Of Viktor Vaughn zoals u wilt. Een topic voor deze eigenzinnige rapper/producer lijkt mij wel op z'n plaats.
quote:Met recht een van de meest interessante figuren binnen de huidige hiphop. Wat jullie?Patterning his persona and logo after the Marvel Comics supervillain Dr. Doom, the man behind MF (Metal Face) Doom's iron mask is actually Daniel Dumile, aka Zev Love X, a member of former Big Apple hip-hoppers KMD. First featured on the 3rd Bass single "The Gas Face," the London-born, Long Island-raised Zev made his debut with KMD a couple of years later, along with his younger brother and musical partner DJ Subroc. The 1991 album Mr. Hood, released on Elektra Records, was part of a short-lived trend of Islamic Five Percent Nation hip-hop outings, along with efforts by groups like Poor Righteous Teachers and KMD's labelmates Brand Nubian. However, Subroc was fatally injured in 1993 when he was struck by a car, and when Zev and KMD returned the next year, it was with the even more serious and miltant Bl_ck B_st_rds, an album whose cover art alone (featuring a Little Black Sambo-ish cartoon character being hanged) spelled the end of the group's contract with Elektra. With the album in limbo, Zev went underground for five years, "recovering from his wounds" and swearing revenge "against the industry that so badly deformed him," according to his official bio, a reworking of Dr. Doom's origin. Meanwhile, Bl_ck B_st_rds was heavily bootlegged and Zev Love's legend grew, but few knew at first that the rapper who began showing up at the Nuyorican Poets Café in 1998, freestyling with a stocking covering his face, was actually Zev. The imaginative MC finally ended the mystery in 1999, resurfacing in his new identity as MF Doom and making up for lost time with a critically praised new album, Operation: Doomsday, on indie label Fondle 'Em Records. The following year saw the long-awaited official release of Bl_ck B_st_rds (complete with Sambo-style cover art), as well as several singles and an EP with fellow rhymer MF Grimm. In 2001, SubVerse re-released Operation: Doomsday and Bl_ck B_st_rds. A wealth of bootlegs, compilation appearances, mixtapes, and instrumental albums (the beloved by DJ's Special Herbs series) surfaced over the years but no follow-up full-length until Doom introduced his alter ego, Viktor Vaughan, in 2003 with Vaudeville Villain. His team-up with the multi-talented Madlib became Madvillain and their April 2004 release, Madvillainy drew rave reviews. Four months later Venomous Villain marked the return of Viktor Vaughan with the second MF Doom album, MM… Food?, appearing in November the same year. The formerly promo-only Live From Planet X got its aboveground release in March of 2005 with Special Herbs, Vol. 9-10 following in July.
http://www.mfdoomsite.com/
moet nog steeds wat cd's van hem halen(En die gene die ik het liefst wil,Operation doomsday is nergens te vinden,behalve veels te duur)
.
quote:Operation Doomsday is best wel raar als je de andere albums kent.Op maandag 30 januari 2006 23:21 schreef Uzumaki_Naruto het volgende:
(En die gene die ik het liefst wil,Operation doomsday is nergens te vinden,behalve veels te duur)
.
quote:Ja, The Mouse and the Mask van Dangerdoom staat er vol mee.Op maandag 30 januari 2006 23:28 schreef Grobbel het volgende:
Ook een behoorlijke stripboeken-nerd, naar het schijnt. Had ie ook niet onlangs iets met Adult Swim samples gedaan, trouwens?
Ik ken die hele serie echter helaas niet
. Maar goed, weer on-topic.
quote:Hij schijnt ook te gaan samenwerken met Prince Paul...Op dinsdag 31 januari 2006 01:12 schreef Summoner het volgende:
Ben erg benieuwd naar zijn collaboratie met Ghostface. Dangerdoom vond ik erg leuk, al haalt 'ie het lang niet bij Madvillain IMO. Wat mij betreft brengt Doom ook nog eens een nieuwe King Geedorah plaat uit. "Take Me To Your Leader" behoort samen met Vaughn's "Vaudeville Villain" tot m'n favoriete Doom-albums.
MF DOOM
Viktor Vaughn en King Geedorah vond ik ook leuk om te horen (dank u, heerschap Mar10Segovia), al vond ik die persoonlijk iets minder dan The mouse and the mask en Madvillainy.
Ghostface meets MF Doom - Operation Ironman is wat mij betreft een van de betere platen, het Wu Tang sausje doet het goed met MF Doom. Danger Doom is leuk maar haalt het inderdaad niet bij King Gedorah. Het enige 'probleem' (in het algemeen) is dat alles op een gegeven moment een beetje op elkaar begint te lijken, het is niet enorm divers, en er is zoveel.
