call it like I see it, and my glasses on – but most of y’all don’t get the picture ‘less the flash is on

BlinkkBeats: Britney Spears – “Femme Fatale” Album Cover

SnapTrakks, Soundtrek, Uncategorized

Okay breath, unbate yourself – it’s safe to come out now; Britney unveiled the title and cover for her seventh studio album, Femme Fatale. (Source: #justthislittlethingcalledtwitter) So… you can go ahead and exhale that sigh of (unsubstantiated) disbelief relief now


Dime Digest: Music Monday – July 12, 2010


I left you all with a drought, and so now: a Music Monday deluge. The sirens crafted a playlist of divine proportions today, one so glorious I couldn’t possibly keep it to myself. Truth is stranger than fiction, and mythology makes for reality’s greatest musings… Art is expressed reaction to good and evil; Pandora: the curious curator of this art gallery we call life – and the best thing to happen to music in a long time… ah, the wonderful world of playlistism #ohletsdoit

The Fugees – Ready or Not

Jay-Z – D’Evils

Lady GaGa – Just Dance (Red One Remix) ft. Kardinal Offishall

Follow Friday: Paper Cuts

Pop Culture, Uncategorized

Paper Magazine dropped their “Social Networking Issue” earlier this month and – amidst the usual prime Pop culture prose and noteworthy points – featured their own “Who’s Who” primer of the Twittasphere:

When the world says they’re on their paper chase, it’s no wonder why with Paper’s taste: impeccable. Their 140 keep Twitter witty and wise… and ego-checked. A look back at the month’s last – but furthest from least – list of Tweeps to follow, know, love, @, #, RT, and DM the %*!&# out of, courtesy of Paper Magazine… featured below are a few of the finest from the character reel…

@questlove – Questlove

Drummers keep the beat – and Quest is no different keeping to the root of the Tweet

@whitegrlproblem – White Girl Problems

yep, even though Paris, Lindsay, Britney, Mary Kate, and Casey lead deceptively glamorous lives, white girls do indeed have problems like the rest of us

Dime Dailies: New Music Monday Melange – May 24, 2010

Pop Culture, Soundtrek, Uncategorized

Ello, ello! (Baby you called I can’t hear a thing…) It’s been awhile (read: far too long) since I’ve posted a sampler smattering of what I’m listening to, but today I felt particularly inspired. So, here goes: a… sampler smattering of what I’m listening to today.

“Toxic” (Britney Spears Cover) (16 Bit Dubstep Remix) – Yael Naim

This remix is by no means new, but it is the definition of fresh. We all know and love the original. Hopefully a lot of you have been enjoying Yael Naim’s sugary cover for years now. But now, 16 Bit have brought it home. Their dubstep remix adds layers of sound that accent Naim’s already fragile-sounding voice, making the cover sound like a music box that could break at any moment. We pray it won’t, and the suspense is half the fun.

Courtesy of Pretty Much Amazing

“Unforgettable” ft. Young Jeezy – Wheelchair Jimmy

Dime Dailies: Health Care Reform Playlist

Soundtrek, Uncategorized

President Obama is on the road promoting the historic health care legislation he signed into effect earlier this week. So I’ve decided to compile a quick primer playlist to accompany his journey and ours to and through this momentous bill, to cut through the jargon, and to break down the “can dos if you choose” of health care reform.

Bad Romance: because now you can get your lover’s ugly and disease without worrying about high premiums

Just a Girl: because it is no longer a pre-existing condition

A Dime, A Dozen: Amy Winehouse and Lil’ Wayne – The Inkwell

Anthropopogy // Culture, Soundtrek, TK:ATL, TrapperKeeper

Round 3 of “A Dime, A Dozen” brings us to the tatted – but oh so talented – tandem that is Amy Winehouse and Lil’ Wayne: The Inkwell.


