Just this week, the original video for the house-y Crookers remix of KiD CuDi’s hit “Day N Nite” finally leaked. Shot some time last year before a bigger-budget version, it amazingly only cost $250. To directors BBGUN’s credit, it isn’t all that bad-I mean, it could pass for about a $2,500 video-and it surely isn’t alone in offering solid entertainment at a fraction of the cost of some formulaic Little X booty and rims joint. Thus, here are some of GIANT’s picks for the best cheap-ass videos in recent memory.

Fat Joe, “Hey Joe”

Another recent cut, the Gabriel Hart-helmed clip is just a clean, black-and-white, ride through a grimy BX.

Kanye West, “Can’t Tell Me Nothing” (Oldham/Galifianakis Version)

Zach G’s spoof didn’t require anything other than himself, his suspect-looking homey, and some shit you can rent at Home Depot.

Kanye West, “Flashing Lights”

Assuming Kanye probably got Spike Jonze to direct this on a friend discount and they didn’t, in fact, burn a real fur coat, the only expensive thing was probably Rita G’s breast implants-if she didn’t get them done in Brazil.

DMX, “Get At Me Dog”

Hype Williams’s epilepsy-inducing visuals didn’t show much other than DMX in some Tim boots at The Tunnel. So the video itself probably didn’t cost much-only to have Hype’s name attached to it. Or maybe Hype did it on the free because of the Belly link. Who knows, but we do know that crack is cheap, at least.

The Roots, “Birthday Girl”

The Patrick Stump singing easily made the track god-awful but the clip is probably best known for introducing Sasha Grey to non-fapping hip-hop heads (and in turn making them fapping hip-hop heads). Practically any other video from director and cheap-video extraordinaire Rik Cordero could make this last.

It was bound to happen ever since Nike threw $90 million at LeBron some six years ago (going on seven). At the time, Bron was being labeled “The Chosen One” by Sports Illustrated and rocking the #23 in green and gold to suggest that he was, in fact, the heir apparent.

Over the years, we’ve seen Bron transform into the physical behemoth that may one day overtake MJ’s playing legacy. For sneakerheads, though (like myself), it’s been highly questionable whether or not he-or anyone for that matter-could overtake MJ’s kick game. Penny failed. So did Kobe. And Iverson had a spark when he started, but Reebok’s just plain ol’ garbage.

Back to 2003 when MJ hung it up for the last time, his last on-court signatures, the XVIIIs, were simple yet luxurious and of course, technologically forward-thinking-everything associated with Jordan Brand. Since, the designs have been rather head-scratching, from the woven cover guard of the 19s and the clunky space-boot look of the 20s-Who knew space boots would catch on, word to Kanye? -to the straight up half-assed 24s AJ 2009s.

Recently, pics of the AJ 2010s (25s) have surfaced. They have a window/eye smack dab in the middle of the shoe to represent MJ’s ability to “see through the competition.” The shit just looks like a goddamn hole, patched up with mesh. It’s the bottomed-out low point of the declining franchise (a charge once leveled at the 15s).

As for the LeBrons, they’ve evolved from the outlet-ready Air Zoom Generations to the Flightposite-esque 4s to the underwhelming 5s and 6s. But now we’ve reached numero seven. Out for some time, a looming all black colorway (probably cosigned by Jigga) is the zenith of the line thus far. After misguided, space-shoe abortions like the Huarache 2k4s, the LeBron 7s represent some of Nike Basketball’s best design work since (surprise) 2003, when ballers were blessed with the Zoom Ultraflights and Zoom Flight 2k3s (just wear tube socks).

Compared to those lightweight triumphs, the 7s are on the opposite side of the spectrum in terms of build (veering towards the Nike Total Foamposite Max in terms of proportions). Yet one look at the shoe and it’s clear that this is Nike’s signature shoe, perhaps across all lines. The feeling is similar to the one you had when you first saw the XIs, XIIIs, or even XVIIs-that this was the work of the best designers in the world. And if there was any confusion, it’s now evident that LeBron, not Kobe or MJ, is the face of the brand, Nike’s signature athlete.

Can’t say it didn’t take a while, though. By shoe number seven, there had been the iconic Air Jordan Is, IIIs, IVs, and VIs. The hit rate for the LeBron line hasn’t been quite the same but it’s finally his time. Maybe things will transpire on the court similarly.

Platinum plaques cover every inch of the walls welcoming visitors to Downtown Music Services. The names under the shiny vinyl read Michael, Madonna, and Barbara, to name a few.

That we find William Griffin, now-and better-known as Rakim Allah, here at his manager’s office in downtown Manhattan serves as a reminder of his standing. Never one to have owned the Billboard charts and a decade removed from his last full-length offering, Rakim could’ve been written off as a titan of times past. However, like the other aforementioned single-named talents, his place in music as a whole-cemented by his genre-defining debut Paid In Full at just 19 years young-is assured and everlasting.

Now a father of four young adults, the 41 year-old sits calmly in a conference room, dressed in 501s and a black leather jacket, looking like he just exited the set of “When I B On The Mic.” With Yankee memorabilia all around, directly over Rakim’s head hangs a blue championship flag for the famed 1949 team. The likes of Joe DiMaggio and Yogi Berra suited up in pinstripes then, weaving their legends into the fabric of New York City. As perhaps the greatest at this New York invention that is hip-hop, he, too, has his legend sewn.