Hier kan je een clip van Madvillain bekijken overigens:
Madvillain - Rhinestone Cowboy
quote:persoonlijk zie ik zelf ook uit naar wat hij met Ghostface gaat doenOp dinsdag 31 januari 2006 01:12 schreef Summoner het volgende:
Ben erg benieuwd naar zijn collaboratie met Ghostface. Dangerdoom vond ik erg leuk, al haalt 'ie het lang niet bij Madvillain IMO. Wat mij betreft brengt Doom ook nog eens een nieuwe King Geedorah plaat uit. "Take Me To Your Leader" behoort samen met Vaughn's "Vaudeville Villain" tot m'n favoriete Doom-albums.
vind die track die hij met ghostface op Dangerdoom doet een van de betere tracks op het album
quote:Woah!Op dinsdag 31 januari 2006 08:33 schreef Mar10Segovia het volgende:
Hij schijnt ook te gaan samenwerken met Prince Paul...
luister nu naar de Special Herbs 0-9 boxset(mp3)
staan wel toffe beats tussen
Ik heb wel de Special Blends vol. 1 & 2, waarop Doom z'n eigen beats onder allerlei hiphop klassiekers plakt. Levert soms leuke hybrides op.
quote:gewoon cd's (op drie cd's op cd 1&2 Special herbs 0 t/m 9 en op cd 3 tien KMD instrumentals)Op donderdag 2 februari 2006 20:49 schreef Summoner het volgende:
Is dat van een nieuwe vinyl boxset? Ik heb nog geen enkele van z'n Special Herbs platen, dus zo'n boxset lijkt me misschien wel een aardig cadeautje voor mezelf.
Ik heb wel de Special Blends vol. 1 & 2, waarop Doom z'n eigen beats onder allerlei hiphop klassiekers plakt. Levert soms leuke hybrides op.
uitgegeven door Nature Sounds
Label..........: Nature Sounds
Genre..........: Hip-Hop
Rip Date.......: Jan-17-2006
Release Date...: Jan-24-2006
Source.........: CDDA
Quality........: LAME 3.90.3 APS VBRkbps Joint-Stereo
Size.CD1.......: 70,3 MB
Size.CD2.......: 74,5 MB
Size.CD3.......: 40,2 MB
Release Info...: http://www.mfdoomsite.com/
http://youtube.com/results?search=mf+doom&search_type=search_videos&search=Search
Leuke site, dat You Tube.
.quote:zal eens kijkenOp maandag 6 februari 2006 17:11 schreef Z het volgende:
Wellicht al bekend maar You Tube is een site waar je filmpjes e.d. kan uploaden. Er zijn ook veel clips te vinden, en opname's van concerten of optredens in televisieshows enz. Van MF Doom vond ik een koel optreden met De La Soul, en wat leuke clips:
http://youtube.com/results?search=mf+doom&search_type=search_videos&search=Search
Leuke site, dat You Tube.
Maar ik hoop ergens toch niet dat hij zo'n mainstream artiest wordt. Zijn populariteit is aanzienlijk toegenomen met Madvillainy, Dangerdoom en recent werk met Ghostface. Meestal pakt dat slecht uit.
quote:thanks!!Op zaterdag 3 juni 2006 11:46 schreef DaisyDuke het volgende:
Zoals al elders vermeld werd, hier is een gratis E.P. van Danger Doom te downloaden!
De Sofa King Remix is beter dan het orgineel, heerlijk jazzy sfeertje eroverheen.
quote:maar het origineel is ook niet slechtOp zaterdag 3 juni 2006 12:26 schreef pfaf het volgende:
Dope.
De Sofa King Remix is beter dan het orgineel, heerlijk jazzy sfeertje eroverheen.
quote:Leek het alsof ik dat zei?!Op zaterdag 3 juni 2006 12:29 schreef Uzumaki_Naruto het volgende:
[..]
maar het origineel is ook niet slecht
quote:ik quote je om dat ik het daar mee eens was
maaaar het origineel ook goed is
quote:nietus!Op woensdag 26 juli 2006 19:28 schreef Maverick_tfd het volgende:
Hij heeft de helm van Maximus (The Gladiator) op
[afbeelding]
het masker van doctor Doom
quote:alleen dan glad aan de bovenkant, maar het zal een traditioneel romeins ontwerp zijnOp woensdag 26 juli 2006 19:28 schreef Maverick_tfd het volgende:
Hij heeft de helm van Maximus (The Gladiator) op
[afbeelding]
*luistert net operation doomsday*
die beat van hey!
http://www.myspace.com/madvillain
Zeer vette nummers, mede met Doom
quote:Hee, is dat een officiële release?Op donderdag 7 september 2006 23:30 schreef RudyCarell het volgende:
[[url=http://xs106.xs.to/xs106/06364/masta.jpg]afbeelding][/url]
Zeer vette nummers, mede met Doom
Laters!!
AA
quote:Op donderdag 21 september 2006 12:36 schreef AboruAsli het volgende:
[..]
Hee, is dat een officiële release?
Laters!!
AA
quote:Ook leuk van de nieuwe itunesMasta Killa : Made in Brooklyn IN STORES TODAY!!!
Published August 8th, 2006 (08:46)
This is the day we've been waiting for!! Masta Killa's new album Made In Brooklyn is offically in stores today, and also available all across the world wide web. It features the ENTIRE Wu Tang Clan and includes production from Pete Rock, MF DOOM, Bronze Nazareth and more!
Check our dates section to see what shows are left in the Wu Tang tour, and make sure you COP THE ALBUM!!!