Seemingly limitless, infinite, amounts of ungodly God-given talent flow through the veins of these two. Amy and Wayne are those kids in the corner who your parents warned you about – but didn’t need to because they were out of your league anyway, in their own special way.

Amy Winehouse: Amy, Amy, Amy… if Lady sang the blues – this one soaked in them. Winehouse’s first album, Frank, saw a 4 year stint between its 2003 UK debut and its 2007 US release; in the time between, Winehouse didn’t sail across the pond – she swam the blue Atlantic, removed the skepticism from British soul, and brought artistry to a world in the midst of the red hot celebrity. Never had our generation been introduced to such an aged fresh sound. Amy single-handedly brought us back to the Jazz Age. The world wasn’t Winehouse’s stage this decade – it was her speakeasy. Winehouse’s atmosphere was pop’s antithesis: overtly underground, drug-addled, authentic, counterculture, apathetic to everything but the art, forever in a harmonic haze – and a microcosm of a society, hidden in plain view.

2003’s Frank was just that – a no-nonsense tale of twenty-something love – of course, we all know, it was far more than that: “Drake says you can’t bring the future back, but when Winehouse asks of herself in 2003’s Frank ‘Where’s my moral parallel?’ she defied that theory. Back to Black was the fateful answer – the artistic masterpiece, and beautiful disaster – but as it preceded the U.S. release of Winehouse’s true debut, pre-“Rehab Frank became the answer to its own question.” Keep in mind that our one-track-mark-and-mind culture first took note of the songstress in 2005, though, when she brought us Back to Black:

Where BtB was the assumed anti-rehab anthem, it rehabilitated a dead medium. A drug is anything taken to alter one’s current state of being. Where BtB reiterated our current state as a generation, it was also the escapist drug that true music can’t help but be, and yet the detox to the industry that forgot its roots.

While Paris, Lindsay, Mary Kate, and Co. slurred and stuttered over post-rehab statements, Amy said point blank: I won’t go. This foreigner felt so familiar – and that is why she is so iconic. Geographically, ethnically, musically, personally: we had never felt so innately connected to someone so human, yet so distant and unknown. She embodied our culture: immersed in the bright lights, but forever shielding ourselves in lieu of the intimacy of a nocturnal veil. The freaks no longer came out at night, the everyman freed themselves there. The moonlight was our sunlight, it fed and nourished our inner beasts. The world said our behavior was wrong, but it was a world of sub-prime lenders, warmongering politicians, backdoor lobbyists, and neo-conservative wolves in sheep’s clothing – or pseudo-emperors with none at all. Amidst a distorted reality of moral dichotomies we live in a comfort zone of taboos – and for the first time we had someone tell our tale; when Puritanical America was shining a fluorescent artificial light on the country, Winehouse brought us back to reality and Back to Black.

Her conviction, her authenticity, her truth was so desperately needed this decade. She was the anti-autotune embodied. “Fuck the fluff: I don’t wear makeup, I wear the same ballet flats everyday and everywhere – if at all, I take drugs, I take the blame, I take the mic, I’m the un-airbrushed face that has nothing left to give; I’m not a blemish on the general purity, I’m the rule and not the exception, and I am fresh because I am giving you the grit that you refuse to look at in the mirror – on the television, in the newspapers, in the offices (Oval included), in your home – every morning. It is what it is, and I am what I am: what about it?” She had no ulterior motive. She was so, so very real. She made us look at ourselves again; and though we denied it, we couldn’t deny her.

Then, there is the art. She croons in a way that makes doves cry. Winehouse’s melodies billowed like smoke christening our speakeasy. There’s nothing technical, “industry,” studio, or clean about Amy’s music – which is why it is beautiful, dirty, rich.