Finally ready to release his comeback effort, the upcoming The Seventh Seal, Ra opens up about his absence in-depth, from his departure from Aftermath to his take on his natural heirs. Peep the technique.

GIANT: Since your last album in ’99, was most of your time was spent with your family?

Rakim: Yeah, G. I used to go on tour and fly home every week just to be with my kids. And that’s what brings me joy at this point. When I ain’t touring, I really just like chillin’ with the family. It don’t matter if we just sitting home doing nothing.

GIANT: So what’s a normal day like for you?

Rakim: I get up in the morning… can’t tell you what I really do in the morning [laughs] but I get up in the morning, do a couple things, and I take a hot shower. And depending on what kind of work I gotta do, I just like letting the day kinda squeak by. I try to take shit as slow as I can. If I ain’t got no work to do, I might play around with a little music. And if my son plays video games all day, I might play a little Madden or something. I just try to be as normal as possible.

GIANT: Well, since you’ve been gone, TV has kept your music fresh with songs like “Don’t Sweat the Technique” appearing in Finishline ads, etc. With declining record sales facilitating that kind of usage, how do you feel about it from both a creative and financial standpoint?

Rakim: Well, the good thing about that is hip-hop is everywhere now. The bad thing about the decline in sales is there’s really nothing we can do about that but keep the genre alive. But when you look at where hip-hop came from to where it’s at, it’s like you can’t do nothing without hip-hop. I was sitting in the crib the other day, watching ESPN, man, and Kobe Bryant pops up on the screen for a basketball videogame and “Don’t Sweat The Technique” starts playing. Turn the radio off or the music videos off, and we’re able to go outside of the box and still hear hip-hop.

We got hip-hop slang being used by politicians, so it’s everywhere, which is good. But we gotta save it, though-keep that integrity up so that people take it serious. Then, maybe they’ll respect hip-hop as a real music genre and sales will start going back up.

GIANT: When Jay-Z was retired, a lot of rappers took shots at him and his standing in the game. You more or less occupy the same space as him. Why do you think nobody took similar shots at you on wax or in the press?

Rakim: I don’t know, man. Maybe because my situation is a little more… like, I never wanted to retire. I just had setbacks in my career that prevented me from dropping when I wanted. But I think Jay is at the forefront and he lets people know he’s at the forefront everyday. So once he starts saying he wanna fall back, or whatever he say he wanna do, he’s gonna be scrutinized. But me, I was just a little more laid back with it. I let the people say that I was that dude. And Jay is that dude, but he lets the people know he’s that dude, so it’s just that people are waiting for him to fail. People are just mad skeptical of everything he do.

GIANT: On to Dr. Dre, the story goes some of the beats from 50 Cent’s Get Rich or Die Tryin’ were originally for you.

Rakim: Well, what it was is Dre had a library of beats made before I came through. It was just one of them things where Dre will be like this [slides plate of food over to interviewer], “Try that out.” And if you don’t like it [slides plate over to friend], “Try that out.” If it don’t come out right, he just keeps passing it around until it fits. Like the beat for Mary J… [starts humming beat]

GIANT: “Family Affair”?

Rakim: Yeah, I had that track first. That’s the way Dre do. If he got eight beats he feel is hits, he’ll pass them to his camp until he get a hit off of it.

GIANT: So when you were working on the album, how did you feel about it shaping up around Dre’s signature sound?

Rakim: I think the main problem with me and Dre was what he wanted me to say on the tracks. Dre got a formula that he like to stick to because that’s his formula. It works for him. It just so happens to be gangsta rap. And that was the thing. Every time he passed me a beat, he’s like, “B, I want you to talk shit on that one.” I’m like, “What you mean talk shit?” He’s like, “Remember that shit you was telling me in the studio the other day?” I’m like, “Nah man, that was something that happened in the hood. And I just so happened to be talking to my man and happen to tell you, but nah, that’s not something I’m going to put on wax, man.” But that’s what Dre wanted me to do, man, in a nutshell. He wanted me to speak about a lot of the things he heard about and some of the things we spoke about, but to me that’s sacred. I got people that’s trying to get outta jail now, man-people that’s doing 25 to life trying to get a trial and things of that nature. Speaking on that is not gonna help them one bit. Like I said, his formula works for him. It just wasn’t good for Rakim at the time.

GIANT: So where did you envision the album would go when you first hooked up with him?

Rakim: Originally, I just wanted to make a good album and not have to worry about where I was getting my beats. I wanted more of a conscious album than a gangsta album.

GIANT: Another thing, you take a look at Rolling Stone and you’ll see Bob Dylan on the cover. But you take a rap magazine and you won’t see yourself or a KRS-One on the cover. Why do you think that is?

Rakim: Rap is today and like any newspaper, a magazine is trying to show you today. It gets to a point where they do their history thing and reflect back, or if an old artist happens to drop something new, I think they give him that love. But I think it’s more of them trying to be fresh and speak on what’s going on today and tomorrow. In a way, that’s not good because in our genre, we don’t leave room for an artist to grow.