[ Bericht 24% gewijzigd door RudyCarell op 21-09-2006 20:33:13 ]
quote:Is een soort van verzamelaar of wat?Op dinsdag 10 oktober 2006 11:08 schreef RudyCarell het volgende:
Nieuwe cd van Doom - MF Dope en Chrome Children is ook een aanrader, met beats van Madlib etc...
Overigens vind ik die Chrome Children cd wat tegenvallen.
quote:Idd het is denk een verzamelaar, en Chrome Children vind ik toch wel aardig,maar geen topper. Er is wel weer een nieuwe track met Ghostface en Doom.Op dinsdag 10 oktober 2006 21:23 schreef Mar10Segovia het volgende:
Inderdaad ja, is een compilatiealbum met nummers van zijn verschillende aliassen.
Overigens vind ik die Chrome Children cd wat tegenvallen.
En MF Doom Nike's kome eraan
quote:Weet niet... Het is zijn nog maar nieuwsitemsOp woensdag 11 oktober 2006 09:57 schreef Z het volgende:
Waar ga je die Nikes kunnen bestellen?
quote:MF DOOM Nike's? WTF? Is dat for real?Op woensdag 11 oktober 2006 09:55 schreef RudyCarell het volgende:
[..]
Idd het is denk een verzamelaar, en Chrome Children vind ik toch wel aardig,maar geen topper. Er is wel weer een nieuwe track met Ghostface en Doom.
En MF Doom Nike's kome eraan
[afbeelding]
Wist niet dat de backpacker markt zo lucratief was...
Laters!!
AA
quote:COOL!Op woensdag 11 oktober 2006 10:31 schreef Z het volgende:
Ik zag dat er ook Madlib Dunks zijn.
quote:Ugly! Vind die DOOM dunks cooler...
Laters!!
AA
.quote:Meiertje of 2 denk ik...Op woensdag 11 oktober 2006 13:12 schreef S-Two het volgende:
Die dingen zullen wel fuckin duur worden
Omgeving Rotterdam graag
quote:Doe maar GroningenOp donderdag 2 november 2006 11:10 schreef Mar10Segovia het volgende:
Goed bezig, ben benieuwd.
Omgeving Rotterdam graag
quote:Locatie is al bekend... Leiden, LVC. Wordt waarschijnlijk ook kleinschalig (zeg 150 man). Maar NIETS is nog duidelijk, we hebben enkel de haalbaarheid nog bekeken.Op donderdag 2 november 2006 11:10 schreef Mar10Segovia het volgende:
Goed bezig, ben benieuwd.
Omgeving Rotterdam graag
)quote:Op vrijdag 3 november 2006 13:23 schreef Z het volgende:
Is dat niet 'wishful thinking'? Ik bedoel als je dan een kaartprijs hebt van 100 euro heb je een budget van 15000 euro, daar redt je het toch niet mee? Of zie ik dat verkeerd (waar ik op hoop
een budget van 15.000 euro lijkt me wel voldoende andersik kan ze met 50% korting krijgen
quote:Er moet een aantal(?) mensen uit Amerika overkomen, en die moeten ergens slapen en er nog wat aan verdienen, volgens mij red je dat nooit...Op vrijdag 3 november 2006 15:21 schreef jimjim1983 het volgende:
[..]
quote:volgens mij wel. tenzij het gewoon veel kost om hem in te huren, maar een hotel en ticket kost je echt niet zo heel veel.Op vrijdag 3 november 2006 15:32 schreef Z het volgende:
[..]
Er moet een aantal(?) mensen uit Amerika overkomen, en die moeten ergens slapen en er nog wat aan verdienen, volgens mij red je dat nooit...
quote:doe mij maar een 45 dan!Op vrijdag 3 november 2006 15:21 schreef jimjim1983 het volgende:
zijn die schoenen al verkrijgbaar trouwens?
ik kan ze met 50% korting krijgen
quote:Ja dit jaar komt de nieuwe collaberation met Ghostface Killah!Op dinsdag 20 maart 2007 12:31 schreef Z het volgende:
Zijn site is al tijden niet ge-update. Is er iets van nieuws? Is hij ergens mee bezig?
quote:MM..FOOD Re-Release
Seconds, anyone?
On June 19th, 2007, we'll be re-releasing MF DOOM's follow-up to the groundbreaking Operation: Doomsday. This release includes a BONUS DVD with over an hour of live footage, a limited edition sticker, and a poster by Burlesque Design.
quote:UPCOMING:Op woensdag 20 juni 2007 14:43 schreef Z het volgende:
Ik wil nieuw spul!
MF DOOM-MM FOOD CD/DVD JULY 24, 2007 (RHYMESAYERS)
GHOSTFACE-DOOM COLLAB "SWIFT & CHANGEABLE" (NATURE SOUNDS)
MADVILLAIN MADLIB-DOOM PT. 2 (STONES THROW)
Er komen ook weer MF Doom Nikes, dunks om precies te zijn, echt mooi vind ik ze niet ...
http://www.hypebeast.com/2007/06/mf-doom-x-nike-sb-dunk-high/
quote:ik vind ze wel vet! maar heb nu deze net gehaald...Op woensdag 20 juni 2007 15:29 schreef Z het volgende:
Mooi!
