Rappers Yo-Yo & Da Brat Explain Hip Hop's Gendered Double Standard: "You Always Want to Be F--kable"

Since the Grammys first introduced an award for Best Rap Performance in 1989, just two of its recipients have been women.
Rap icons and industry pioneers Yo-Yo and Da Brat look back at challenges faced by hip hop's women artists in this clip from Sunday's new True Hollywood Story, which will explore some aspects of sexism and sidelining amid a historically male-fronted music scene. "Hip hop female artists continuously reinvent themselves," Yo-Yo, a 1996 Grammy nominee and longtime female empowerment advocate, tells the camera. "You have to constantly stay hot or they move on to someone else."
Da Brat agrees that "you're expected to look a certain way" and "they want you to be beautiful," something she notes isn't true for men in similar positions. "Look at Biggie and Heavy D," she bites, going on to say that as a woman trying to hold her own in the hip hop space, "You always want to be f--kable."
In addition to recounting their experiences with sexist beauty standards, Yo-Yo and Da Brat share their thoughts on the early 2000s, a critical time for women in hip hop.
After decades spent making bangers that never seemed to earn them recognition the way it did their male counterparts, women rappers finally saw an opportunity for more equal ground in 2003, when a new accolade for Best Female Rap Solo Performance debuted at the Grammys.
"It was amazing when they finally gave women a solo category because we stand alone," recalls Da Brat, a two-time nominee. But the distinction only existed for two years (Missy Elliott, whose anthem "Get Ur Freak On" first won her the non-gendered title in 2002, took home the award for Best Female Rap Solo in 2003 and again in 2004) before the Academy did away with it due to "lack of releases" by artists who qualify.
Commenting on the reversal, Yo-Yo, who "sat on the board for the Grammys," says, "You know, no disrespect to them at that time, but they knew little about women in hip hop. And so I don't think they valued it that much."
Hear more from both women in the clip above.