Lil’ Wayne: If we are Young Money, he is our older brother who just got their bachelor’s degree. More importantly – especially given this of all decades – though, Wayne is New Orleans: period. He is that Southern off-center, raw, artistic, eccentric, culturally rich, worldly, weathered, worn, eternally young – but forever established, embodiment of the joie de vivre. This decade we had a hub, a microcosm, a timeless capsule of a culture seemingly forgotten – in 2005, we let it sink. This decade we had a materialistic, money-hungry, maven christen the culture with the cries of bling-bling – in 2005, that fireman lit the fuse. Brownie did a helluva job; but Wayne rose Hell to bring NoLa back.

To go over Wayne’s discography of mixtapes alone this decade would be like going over each pair of Hammer’s parachute pants, or GaGa’s wigs: iconic individually, but arguably more iconic as a collective – and more easily summarized. From Droughts to Dedications – and everywhere outside and in between – Wayne brought the underground up top. Even the now-well-mossy Rolling Stone began listing the “Top Mixtapes of the Year:” check – mate, and please.

Tha Carter and Tha Carter II, Star Wars and The Empire Strikes Back: the formal foot-in-the-door, and the solidified foothold. Both sets are cultural phenomena, both interplanetary displays transposed amongst mere Earthlings – giving a glimpse of a distant artistic alternate atmosphere. Then the Jedi returned; then Tha Carter III landed; then the hat-trick – the trilogy, the trinity. Mainstream reception? MTV asked a certain t-shirt wearing country-pop figure at the 2008 VMAs who’s performance they enjoyed the most, she said Lil’ Wayne’s as when he came on stage a “glow” came off him because “this was the man who sold 1 million copies in a week.” 1 album, 1 million copies sold, 1 week, 2008: said. He is the last person this decade to accomplish such a feat – and quite likely ever. Wayne may be the first man to legitimately translate hype and hearsay – anticipation built from perfectly planned mixtape releases – into hard stacks, cash, and sales.

Backed by his Young Money conglomerate – or rather vice versa – Wayne is the second coming of the Carter: Shawn Carter. He hustled his way to the top and kept that hustler mentality with a new-found business man mindset. He set a new blueprint for a new generation – as the peer, not the patriarch.

Amy Winehouse and Lil’ Wayne: an endless well of inked talent. This tandem has scribed some of the most memorable and reflective tracks of the decade and our generation. They represent our raw selves, the most authentic representations of Pop. Wayne took the ice off for a minute and got dirty – so did we; Amy went back to black – frankly, so did weand again. In an era of perception blinding and veiling reality – these two were our moral parallels.

Distriction: Wale’s Latest & Greatest


Mr. DMV is rolling through 9:30 tonight; after trekking the country, he’s bringing Go-Go home again.

So before the District — or at least the DC blogger/DJ twitterati — flood V St., a brief latest and greatest …

Latest: Wale enlisted the help of Lady Gaga, Madonna 2.0 herself, for “Chillin’,” whose well-anticipated video leaked – but was cleaned up – today. So, here’s the live version from Last Call with Carson Daly

And the jumpoff, Nike Boots – because it’s “flya than the rest of ’em”

… and some odds and ends in between

The Gold Post: 100 Kept

Pop Culture, Soundtrek

Finally, the century mark. It’s times like this when you recap to the beginning and where it all began. So: a playlist paying tribute to where it always begins — home. (Actually, I stumbled across “City is Mine,” and decided to put together a city playlist. It just so happened to be The Dime’s 100th post, and all the cities are hometowns — thus the easy spin about where it begins.) Either way, enjoi

Starting at the top of the map with an ode to our Neighbors to the North — compliments of their most hyped export since Jimmy Brooks

The Re-Branding of America: Swine Flu, Souter, Spiderwebs, Scratches, Game Sevens – The Week in ‘S’

Politics, Pop Culture, re:brand, Soundtrek

Quick in-and-out recap post. The only thing more prevalent this week than the Swine Flu was the letter S …

Starting with — as it was primarily due to — the Swine flu


and followed up by what is actually afflicting half of the reported cases: Sinuses