Er komen ook weer MF Doom Nikes, dunks om precies te zijn, echt mooi vind ik ze niet ...
http://www.hypebeast.com/2007/06/mf-doom-x-nike-sb-dunk-high/
Er zijn nog meer vette!
quote:Vind het wel vette schoenen!Op woensdag 20 juni 2007 15:29 schreef Z het volgende:
Mooi!
Er komen ook weer MF Doom Nikes, dunks om precies te zijn, echt mooi vind ik ze niet ...
http://www.hypebeast.com/2007/06/mf-doom-x-nike-sb-dunk-high/
Maar ik wist niet dat hij een samenwerking had met Nike...
En ik vind het een tof nummer. Alvast een mooi voorproefje op zijn nieuwe album dus, die ergens in maart verschijnt.
quote:Die zal ik eens checkenOp dinsdag 24 februari 2009 21:27 schreef Z het volgende:
http://nahright.com/news/(...)produced-by-j-dilla/
quote:aightOp woensdag 25 februari 2009 17:06 schreef CabinFever het volgende:
Good Newz is coming ... release date 24 maart ...
http://www.musicmeter.nl/album/155186
En natuurlijk de DOOM - Born Like This Promo EP
quote:Hee JJ! Alles goed man?
http://www.missinfo.tv/in(...)town-wars-videogame/
quote:Hij staat overigens op de 3VOOR12 Luisterpaal, voor de geïnteresseerden. Mijn eerste, korte indruk bij de Velvet was in ieder geval goed.1 Supervillain Intro
2 Gazzillion Ear
3 Ballskin
4 Yessir!
5 Absolutely
6 Rap Ambush
7 Lightworks
8 Batty Boyz
9 Angelz
10 Cellz
11 Still Dope
12 Microwave Mayo
13 More Rhymin'
14 That's That
15 Supervillainz
16 Bumpy's Message
17 Thank Yah
quote:Op vrijdag 20 maart 2009 22:07 schreef Mar10Segovia het volgende:
Inmiddels is dan eindelijk zijn nieuwe album Born Like This uit en te koop bij de betere platenzaken.
[ afbeelding ]
[..]
Hij staat overigens op de 3VOOR12 Luisterpaal, voor de geïnteresseerden. Mijn eerste, korte indruk bij de Velvet was in ieder geval goed.
hier in dit kut gat nergens te vinden
quote:Ik ben erbij!Donderdag 4 maart 2010
DOOM - 5 DAYS OFF - DAY2
De Amerikaanse rapper Doom (voorheen: MF Doom, en nog verder terug in de tijd bekend als Zev Love X van de groep KMD, naast nog meer buitenissige psuedoniemen) is dé cult-hiphopper van de afgelopen tien jaar. Afficionado’s zweren bij zijn onnavolgbare rijmschema’s, onwaarschijnlijke verhalen en onverschrokken flow. Dooms in 2009 verschenen zesde soloplaat ‘Born Like This’ was één van de sterkste hiphop-albums van het jaar. En dan hebben we zijn projecten met producers Madlib (Madvillain, 2004) en Danger Mouse (Danger Doom, 2005) nog niet eens genoemd. De gemaskerde ‘super villain’, onlangs nog geremixt door Thom Yorke, heeft in zijn ruim twintigjarige carrière nog nooit eerder in Nederland opgetreden.
Deze is ook erg tof, een samenwerking tussen MF DOOM en Madlib (Ook bekend van Quasimoto).
quote:Joh!Op vrijdag 8 januari 2010 13:52 schreef On het volgende:
[ afbeelding ]
Deze is ook erg tof, een samenwerking tussen MF DOOM en Madlib (Ook bekend van Quasimoto).
quote:
JAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!!!
[..]
Ik ben erbij!
[ Bericht 100% gewijzigd door vault_tec op 08-01-2010 22:09:45 ]
quote:Doomposters!Op zaterdag 9 januari 2010 20:03 schreef VeX- het volgende:
Live is hij soms wel lame. Ik kan me nog de berichten herinneren over shows in Amerika waarbij hij iemand anders als hem liet optreden.
Je moet het volledige interview eens lezen uit The New Yorker: The Mask of Doom; A nonconformist rapper's second act.
The Mask of Doom; A nonconformist rapper's second act
By: Ta-Nehisi Coates
I first heard the rapper Daniel Dumile (pronounced DOOM-ee-lay) when I was fourteen and hip-hop was just be-ginning to bloom. The music was not so much "CNN for black people," as Chuck D would later dub it, as a lingua franca. I came up awkward in West Baltimore-a tall black boy with no jumper, no gear, and no game. But my mastery of the arcane verses of X-Clan, my sense that the decoupling of EPMD was an irreparable tragedy, and my abiding hatred of Vanilla Ice ushered me into the scowling ranks of my generation.