New DC Universe Timeline Revealed

There are big changes coming to the DC Universe. That shouldn't come as a surprise, as DC continuity is always in flux, something recently illustrated in the pages of Doomsday Clock, which introduced the concept of a "metaverse" that allows for events of the past to shift as new stories are told. But still, superhero history can be tricky to navigate, and DC Comics is looking to clarify it all with a new timeline.  
Comic book time is a historically fluid affair, operating on a "sliding scale" that allows characters to age only at the pace necessary for the story (if at all), and very few characters are tied to specific dates in history. DC Comics continuity has generally avoided "fixing" its characters to particular points of the past, with notable exceptions for those who were necessarily of their era, like various Western heroes (Jonah Hex, Bat Lash) or the Justice Society of America, whose early adventures take place between approximately 1939 and 1950. It was generally considered that the "modern age" of DC superheroes was roughly a decade old, and everything else moved around the timeline accordingly. But with the post-Flashpoint reboot of the entire DC Universe in 2011, the traditional Justice Society were removed from the "main" DC Earth in favor of a new timeline in which superheroes had only existed for the last five years. 
Since 2016's Rebirth relaunch of the entire DC line and in the pages of The Flash, Doomsday Clock, and Justice League, the original JSA have started to reappear in the DCU, once again establishing that superheroes have been around since at least the 1940s. To further solidify this reclaimed continuity, DC is creating a comprehensive timeline of major events in DCU history, the first of its kind in roughly a decade, and apparently the most significant continuity-shaping effort since 1994's continuity altering Zero Hour event.
"When we launched the New 52 there was a lot of great excitement that came along with that," Dan Didio told the DC Nation panel at NYCC. "For us, it helped validate a lot of things we knew. There's a large fanbase that loves our characters and they were looking to come in at a place where they were interesting, exciting, and new and fresh. But what might have slipped up was that while we started everything brand new, when we started getting deeper in, we didn't spend the same amount of time as we did at the start to figure out what worked into continuity and what didn't." 
Two key complaints about the New 52 era were the loss of legacy characters like Wally West, and the question of what "happened" in the newly compressed timeline and what didn't. Issues of legacy (and hints about the timeline) were addressed in 2016's DC Universe: Rebirth special, and Didio told the NYCC crowd they're ready to solve the rest.
"We know that what's important about comics is that immersive sense of what the world is, what's going on, and how it all works together," Didio said. "When we see things happening in film and television where they're building universes, and if we're not doing it in comics, the place that inspired them, then we seem like we're failing. So we're starting to figure out how the DC line works a little bit better now."
This doesn't mean that yet another reboot of DC Comics continuity is in the cards. Instead, it sounds like DC will continue their tradition of simply revealing new elements of history or slightly reshuffling chronology as needed, without the need for a New 52-style hard reset. In the wake of Rebirth, DC revealed that Wally West had a career with Barry Allen, a past with Dick Grayson, and a history with the Titans, all of which (including the main era of the Titans itself) had merely been forgotten. Recent events in the pages of Doomsday Clock and Justice League have reintroduced the Justice Society both to continuity and in their original era, while in the pages of Superman, the Legion of Super-Heroes (albeit a rebooted version, to be fair) made their return.
"The whole idea here right now is from our standpoint we are trying to organize our stories in a way that makes cohesive sense from beginning to end, from the start of DC Comics to today," Didio said. "This timeline will build a continuity that makes sense across all our characters, showing when they were first introduced, how they interact with each other in one big story that will be the basis for all DC Comics for the future...What you see right now is a story that will be consistent, because ultimately, when you guys get all upset or concerned about reboots and restarts, those things occur because the stories stop making sense and the continuity basically slows down our storytelling and nothing's being done at the same style or pace."
To keep things on track, DC continuity has been split into "generations." An intricate spreadsheet was flashed on the NYCC screens that identified four generations of DC storytelling, and hinted at what's to come.
Perhaps the biggest reveal was that Generation 1 begins not with Superman, but with Wonder Woman. "When Wonder Woman arrives in the United States, that starts our storytelling," Didio said, before joking, "Oh wait, I don't remember reading that." 
It's true. Diana has never been considered the starting point for DC superheroes, with that honor traditionally going to either Superman or the JSA. But making Wonder Woman DC's first major costumed hero makes sense, especially given the success of the first Wonder Woman movie, which placed her first appearance during World War I. From the spreadsheet shown on the screen, the Justice Society would form shortly after (and recent events in Justice League place their formation in 1940, roughly around the time of their first publication). Generation 1 appears to end with the disbanding of the Justice Society, but it was tough to get a good look.
"The start of the second generation is the advent of the modern age of heroes, when Superman first appears," Didio said, before joking "wait a minute, I don't remember reading that either!" Whatever DC has planned, it seems like key moments in DC history will be explored once this full timeline is revealed.
Generation 2 also looks like it includes the formation of the Justice League, the discovery of the multiverse, the rise of Robin, Batgirl, and the Teen Titans, and all the way through Crisis on Infinite Earths.
Generation 3 appears to include the post-Crisis years, including massive, status quo changing events of the '90s and early 2000s like the death of Jason Todd in Death in the Family, the Death of Superman, Grant Morrison's JLA run, and others, before ending with Flashpoint. 
Generation 4 encompasses the current era of DC storytelling, roughly Rebirth to now, including recent events like Dark Nights: Metal, Doomsday Clock, and Year of the Villain.
This isn't comprehensive and is only what I could spot at a distance on the screens. And it should be made clear that these "generations" aren't tied to the eras in which their stories were published. In other words, even though Generation 3 includes stories published between 1986 and 2011, the events themselves almost certainly all took place within the last 5-10 years of DC Comics time. The "sliding scale" of comics time will apply to everything other than the characters and events (such as the formation of the JSA) that they feel are essential to their era.
During other interviews at New York Comic Con, I tried to get notable DC creators to spill some details about the timeline. They were understandably and diplomatically vague.
Joshua Williamson, the architect of the Flash's past and future since 2016, had this to say when asked if he had considered the new timeline when crafting The Flash: Year One, "I think next year you'll see where things start to line up, and there's things that will tie back into The Flash: Year One that you'll see were left behind on purpose," Williamson says. "There were little clues in there, these little clues I've been planting in the book for a long time, so you'll see it will all add up eventually."
Recently, Justice League even reintroduced the Will Payton version of Starman, not as a contemporary hero, but one who was first active in the late 1980s and early 1990s. In other words, roughly the period when he was first published in a comic series by Roger Stern and Tom Lyle. Justice League, written by Scott Snyder and James Tynion IV, has been re-establishing the very rules and core concepts of the DC Universe from the outset, and hints of DC's new timeline can be found there.
"The biggest thing that we can say is we're right in the midst of the biggest story that we've told, and all of the threads that we've been playing with the start of Dark Nights: Metal are starting to converge and hit in this really, really big way," Tynion says. "We have lots more answers to a lot of these questions that we really can't get into. We want people speculating, we want people wondering what we're building and all of that, because we're building something that I think long-term fans of the DC Universe and new fans of the DC Universe are going to be thrilled by. The stories that we're telling are some of the most exciting work that I've done since joining DC Comics eight years ago. It's freaking amazing working with Scott and bringing it all to life."
We'll have more from Scott Snyder, James Tynion IV, and Joshua Williamson about their corners of the DC Universe in the coming days.
(Thanks to Jim Dandy for helping me keep all this straight!)
Mike Cecchini is the Editor in Chief of Den of Geek. You can read more of his work here. Follow him on Twitter @wayoutstuff.
Read and download the Den of Geek NYCC 2019 Special Edition Magazine right here!