You look at R&B at the 2009 Grammy Awards when my man Al Green came in and tore it down and he ain’t drop a record in forever [Editor's Note: Green's last album, Lay It Down, was released in May 2008]. Ain’t nobody in there cared, though, because that’s Al Green. In R&B, they keep up that integrity. With rap, we gotta follow some of the leaders that was in front of our genre to know how to keep it strong and to keep it valuable. If you was to let new artists come out and throw them in the garbage after so many years, rap won’t be as strong as other genres because what makes R&B what it is, is Al Green to Alicia Keys. You got that whole span of music that you can go back and listen to, and I’m sure out of all that, you can find something you like. With rap on the other hand, they just want you to listen to what came out last year. So, that’s what’s stagnating us, and that’s what’s allowing our substance to slowly die out and people to look at rap like it’s just a fad music.

We gotta respect what we got, respect what we started, and cherish it, and not let nobody else dictate how this is supposed to be done. We don’t have no spokesman for rap. We don’t have no guideline for rap. We don’t have no rules and regulations. So, until somebody get a committee and try to put some things in order, it’s gonna be handled a little unprofessional. I’ll say it like that.

GIANT: Older heads usually call Paid in Full the greatest hip-hop album ever, but cats who are slightly younger might say Illmatic. How do the two albums compare to you?

Rakim: Well, yeah, that’s what it is. When I dropped Paid In Full, my audience was in tuned with the movement and what was going on. That’s what made it a big album. Nas used to come to the studio when I was doing Follow The Leader. You watch people that see a movement and then you watch them come with their movement.

I don’t get mad when the times don’t play in my favor. A lil’ while ago, somebody asked me how I felt about what Jay said on his new record. For somebody to come out and it’s their time to say, “Well, we doing like Rakim did,” then I can’t find nothing negative in that. If Jay say, “Follow the leader,” what he’s saying is he’s the new me. You know, I feel good. It’s almost like James Brown. James Brown did his thing, and years later, people started picking up his records and sampling them. For a minute, James might’ve felt bitter. But you can’t tell me when he sat down and said, “These little rap bastards is sampling all my shit,” he didn’t think, “Yeah, that shit is hot!” You know at some point he realized his shit was so hot that we couldn’t leave it alone. It’s the same thing with me. Every now and then, I get a little upset. But at the end of the day, I sit back and say, “Yeah, I must’ve did my thing for this dude to come out with a brand new single and he’s talking about he’s the new me.” At the same time, he keeps me alive.

GIANT: Since you fathered a lot of cats’ styles, which emcees do you feel have carried on the torch?

Rakim: It’s a couple cats out there, but I don’t wanna say their names. They might take it the wrong way. I think the style that I brought out was… I don’t know if it was a transitional time where we was coming out of one era of rap. When I came out, Run [DMC] and them was hitting. It was just when I came, talkin’ what I was talkin’, it was just at the right time. I think it kinda caught people off-guard. Everybody else was rhyming one way, then I came out rhyming a different way. I think they gravitated to it. I think it was time for that next concept and I just happened to be there at the time. Yeah, you got a lot of rappers that kinda grabbed onto it but, man, I don’t wanna blow nobody’s spot up.

GIANT: You gave birth to a lot of cats’ fashion sense as well with the Gucci leathers and all that. Where did you pick that up?

Rakim: I kinda got that straight from the street. I was watching what people was doing in the hood. You walk up the block and see what sneakers everybody’s wearing. After a while, you got an idea of what sneaker is winning right now.

The Gucci stuff I got from Supreme Magnetic. He was doing his thing back in the day. Back then, it was only a select few that could afford that Dapper Dan thing. Everybody now talk about how it was fake, but back then, to kick out $3,500 for a suit, ain’t nothing fake about that. You know, it was the style. It was us bragging. We was like [motioning to all black leather jacket], “Yeah, check this out, baby paw. We got the Gucci all over the Timbalands.” And everybody know they wasn’t making Gucci Timbalands, but it was just that we could do it. We felt good, like [snaps fingers], “Throw the Louis Vuitton on there for me. Yeah, put it on there, too. Gimme that jacket, yanamean?” It was that door to say we can go through there and open that up. So, it was more of a swag thing than having the real thing. You just gotta get in where you fit in, do what you do, and stick to your guns.

GIANT: How did you take the rapping to a next level when no one else had done it?

Rakim: Umm, it was the weed, man [laughs]!  Nah, nah. I grew up on music and I played in the band when I was young. I kinda got deep into the theory of music, like, I knew how to read music. I played instruments and shit. I think that, with my little bit of vocabulary that I had, man, and my hunger for more vocabulary-I think that with knowing the meaning of time and space, music as well-I think that pushed me to sound different and to affect people differently, yanamean. Then, once I knew that I had a little something, then I started going at the concepts. I think my thing was to try to converse with the people, like almost put myself in their shoes to the point where as they was listening, they can put themselves in the song. So I think that concept is what made me write in a different perspective. What it was, like why I don’t seem all that to me, is because what I was doing was just writing what the streets was thinking. And I think at that time, nobody was conveying the message from the street. It was rap songs, then. I think I came and started making the people feel I was talking about them or made them feel the records. That kinda tied the whole thing together, man.