In those days, you could tune in to "Yo! MTV Raps" and see everything from the gangsta stylings of N.W.A. to the mysticism of Rakim and the goofy musings of the Afros. This was the heyday of sampling most rap was too small for lawsuits and a hardass beat could come from
anything: the opening piano riff from Otis Redding's "Hard to Handle,"
the horns from Inspector Gadget's theme song, a hook from "Schoolhouse Rock."
Dumile was typical of that motley generation. Performing under the name Zevlove X, he made his début in 1989 with a verse on a song called "The Gas Face," the second single by the group 3rd Bass. In the video, an assortment of hip-hop royalty gives "the gas face" (a maneuver that involves shaking your face in a slack-jawed manner, while moan-ing) to Adolf Hitler, the South African President P. W.
Botha, and the mainstream rapper MC Hammer. Dumile, who was eighteen years old when the video was made, wears a gas-station attendant's uniform and a baseball cap cocked to the side. His babyish face seems to shrink behind a pair of oversized glasses.
Two years later, as a member of the group KMD, Dumile released the album "Mr. Hood." It was uneven, notable mostly for the cult hit "Peach Fuzz" ("By the hairs of my chinny chin chin, gots many plus plenty / String by string, I think I counts like twenty").
Dumile's style is vibrant and freewheeling; he skates over the beat, undisturbed by guitar and piano riffs, sliding words into the empty spaces between the snare and the kick drums. "At the time, it was people coming out everywhere," he told me recently. "It was 'Such-and- such over there is live. Such-and-such over here is live.' And we were all going hard. It was slightly competitive, and everyone was blowing before us. We were kind of the fringe group. It was like, 'You know about KMD, yo?' "
KMD never got the chance to blow up. In 1993, Dumile's brother Dingilizwe, also a member of KMD and known as Subroc, was hit by a car and killed. Later that year, KMD's label, Elektra, refused to release the group's second al-bum, "Black Bastards," fearing a controversy over the cover art (a Sambo figure being sent to the gallows). The group left the label, just as rap's commercial appeal was becoming undeniable. Artists like Snoop, Tupac, and Dr. Dre were going multiplatinum, and by the end of the decade rap had gone from American cult music to American pop music.
Meanwhile, I kept the assembled works of Wu-Tang Clan on repeat and stewed, convinced that somewhere around 1998 hip-hop had run out of things to say. I was not alone. Disaffected music fans began to refer to the halcyon days of the eighties and nineties-when every rapper had a d.j., and label owners didn't vamp in videos, confusing themselves with artists-as "the Golden Era."
We were the kind of fundamentalists that haunt every genre of popular music. By the end of the nineties, we had started seeking a sound that offered something other than guns, girls, and drugs. Some of us found neo-soul. Others got lost in our parents' jazz records. And still others were radicalized and turned to U2 and Björk.
Dumile vanished from the national scene and began living as a civilian in New York City. He had a child. "I was just doing regular stuff, just raising my son," he told me.
Then, in 1999, Dumile released a solo record, "Operation: Doomsday,"
under the moniker Metal Face Doom. His verbal agility was intact, and his lyrics had grown more sinister. There was a mean streak to his humor, and he made references to the death of his brother ("On Doomsday-ever since the womb, till I'm back where my brother went / That's what my tomb will say"). And something else-Dumile, in the guise of MF Doom, did literally what most rappers only do
metaphorically: he wore a mask.
A rap album is an auto biographical comic book, whose author styles himself as a twisted, oft put-upon antihero. Carlton Ridenhour, a Long Island native who studied graphic design in college, picked up a mike and became Chuck D, an enemy of the state, a revealer of racist conspiracies, a militant watched by the F.B.I. Christopher Wallace was morbidly obese and, by his own assessment, "black and ugly as ever,"
but when he became Biggie Smalls he transformed himself into a Lothario whose hits, like "One More Chance," portrayed him as a prolific cuckold artist-"Where you at flipping jobs, playing car- notes? / While I'm swimming in your women like the breaststroke." At various moments, the rapper Nas billed himself as Nasty Nas (corner seer), Nas Escobar (gangsta drug kingpin), and Nastradamus (sanctimo- nious, persecuted celebrity).
When Dumile began performing as MF Doom, he extended hip-hop's obsession with façades. While other m.c.s fashioned themselves after outlaws, thugs, or drug dealers, Dumile, whose handle is inspired by the Fantastic Four vil-lain Dr. Doom, called himself "the Supervillain." When he raps, he often refers to Doom in the third person. Other m.c.s are obsessed with machismo; Dumile is obsessed with "Star Trek" and "Logan's Run."
When I rediscovered Dumile, in his new guise, I was on the cusp of fatherhood and lifepartnership, and considering divorce from the music of my youth. My outlook was that of any Golden Age proponent-I was worn down by the petty beefs between rappers, by the murders of Tupac and Biggie, and by the music's assumption of all the trappings of the celebrity culture in which it now existed.
Doom's music was revanche, and the Doom persona felt as though it had emerged from the graveyard of rappers murdered by glam-hop. Onstage, Doom looked the part. He cultivated a dishevelled aspect-ill-fitting white tees or throwback Patrick Ewing jerseys. His paunch gently rebelled against the borders of his shirt. He was visibly balding. His manner suggested a retired B-boy tossing off the trappings of domesticity for one last boisterous romp.