77 Skeletons by Morsifire is DEEP #Flyahreview

Far and few artist can make good music that can cross genres. Morsifire can, and when you hear him say “I seen the devil two times,” on 77 Skeletons, you get the feeling, he knows it.

Born Andrew Seely and raised by his drug addicted single mother, Morsifire’s experiences are packed not only in the visually effective video for 77 Skeletons, but also apparent in the rock inspired hook.

Morsifire transcends even higher; on the track “Contact”,  when he pulls you in and stops mid verse and raps, “ She’s actually gone.”
Moments like this when he reflects on going through the hurt of loosing his sister, “Every September,” let’s us know that Morsifire has enough heartfelt experiences to fill any rhyme book. This coupled with his genre jumping style, informs us we are in for a journey. 

In a time when it may be a bit harder to find great music, tune into Morisfires’s debut LP, Metanoia you’ll be glad you did. 

Nigel illbadaa Greer


Rocket produces very energetic pop #Flyah Review

Performing with high energy, Indie pop rock band Rocket has boosted their morale to be acclaimed like groups such as Paramore & Social Distortion. They have been committed to their craft since their formation in 2013; being the voice against naysayers claiming that they don't fit in, Rocket continue to break down the stereotype with their single "Giants". When i first played this magical song I was instantly drawn in by the lyrics and energy of the vibe; I was immediately brought into the perspective by the lead singer of Rocket, Janelle Barretto, pushing the envelope forward by expressing and depicting the ruling of the stars above while fighting against the doubters.  

The song speaks about holding on to hope giving revelation that it's time to shine in the sense of love.  This concept is feeding us motivation and strength to over come any battle.  Giants is a record that can be played on an everyday basis to uplift your spirits and make you think you can conquer the world with love. The sound behind the lyrics puts the song next to various soundtracks of movies from the 80's such as Wayne's World and High Times at Ridgemont High. It's definitely something that appeals to the youth and the lyrics are very pleasant to hear over and over again. Rocket has a bright future ahead of them and their fan base is going to grow even larger as long as they continue on the course on what they have presented here. If i had to rate Rocket on a scale of 1 to 10, it will be a 8 for energy, the message comprised in beautiful lyrics, togetherness and awesome instrumentation.