True to their namesake, rhyme slayers Slaughterhouse-Crooked I, Joe Budden, Joell Ortiz & Royce Da 5’9-recently linked up with GIANT to discuss a slaughter of another sorts: quality meats. Over an early lunch at the Texas-flavored Hill Country in Midtown, the quartet tried their best to enjoy some good BBQ while adhering to the strict rules of dining etiquette-not quite easy when consuming such eat-by-hand foods as ribs. Peep the results below:

And for something Slaughterhouse is better schooled at: the art of the cipher.

You can catch Slaughterhouse on tour across the country with Tech N9ne through November 21^st. Their debut album is in stores now and a follow-up could very well involve Eminem and Shady Records, with negotiations currently on-going between the two camps..

Credits:

Filmed by Eric Swiecinski

Edited by Adrian Fernandez

Continuing on last week’s post on the best low-budget clips, GIANT has decided to also give you a quick rundown on the worst offenders in straight-to-World Star exploits. After all, it’s a lot more fun goin’ off on craptasticness than it is to give props, right?

Busta Rhymes, “Arab Money”

Rik Cordero might be the master of the cheap video, but here he decided to go a bit bigger, with green-screen overkill, resulting in the most ridiculous looking trip to Arabia since Aladdin’s stereotype-filled journey.

French Montana’s Videography (minus “New York Minute”)

“Welcome To The Breadshop” featuring various weedcarriers

It’s hard to decide whether this is the worst video ever… or the greatest. The concept was simple: stick Frenchie and the homies in a kitchen and let them throw flour on each other. Yet, they still find a way to raise the bar for ignorance, with Hennessey coming out of the papas fritas fryer and Frenchie rockin’ stove mittens. Even Jiffy gets some shine.

“Plenty Money”

Take “Plenty Money,” for instance which passes off some dude filming Frenchie, Dame Grease, and the rest of the Coke Wave doing much of nothing, with some stupid scribble flashing across the screen to give it that grimey effect.

Oh yeah, Free Max B.

Charles Hamilton, “November 10^th“

If you want proof of why Charles Hamilton is the lamest rapper since ever, well here it is, with this made-for-Disney ode to Sonic and friends.

Juelz Santana and Skull Gang, “What You Reppin’”

The textbook shitty rap video:  cats walking around, waving money with their leased whips. Jordan Tower at his best.

THROWBACK: 50 Cent, “Heat”

Classic track, cool concept. But I guess this was made before the money started piling in for Fif.

By now, the ghetto fabulous sight of Kanye walking the VMAs red carpet with Hennessy in hand should be burned in your brains. It was awfully surprising, given the caliber of artist of Kanye, to see him openly swiggin’ from the bottle—we expected something like this out of, say, Weezy or Juelz, although they’re known to be a bit more discreet with the contents of their Styrofoam cups.

But in hindsight, it shouldn’t be all that of shock. Rappers have always loved Hennessy and still do. Kanye just happened to glorify the phenomenon a bit too much-or he just forgot a flask, though I’m not sure they make ones in that size. As a result, we here at GIANT have chosen to explore rappers’ love affair with the cognac du jour.

Best Henny-Inspired Moment: Kanye Making Taylor Swift Cry

Well, obviously. Homey pulled an ODB and he wasn’t even dusted. Though Kanye can’t be justified in that Taylor’s video was probably more “for the children” than Beyonce’s, there was no video better than Bey’s, at least in the eyes of a guy who’s seen numerous females try their scantily-clad best to reenact said video. And technically, it was pretty on-point, too.

Best Overall Use of Henny by a Rapper: Uncle Murda’s Self-Medicating

When used in conjunction with menthols, Hennessy is the equivalent of world-class public private health care. Shot in the head early last year, Murda bragged during an interview with Wendy Williams that he was easing the pain with Newports and his favorite cognac.

Best Henny Name-Check in a Song: Mobb Deep, “Drink Away The Pain [Situations]”

My man P put me on to the shorty henn rock…

A classic cut from a classic album, Havoc continues the song-long metaphor of tasty beverages as golddiggin’ “bitches” (his words), but this time, it isn’t all fun and games, as Hav despondently raps:

But enough of that, I got the shake so I need that/
Son caught me stressed out I just be that…

Best Song Entirely About Henny: Mac Dre, “Bleezies-N-Heem”

Trust a Left Coaster (Bay Area head, no less) to somehow come up with “Heem” as gansgta code for Hennessy. They did give the world “Thizz,” after all. Mac Dre gets the nod because he’s dead now-and all dead rappers occupy GOAT-status once they die.

Best Phrase Involving Henny Coined By A Rapper: “Henny-head Mu’f**kas”

Because that guy up there said it.

When 50′s video for “Flight 187″ (below) hit the net last week, it was hard not to roll your eyes at 50′s attempt to draw yet another rapper into battle, this time Jay-Z. In the past two years alone, we’ve seen the jabs at Kanye after losing the well-documented sales battle, the constant Wayne-baiting, and of course, his forays as porno-narrating Pimpin’ Curly in his attempts to discredit Rick Ross.

As Wendy Williams stated recently, “people don’t care anymore” about 50′s new album. It’s certainly hard to argue against Wendy, with  failed single after single from Before I Self Destruct, from “Get Up” to “I Get It In” to “OK, You’re Right.” Outside of those cuts, the majority of 50′s recent output-a return to “aggressive content” as Curtis said repeatedly-has been some of the best music in years from the Queens rapper, beginning with 2008′s “Return of the Body Snatchers” mixtape and most recently his “Forever King” tape. Yet with the standoffish bully image he’s carved over the years, the only attention paid to his music has been centered on whom he’s dissing.