The mask "came out of necessity," Dumile explained. It was a warm afternoon in Atlanta, where he lives now, and we were sitting in black vinyl chairs in an alley in midtown. Dumile wore a green polo shirt, matching green shorts, a pair of black Air Jordans without socks, and a New York Mets cap. His glasses were missing a lens and sat crooked on his face. He removed the Mets cap and placed it on his knee.
Dumile, who is now thirty-eight, was raised on Long Island, home of several prominent rap groups of the Golden Era-De La Soul, Public Enemy, EPMD, and Leaders of the New School. He started performing during the infancy of hip-hop, when no one had yet realized the potential for big money in a guy talking into a microphone.
"Rhyming wasn't that popular back then, but it was fun," Dumile told me. "And people would say, 'Oh, you rhyme? Oh, snap, say a rhyme for me! Say another one! Say the one about the girl!' Everybody had a cousin who came out for the summer and could rhyme. And you'd be like, 'Oh, he rhymes? Oh, he rhymes? I gotta meet him.'
"Ever since third grade, I had a notebook and was putting together words just for fun," Dumile went on. "I liked different etymologies, different slang that came out in different eras. Different languages.
Different dialects. I liked being able to speak to somebody and throw it back and forth, and they can't predict what you're going to say next. But once you say it they're always like, 'Oh, shit!' "
For MF Doom, Dumile wanted to create a character with a complete backstory, which he would reference through a series of albums. "The story was coming together, and it worked and became popular. And now people wanted to see shows, and I'm like, how do I do that?
"I wanted to get onstage and orate, without people thinking about the normal things people think about. Like girls being like, 'Oh, he's sexy,' or 'I don't want him, he's ugly,' and then other dudes sizing you up. A visual always brings a first impression. But if there's going to be a first impression I might as well use it to control the story. So why not do something like throw a mask on?"
Or throw the mask on someone else-Dumile routinely sends out one of his comrades in the Doom costume and has him lip-sync the entire show.
He sees this as a logical extension of the Doom idea. Fans who have paid for tickets tend to disagree. Across the Internet there are videos of imposters-"Doomposters"-being booed off the stage, with comments posted like "I waited an hour for this bullshit," or "This shit is tenfold worse than Ashlee Simpson or Milli Vanilli."
If Dumile had his way, he would take it further. He jokes that he'd like to dart backstage after a performance, take off the mask, and then wade into the crowd-beer in hand-and applaud his own work. In conversations with strangers, if the subject of Doom comes up, Dumile will simply play along, like Peter Parker or Bruce Wayne.
"I'm the writer, I'm the director," Dumile said. "If I was to go out there without the mask on, they'd be like, 'Who the fuck is this?' "
He went on, "I might send a white dude next. Whoever plays the character plays the character . . . I'll send a Chinese nigger. I'll send ten Chinese niggers. I might send the Blue Man Group."
Dumile has released seven albums since "Operation: Doomsday." Most of them have been under the name MF Doom, but he has also used semi- related personas like Viktor Vaughn (inspired by Dr. Doom's real name in Marvel comics) and King Geedorah (the three-headed monster in Godzilla movies). The most highly regarded of his recent al-bums is "Madvillainy" (2004), a collaborative effort between Dumile and the Los Angeles-based underground producer Madlib. (The duo dubbed themselves "Madvillain.") The album's production was minimalist, like much of Doom's solo work. A great hip-hop producer can hear music that spans many genres and assemble it, in bits, into a coherent aesthet-ic- and Madlib has an ear for samples ready-made to be looped. But the album's singular sound came mostly from Doom's raspy baritone rendering a sort of nerdcore poetry: "Off pride, tykes, talk wide through scar-meat / Off sides, like how Worf ride with Star-Fleet."
One Friday in April, I flew out to meet Dumile in Los Angeles, where he was working on his next project, a second collaboration with Madlib. He planned to work the first night, and offered to let me watch the session. But he was run-ning late, and we settled on simply having dinner and starting up on Saturday.
From that point, the weekend took on the feel of juvenile fantasy. My hotel, in West Hollywood, looked like a set from "Entourage." On Friday evening it became a night club, and in order to get back to my room I had to present my key to two people manning a velvet rope.
Behind the reception desk, a woman lounged on a bed perched in an elevated alcove.
When I called Dumile the next morning, he offered to send his driver and cohort, Five (named for Johnny Five, the robot from "Short Circuit"), to pick me up at the hotel at one o'clock. By two, I hadn't heard anything, so I picked up a book and headed downstairs.
The party had started early. There was a d.j. playing MP3s from his laptop a few yards from the pool. Women in bikinis wandered out from the deck into the lobby. Anxious young men in shorts filed in from the entrance. It was ex-actly what I would have wanted all my Saturdays to be like when I was sixteen. Except that almost everyone was white.
I spotted Five at a table drinking a Bloody Mary. Short and bespectacled, with a long ponytail, he waved happily as I approached.
"Doom didn't give me your number," he explained. He did not look as though he'd been trying hard to rectify the problem.