Humdrum Sun Drops their Indie rock Single "More Armor"

Humdrum Sun Drops their Indie rock Single "More Armor"

"More Armor" is a very poppy, fun, indie rock track with hints of pop punk and more. It's extremely easy to get sucked into the energy of the song and it does become quite addicting fast. The end of the track brings to mind bands like Weezer with garage toned guitars and a damn strong spirit. 

For Humdrum Sun, the single is a taste of what's to come on their upcoming release set to be a full length album. Either way these guys have a great sound and once you get "More Armor" into your blood stream you'll certainly want some more. 

Check out the single at:


The Dream-Pop of Anson Jones

The Dream-Pop of Anson Jones 

Anson Jones definitely utilizes his experience in production and songwriting in his Wait & Wait EP. Flowing synths, and passionate vocals, songs swell with emotion the deeper you dig in. The thing about this EP is that even though it's certainly powerful dream pop, there is more emphasis on the pop side of things. 

"Let You Go" seeps in and doesn't let go. There's plenty going on in the atmosphere of the track that keeps it growing. Building instruments and melodies swirl around into a solid piece of work. 

A very strong effort from  Anson Jones you can listen to everywhere! 


LA Based rockers Populuxe Bring a retro but fresh sound! #Flyah Review

Check out  the latest from LA-based indie rockers Populuxe. Their ear-catching, R&B-touched jams and soulful lyrics bring to mind disparate, but wonderful acts like Spoon and Curtis Mayfield.

A blend between rock and soul sounds, Populuxe display a combination unorthodox in modern and contemporary genre of music. Listening to the music makes you feel like the air is lifting you off the ground and giving a bird's eye view of today's times. The single "Where Did I Go Wrong" asks a question of when did life take a terrible turn. A metaphoric expression using the concept of cause and effect yet in a perspective of disaster. Sometimes when placed in a situation a person tends to ask the specific question on how the world is changing fast upon them. The cover even details this concept; using an egg shell that hatches new life yet the egg shell is broken. 

Their newest LP, Beauty in the Broken Place, is a concept album, bordering on rock opera turf - a wide scope, high fidelity sweep grounded by a collective love of Curtis Mayfield, Sly Stone, and Stevie Wonder, and held aloft by an equal love for the complex, shiny dirt of King Crimson, Zappa and Zeppelin; it’s warm and close, with the humanism, defiance, and clear-eyed compassion that defined much of the rock and R&B records of the early 70’s.  
The multi-faceted LP holds a mirror to the current Western cultural crisis through the prism of the Tree of Life Synagogue massacre on October 27, 2018, when Shabbat morning services were interrupted by a terrorist assault, resulting in 11 dead and 7 injured. “It’s an event that clearly has much broader implications,” band Spearhead Rob Shapiro reflects. “The massacre hit me hard, and I was incredibly moved when people congregated in Prospect Park that night and spontaneously sang Kaddish (the Jewish prayer of mourning.) That was the moment when the title sort of announced itself to me (“beauty in the broken place”), and within hours I started writing, and then the material and arc just started to pour out. I did my best to ride the biggest wave I ever caught.” 

Beauty in the Broken Place opens a realm of poetry foreshadowing both positive and negative in which all aspects of life is recorded through riffs of guitars percussion and other melodic instruments. Deep messages are meant to be heard from an artist or band and are in line of invoking emotion with such creative insight; Populuxe really bring these elements out in their songs which make them a unique group. The album sticks to its themes and even has tracks in between that set the atmosphere of being in darkness. If i had to rate Populuxe on a scale of 1 to 10, i'll give it a 8 for originality a clear message and awesome delivery.

sharable single: "Where Did I Go Wrong"

Their new LP, Beauty in the Broken Place, is due out 10/27

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