The timing of 50′s diss came at a time when the buzz surrounding BP3 was at its zenith (in other words, when it leaked). Coincidentally, it also comes at a time when a common enemy has also been taking shots at Jay: The Game. Early in the summer, The Game first came with the super-disrespectful “I’m So Wavy,” stepping up his efforts to get Hov’s attention by jumping on a track with longtime Jay-Z foe, Jaz-O. But as Jay says numerous times on his latest effort, he has no time for anyone still throwin’ rocks at the throne. It might get a little hard to ignore, though, if both 50 and Game could conceivably reconcile for a united attack. Stranger things have happened in this here hip-hop (i.e. Mase’s entire career).

50 almost needs to elicit a response from Jay-empty shots from Fif could only serve to heighten the growing sense that he’s becoming increasingly relevant. And at this point, Before I Self Destruct needs some serious traction before that title figures itself redundant. Another “I Get Money” could definitely work-but perhaps another “Takeover” would be best.

Earlier this week, it was announced that uncontrollably horny UFC fighter and resident meathead and headcase Quinton “Rampage” Jackson was to play B.A. Baracus in the upcoming A-Team movie, the role that made Mr. T famous enough to star in 1-800 COLLECT commercials and pave the way for Carrot Top to follow in his footsteps.

Unfortunately, MTV reported a couple days later that Rampage wouldn’t be Bosco (B.A. actually doesn’t stand for Bad Ass). The rap world rejoiced, as The Game and Common have been linked with the role, and we all know they’re trying to keep their blossoming movie careers going strong after career-defining performances in Belly 2 and Terminator 4, respectively.

If a rapper is being considered for any movie role for that matter, you know one of the names in the Kangol hat is Ice Cube, and probably even Ludacris as well, though the work of one Mr. Bridges tends to skew more towards drama (read: shoot-’em-up, bang-bang).

Now, I’m not old enough (read: 40) to have seen the OG TV series, but anyone looking to emulate Mr. T has to meet certain criteria. First, a Mohawk. Second, the ability to not look like an idiot while rocking a ridiculously large gold rope. Third, fast, aggressive, unintelligible speech (jibber-jabber). And lastly, bad aim with guns.

Now, a lot of rappers over the last two years have rocked Mohawks (and looked like clowns doing so), but the most natural would be Yung LA, only because he still chooses to do so though that look should be buried by now. Now, with the gold rope deal, the only folks who did it right were Rakim and Kane, and I doubt Hollywood’s looking for anyone in the over-40 club that hasn’t been relevant for a decade.

Unintelligible speech? Shit, Gucci Mane and OJ Da Juiceman have that on lock, but reading movie scripts might be beyond their intelligence levels if Young Jeezy was right about them on “Kobe, Lebron.”  When you think about, Wayne makes for a good candidate-when he’s sippin’ on that sizzurp, that is. He tends to then get his Mushmouth on, as proven on “Can’t Believe It.” And we know Wayne can’t aim a pistol if his life depended on it.

Though figuratively speaking, The Game always has a knack for shooting himself (in the foot) as well-beefs with 50 and Jay-so maybe he’s the ideal candidate, as he covers most of the bases.

And he’d look like a natural doing this:

With the leak of two Timbo-produced joints from The Blueprint 3 confirming the tracklisting that made its way to the Internets last week, Jay-Z stans everywhere have been up in arms when faced with the reality that a follow-up to the ’01 original will lack production from the likes of Just Blaze (or Bink! for that matter), while also featuring newcomers such as KiD CuDi and Mr. Hudson. In a perfect world, here’s what the tracklisting to the feverishly anticipated album would look like:

1. Hand It Down Part 2 (Featuring Pain In Da Ass and J. Cole) (Produced by DJ Premier)

If President Obama was the hip-hop fan he claims to be, he’d pass a law mandating that every Jay-Z album begin with Pain In Da Ass doing his best Tony Montana impression, with a beat provided by Premo.

Jay also seems intent on letting J. Cole get some shine seeing as homey got on BP3 with only one mixtape to his name. At least this way, he’d do it in classic style. Hell, Jay wouldn’t even have to write his verses.

2. D.O.A. [Death of All Y'all] (Featuring T-Pain) (Produced by No I.D.)

The OG joint had Jay biting his tongue a bit too much. T-Pain on the hook would serve notice to everyone except for the rapper-turnt-sanga to kill that Auto-Tune’d noise. And then Hov could slip Pain one of his trademark build-you-up-and-break-you-down subliminals, kinda like what he did to mixtape Weezy.

After going at Auto-Tune, Jay could turn his attention to Jaz’s bum ass once again, as well as the always disrespectful Game (their new Hov diss is heat rocks, btw).

3. Run This Town (Featuring Beyonce) (Produced by Rich Harrison)

Forget Rihanna and her attempts at singing. Hov should’ve got at B, so she can be all up in the video (I’m thinking something along the lines of “Single Ladies” here) for this surefire radio single meant for z100.

And remember how go-go was supposed to be the next big thing in hip-hop? It didn’t quite pan out that way, but Jay can take another stab at it–after “Jockin’ Jay-Z” failed to get more spins–by recruiting the man best suited for bringing the sound (Harrison), thus rekindling the musical magic between Hov and his wifey.