We got into his black Chevy Avalanche and drove down Sunset, presumably to see Dumile at work. But there was much to be done before that. We stopped at Amoeba Records to pick up Doom's new album, "Born Like This," since Dumile had not yet heard the finished product. We had to pick up beer, too, a necessity for the transition from Dumile to Doom. We had to wait for forty-five minutes in front of the house north of downtown where Dumile was staying. When he emerged, he was carrying some audio equipment, and was accompanied by a woman clutching a large bottle of Grey Goose vodka. Dumile packed the equipment in the trunk. The woman handed him the bottle, and he hopped in the back. He picked up the new record and groused about the cover art.
"Five, ride around," he said. "I want to hear how it sounds."
A great m.c. is, on one level, a drummer performing a solo. But, more than that, he is a poet, assembling words ac-cording to the rules of a particular meter. Dumile offers a darkly humorous take on the life of the Doom character. There is no single narrative, as much as there are variations on a theme, the most constant being his mask. From the song "Beef Rap" off of his album "MM . . . Food": "He wears a mask just to cover the raw flesh / A rather ugly brother with flows that's gorgeous."
Hip-hop feeds on the aggression of post-pubescent males. And Dumile draws on the aggression of a particular type of male who came of age in a particular era. When he claims to "eat rappers like part of a complete breakfast," when he challenges other m.c.s to battle for Atari cartridges, when he yells "Zoinks!" mid-rhyme, he's signalling those who grew up with Saturday-morning cartoons and "The Dukes of Hazzard." For his listeners, his references-"Good Times," pop-ping wheelies, karate classes-evoke lost innocence, even when the topic is grim. On "Hey!," Doom delivers a couplet about some old neighborhood friends, now incarcerated, over a sample from the theme song to
"Scooby-Doo":
To all my brothers who is doing unsettling bidsYou could have got away if it was not for them meddling kids.
"When I do it, I feel like I'm thirteen again," Dumile told me. "I remember, when we were that age, everybody was nice, and everybody was getting nicer. That same well of energy we were drawing from then, I go to there. . . . To me it feels like that time was richer, every second was really five minutes. Being older now, grown, I'm like, what do we really do that's fun? I'm kind of corny when you think about it.
What could I rhyme about? Let me see, um, I gotta pay the rent today."
The rest of our day bore this out. We spent the hours in the manner of teenagers with nowhere to be, and I saw that Dumile's music sends me back to adolescence because he lives-at least while he's creating-as though he were back there, too.
We wound through the hills of Los Angeles with "Born Like This"
blasting at full volume. Hip-hop is music for warriors-or, at least, for those who imagine themselves as such. I'd listened to "Born Like This" on my iPod during the flight out and come away unmoved. But hearing a song like "Cellz"-with its lengthy jacking of a poem by Charles Bu-kowski, pounding drums, and high slicing whistles-at high volume changed my mind.
Dumile had said he'd be working by noon; it was now four o'clock. We came off a sharp curve, and he pointed out a large house on a cliff, which the producer Danger Mouse had recently bought. We stopped at a broad opening, high up. You could see the neighborhoods of Mount Washington and Cypress Park, a commuter-train line, the skyscrapers of downtown Los Angeles. With the music still pumping, he walked around for a bit, nodding and making small talk with Five.
Then they hopped back in the car, and Five drove to the studio, a cottage behind a friend's house. Dumile opened the trunk and pulled out a heavy bag filled with rhyme books, which he'd FedExed out the night before, and passed it to me. "If I'm gonna let you see my rhyme books, you could at least carry the bag," he said.
Dumile took some audio equipment inside. Then he reiterated instructions that he'd given me the night before: there was to be no talking while he was working, not from me, from Five, or from him. He fiddled with a two-hundred-and-fifty-gig hard drive until Madlib's instrumentals pounded out from the speakers, filling the room.
He paused to explain his approach. "When I'm doing a Doom record, I'm arranging it, I'm finding the voices. . . . All I have to do is listen to it and think, Oh shit, that will be funny. I write down whatever would be funny, and get as many 'whatever would' funnies in a row and find a way to make them all fit. There's a certain science to it. In a relative-ly small period of time, you want it to be, That's funny, that's funny, that's funny, that's funny. I liken it to comedy stan- dup."
So do his fans. Online threads about Dumile's work tend to feature nothing but a series of favorite lines: "Oh my aching hands, from raking in grands / And breaking in mike stands," or "What? These old things? About to throw 'em away / With the gold rings that make 'em don't fit like O.J."
I opened the bag and began paging through the rhyme books. It was a great honor-an m.c. sharing his rhyme books is like a magician sharing notes for his tricks. I half expected a column of light to bloom from the pages. But Dumile's books were like his songs-scatterbrained and disorganized, a series of potentially humorous couplets. The best ones were written over in black ink two or three times. Few were arranged into verses.
Despite his edict of silence, he spent most of the evening trading jokes with Five, yelling nonsensical phrases ("Flurk! Flurk! Flurk!") into my tape recorder, making bets centered on Five's bad Spanish, and drinking beer. By 11 P.M., it was apparent that very little would get done. We walked out around midnight. "Give it a day," he said, "and see how things sound in the morning."