4. Empire State of Mind (Featuring Nas) (Produced by L.E.S. and Wyldfyer)

Ms. Keys is cool and all, but early reports had the Lil’ Homey on the track instead. L.E.S. and Wyldfyer should handle the beat, as they’ve already been responsible for two of the dopest collabos between the two formerly feuding emcees. And it’s always entertaining to hear Nas continue to throw shots at Jay even when they’re on the same track.

5. Off That (Featuring Drake) (Produced by Timbaland)

This track is actually not that bad. Here, Jay gets all the money talk out of his system, all the while tapping into the Lil Wayne demographic with Drake’s cameo (i.e. the high school chicks who actually throw down on tix to see the “America’s Most Wanted Tour”). Oh, and Timbo spazzed on this beat.

6. U Don’t Know Part 3 (Featuring M.O.P. and DMX) (Produced by Just Blaze)

It’s the only series of songs to make the first two BPs, so why not the third one? Adding Crackhead Earl to the mix should up the ante (no pun intended), even if Danze and Fame ripped the beat to shreds already. This shit right here, though, would really make cats wan’ go and commit felonies.

7. Hate (Featuring Kanye West) (Produced by Kanye West)

Going by the title at least, this joint seems eerily similar to that cut from BP2 when a hungry Hov was rapping like he “got a chip on [his] shoulder the size of the Golden Nugget in Vegas.”

8. Real As It Gets (Featuring Young Jeezy) (Produced by Don Cannon)

Another actual cut from BP3, Don Cannon should be behind the boards for this instead of The Incredibles. Cannon usually brings out the best in Jeezy. Not to mention, he’s like a poor man’s version of Just Blaze so this would sorta help to fill the necessary Justin Smith quota for a Jay album.

9. Guess Who’s Back Again (Featuring Scarface and Beanie Sigel) (Produced by Kanye West)

“This Can’t Be Life.” “Guess Who’s Back.” “Some How, Some Way.”

10. Another Murder (Hidden Guest Verse) (Produced by Just Blaze)

“Back to Shawn Carter the hustler, Jay-Z is dead.”

Building on the theme from the Volume 3 standout, it’s the perfect way to end the Blueprint series, as Jay shifts roles from artist to robber baron executive.

So, naturally he’d have to pass the torch to someone right? J. Cole seems the right business move being a Roc Nation artist, but the natural heir is someone with actual Rocafella pedigree who isn’t best suited for weedcarrying duties (or in Hov’s case, washing his Jay-Z blue Lex bubble Maybach). Hence, Young Chris to close out the show.

And Just would have to produce this last track, after crafting the perfect sendoff for Jay with “My 1st Song.”

So yes, only ten tracks. Isn’t the GOAT album the true hip-hop blueprint, anyway?

Yesterday, Mack Maine (currently fulfilling weedcarrier duties on the America’s Most Wanted Tour featuring America’s most hated, Souljaboy) broke the news on his Twitter that Omarion, one of the guys from the black Backstreet Boys B2K had left Young Money Entertainment. It was only a matter of months ago that he signed and now he’s gone. Maybe the whole weedcarrying schtick wasn’t for him (In related Wayne news, word is that Wayne’s Canadian tour dates were canceled this week b/c his caravan of drugs couldn’t make it across the border.)

So what’s a marginally talented R&B singer to do when you get dropped from the only label that signs everyone? The following:

1. Get the band back together.

He probably wouldn’t wanna holler at Chris Stokes (no Raz B), but if he can get the rest of his chest-barin’ homies to crank out a few records, a resurrected B2K will do good touring strip malls and swap meets.

2. Make a sex tape with a groupie video vixen.

It worked so well for Ray J he got a VH1 show and the hook on a song with Yung Berg.

3. Do stuff involving vampires.

From Twilight to True Blood, bloodsuckers are all the rage right now. Who knows, maybe some genius in Hollywood will greenlight Son of Blade.

4. Land a role in the latest Bring It On film.

Omarion could flex his acting chops-previously highlighted in such stunning work as You Got Served. I mean, Christina Millian thinks it’s a great career move. And she knows a thing or two about good career moves.

5. Eat Vaseline on YouTube.

That’s how we started caring about Stephon Marbury again.

*This is applicable to any R&B singer. Yes, you Joe, Jaheim, and any other sanger-turnt-unemployed that’s out there.

The first dynasty that always comes to mind (if you aren’t a Jordan stan) is the Roc’s run in the early 2000s. What made it work were the astronomic singular talent of Hov, complemented by the business savvy of Dame (who knows what Biggs did?) to surround Jay with talent from all across the hip-hop spectrum. Kanye held down the backpacking set, State Property held down homies on the block, and The Diplomats the suburban kids diggin’ for what’s good in the hood.

Why the Roc failed was simply the beef between the post and the point—which makes Kanye’s position that much easier since he’s the lone sergeant leading his GOOD Music privates.

CuDi is closest to corporal, with the big single (two years later, it’s still big), and an album looming. Hell, he ended up on the cover of Complex, which is kind of a big deal when you consider it’s usually reserved for artists who’ve made more than one song you and I can name. Maybe it’s the result of Kanye always playing guest editor over there. Anyhow, it’s a good look for one of the minions.

As the story goes, it was CuDi who may have been the influence on Kanye to sing for an entire album. It’s always been my theory that after the mainstream success of Volume 2: Hard Knock Life, Jay got his Beanie Sigel on for Vol. 3 to take it back to the streets. We all know how that turned out. And we all know how 808s & Heartbreak turned out. So let’s call Cudder the Beans of the squad.

Then there’s Consequence, who’s undoubtedly the Bleek of the group. He can sorta rhyme, but he has the star appeal that any hypeman has—none (sorry Banks). But Kanye has Hype Williams directing his latest video, even laying down a few bars for the lead single for Cons’ second album. You read that correctly. Consequence has a second album (a marketing exec’s dream)—all because of Mr. West.

The same day photos from Consequence’s video shoot were released (today, that’s why I wrote this), a video leaked of Big Sean in the studio with the almost-legendary (too complacent to be fully legendary) No I.D., so you know Kanye wants the kid’s debut in capable hands. Sean can spit, and he’s probably the most lyrically adept emcee of the group. His influence might be a small reason why Kanye’s been on the lyrical tip of late. The lyrical young gun pushing the top dog is oddly reminiscent of Young Chris.

Mr. Hudson, well he’s the Kanye. Dame was plotting the hip-hop takeover, but Kanye has bigger plans—pop. Hence, the blond-haired Brit singer who Kanye has tipped to be the biggest artist in the world. He’s thinking global. And with the biggest mouthpiece in the game, Kanye is more than willing to speak on his artists. You know Jay doesn’t compliment anyone, which is why Dame was needed.

My only question is who will hold down the streets? The biggest movement movin’ in the streets has always been the one to break the mainstream wide open. With his clout and the ability to learn from the past mistakes of others, it seems like Kanye’s got everything down pat. But with a clear void in the roster, you can’t help but think he’s skipping vital steps.

Mike Vick to be given the chance to rehab his career in Philly? It just didn’t make sense when the announcement was made last night that the PETA favorite was to be an Eagle, possibly unsettling incumbent QB—Pro Bowl-caliber for the last decade, mind you—Donovan McNabb.

Since Vick was released from house arrest and then reinstated into the league last month, speculation has been rife as to where he would land. Minnesota seemed the perfect fit, with a questionable QB situation as it stands and the league’s best tailback in Adrian Peterson there, who would undoubtedly benefit from the running threat Vick’s legs would pose.

But the football gods had different ideas, opting to have Vick backup McNabb. And that’s all he’ll do. Two years away from the game, Vick isn’t ready to orchestrate an NFL offense—not that he was particularly any good at that when he was playing full-time pre-penitentiary. And as McNabb revealed in today’s press conference (below), there’s no ill will between the two, as PR-savvy Donovan claims to have wanted Vick on the squad. After all, he’s been mentoring Mike since his high school days, he says.

Professionally, the move still seems to be a bad one, threatening McNabb’s position on the field. But really, as someone who’s known Vick for years, McNabb is entirely aware of his ability. And now he doesn’t have to look over his shoulder and worry about some scrub named Kevin Kolb coming in and torpedoing the Eagles’ season if he goes down with injury.

So with that measure of security, McNabb can get back to his old days when he was a running quarterback—kinda like how Mike is. Developing his arm over the years instead, he’s been forced to reign in his running instincts in an effort to stay safe and secure from concussion-inducing tackles. But now, he can let loose and utilize the depths of his talents. And Mike’s chillin’ in the cut patiently waiting to do the same.

Rivalry? Nah. Just some folks figuring out how to make football a friendly game for themselves.

Oh, no! Big Shyne Po, back in the muthafuckin’ heezy, fa sheezy” might be the first thought running through Puff’s head when Shyne walks out of jail after serving eight years in the NY penitentiary system. After all, it’s been said that Puff played Shyne on the way to his own acquittal and Shyne’s imprisonment. Naturally, after losing almost a decade of his life, Shyne may want some type of revenge on Puff. So, come October, for safety reasons—and of course, financially beneficially ones, too—Puff should consider the following approaches.

1. Hop on the last first train to Paris

With Shyne facing traveling restrictions due to terms of his parole, there’s no way he’d be able to chase Puff down across the pond in Paris, or even across state borders for that matter.

2. Hide behind Jay-Z

If the rumors are to be believed, Hova’s thinking about inking Shyne to Roc Nation, perhaps in an effort to keep the crown in Brooklyn—a problem when you consider Fabolous and Memphis Bleek’s careers up to this point.

Puff could even get in on the action and garner some goodwill by throwing Shyne some Grind Music beats for a possible album.

3. Pay his debt to Shyne

Since Shyne took the fall for Puff, the Bad Boy boss should hand over a suitcase full of millions, some of those light-skinned models from the Ciroc ads, make him the spokesperson of Ciroc, give him some Sean John billboards, and whatever else opportunities he has to offer. Shyne would know better than to sign a recording contract with Puff, though.

4. Executive produce Bad Boyz That’s Gangsta

Puff can commission a biopic on Shyne and call up Cheo Hodari Coker to pen it, using Shyne’s music—which in all likelihood Puff owns the masters of—in the film and on the soundtrack as well. The two could then break bread over the box office receipts.

5. Show up at Woodbourne Correctional Facility on October 6th.

Puff should be the first one to greet him there. Granted, Shyne might attack him or the omnipresence of press could sully the moment but if Puff were to offer a helping hand right as Shyne walks out, who knows what could happen? Hell, J.Lo could mediate any discussions.

There’s been no shortage of clothing lines by rappers over the years, but when you consider the ones that have actually survived the times, well, that’s a completely different story. The likes of Rocawear, Sean John, and (somehow) Phat Farm have been going on for a decade strong, mainly because of the lasting legacies of the personalities behind the brands.

Thus, it was the lines by rappers-of-the-moment trying to cash in that came and went, but even some big names couldn’t make their clothing work when they themselves always looked as if they couldn’t dress themselves. Here’s GIANT’s look back on all the lines that have faded into oblivion.

Since their breakout in ’02, The Clipse have soldiered on as ambassadors of the neighborhood pushas, weaving their intricate rhymes with the synthy sounds of The Neptunes. With their third album Til The Casket Drops looming this year, The Clipse have decided to finally expand their sound outside the grasps of Pharrell and Chad Hugo, also collaborating with the likes of Sean C and LV and DJ Khalil.

“It’s just about growing a little bit,” said Malice backstage at the New York stop of the DIESEL tour last night at Webster Hall. “This is the first album The Neptunes didn’t produce solely, 100%, and plus, the fans been calling out to us. They wanna see us get down on other cats’ tracks so that’s what we did.”

Evident from the first few leaks off Casket Drops, the Thornton brothers have also lyrically moved away from the dark “coke rap” label, cemented in particular by their last album, Hell Hath No Fury, where they rode mostly solo, with the exceptions of collabos with their Re-Up Gang cohorts. With their new lead single “Kinda Like A Big Deal,” the duo has turned to Kanye for a guest spot, as well as Keri Hilson for the most recent leak from the upcoming album. No, they haven’t gone soft, but it seems that after grabbing the respect of the critics, the duo is now shooting for mainstream props.

“I think we pretty much already proved our point,” added the older Thornton brother, alluding to claims they’ve made of being the best rap duo out. “We were never one to mingle and have a whole bunch of different features and allow the features to make up a good percent of the album. So this time, it was good to reach out.”

Though The Roots closed out last night’s DIESEL show in signature livewire fashion (with the exception of their collaboration with the ambitious, yet offbeat Lykke Li), The Clipse provided the biggest moment of the evening by bringing out Kanye West for a performance of the single (view below).

(Spotted at The Urban Daily)

Yet even before West hit the stage, the duo held the crowd in rapture with grimey street cuts such as “What Happened To That Boy” and “Keys Open Doors,” despite the fact that earlier in the evening, those in attendance were vibin’ out to DJ sets including the disco-tinged “Blind (Frankie Knuckles Remix)” by Hercules and Love Affair and performances from electro-hop act Theophilus London and the aforementioned onstage oddball Li.

Pusha T of The Clipse explained the group’s bridging-the-gap nature. “We have a strong voice, a diverse fan base, and people aren’t afraid of The Clipse,” said the younger Thornton brother. “They hear the electro side, as well as all the labels that’s put on us. It’s no biggie. Everybody loves us.”

If the duo stay the course on their current trajectory, Soundscan (or zShare download counters) will provide Pusha the confirmation to support his claim. Last night surely made it seem valid.

A glimpse at Pharrell’s BBC Hunting Pattern Collection will remind you of the fact that rappers (Pharrell gets a pass as one) should not, in almost all cases, dabble with fashion.

Unfortunately, when they do pursue it, not only are the designs poor, but they make them overpriced and exclusive to online-only “boutiques” to hide the shoddy quality of the actual clothing. With brands rolling out their fall collections, here’s a glimpse of what’s on the horizon for existing labels and those that are sure to spring up as they follow in the footsteps of sorely missed Vokal.

CURRENT BRANDS

The Clipse (Play Cloths)

The duo will ditch the hipster set in favor of their natural audience: aspiring street merchants and neighborhood pushas. Cloths’ smuggling-friendly attire — including garments already impregnated with liquid coke! — will soon be seen on every street corner and airport smoking lounge.

T.I. (Akoo)

With Tip in the box until May, prison garb would be more fitting for the king of himself, at least. Mix in his stand-in and Grand Hustle patna Young Dro’s penchant for Sour Skittles pastels and the fall line of jumpsuits will take a decidedly candy paint look.

FUTURE BRANDS

Charles Hamilton (Sonic The Hamilton)

With Interscope forced to shelve his album, the label will look to recoup their investment by packaging a Sonic The Hamilton pop-up book with Tiger Beat in promotion of a tween boutique brand of Sonic tees.

T-Pain (Thr33 Ringz)

Sure to be a staple at swap meet and flea market circuses across the south, Pain’s brand of top hats and ringmaster jackets are necessities of sideshow swag.

Taz Arnold (The Nerdz Gang)

Armed with a Kanye co-sign and a Paris Fashion Week-stealing Leopard print tights, Taz will unleash his future line (named after his kiddie Crenshaw gang), catering to all Liberace-Lupe-She-Ra-Flashdance-Polo enthusiasts — who also happen to be Arabian cowboys. In other words, no one… except for maybe Kanye.