When I was twelve, I took a short walk from my parents' West Baltimore row house to Mondawmin Mall. I rode the escalator up, walked into the music store, flipped through the bound platters, and with my own money purchased my first record, Stetsasonic's "Talkin All That Jazz."
That was 1988. R. & B. had devolved into synth-pop, and seemingly every respectable radio station was advertising itself with the tagline "No Rap." Stetsasonic's "All That Jazz" was a new generation's effort to reach back and pull black music out of the mire of disco:Tell the truth James Brown was oldUntil Eric and Ra came with I Got Soul.
I played that record for most of the year. When no one was looking, I'd place my fingertips on the wax and scratch, trying to make the record tweet like a bird. That was how I inaugurated the Golden Era-in my small bedroom, doing my best rendition of Jazzy Jeff.
One afternoon last May, I met Stetsasonic's d.j., Prince Paul, in front of the VH1 building in SoHo. Paul is best known for producing De La Soul's first three albums, all of them classics of the Golden Era.
He also produced the track "The Gas Face." New York had just started to warm up. At all the cafés, people were seated at outdoor tables, laughing.
But Paul was dressed as though he distrusted the recent change in the weather-pants and a short-sleeved brown shirt over white long johns.
He had a baseball cap pulled low over his face.
I had talked to him once on the phone, but still I was off balance. He was all of five-nine, yet it was hard not to see him as monumental, as a part of my history. We walked uptown, stopped at a diner, ordered turkey burgers, and talked about his days with Stetsasonic and De La Soul and what had changed.
"Now every m.c. wants a beat tape, like 'Yo! Gimme a beat,' " he said, noting that m.c.s have become more like singer-songwriters, with the egos to match. "But back then it was like '3rd Bass? Hmm . . . This and this! These are two songs I hear y'all on.' '' Paul recalled working with Dumile for the first time. "He came in rhyme-ready when it was time to record. I met him and his brother Subroc. They were just really nice dudes. . . .
I remember shortly after hearing about his brother passing, and then hearing about him going through a struggle with Elektra and that record getting dropped. And then after that I didn't hear from him."
Paul reconnected with Doom after hearing a single off "Operation:
Doomsday," and the two have worked together intermittently for the past ten years. Dumile appeared on Paul's "Politics of the Business." Paul did some comic voice-overs for "Born Like This."
Their creative bond extends from a similar outlook toward the past, a sense that rap isn't what it was. "If you go to a rapper today and say, 'Yo, I got better rhymes than you,' he'll go, 'Yeah, you probably do, but I sold more records,' " Paul said. "The pride isn't in the lyrical content."
Two years ago, the rapper 50 Cent challenged Kanye West, not by claiming to be a more creative artist or having superior mike skills but by daring him to sell more records. (50 Cent lost.) The ethos consecrated by Sean (Diddy) Combs-that what sells is what's classic- has essentially carried the day. For the fan who is no longer obsessed with the pose of rebellion, with fending off other young men, or with sexual frustration, beholding hip-hop in the aughts is like stumbling across an old journal and then seeing its most inflammatory and narcissistic elements turned into a marketing plan. All the moments of tenderness (De La Soul's "Eye Know"), idleness (the Roots' "Lazy Afternoon"), and black comedy (Ice Cube's "It Was a Good Day") have been drained away.
On my last day in L.A., I followed Five from my hotel to Dumile's studio. Today, Five explained, the ground rules were to be strictly followed. There was to be absolutely no talking and no joking. When I arrived, Dumile was sitting behind his computer cycling through the Madlib beats and taking notes. He was replaying video news reports about the chimp who had attacked a woman in Connecticut that February. The beat on loop was the same one he'd played the night before- jangling piano and a man muttering.
He clicked a button, and the news reports played over the beat. I struggled to find some connection between the two but said nothing. Dumile explained that he was working on retelling the story from the chimp's perspective.
"I'm digging through these to get pictures for the actual facts of the piece," he said. "It's still the fact of shooting a monkey. What is this disrespect for life?"
He took his pad and walked outside, sat at picnic table, and started to write. I drove off to make a Starbucks run for the group. I plugged in my iPod and cranked up the Yeah Yeah Yeahs.
Dumile's success, by hip-hop standards, has been modest. He has no platinum or gold records, or anything that could be called a hit. He is uninterested in hooks, displays a flagrant disregard for linear storytelling, and insists on cut-ting songs that time out before the three-minute mark. "The Gas Face" made him a local celebrity in 1989.
He says that he got into a fight with some jealous rivals just before he was scheduled to perform the track on "The Arsenio Hall Show," and he had to do the show with his arm in a cast. "Fame never helped the situation," he told me. "Fame, in the streets, is something you don't want." As a member of KMD, alongside his brother, Dumile seemed to enjoy the spot-light, but he has never reconciled himself to performing as a solo act-hence his use of Doomposters. He'd rather be alone in a studio writing about a pet chimp gone berserk.
When I returned, Dumile had finished writing and come back inside to record. He had asked that I not watch him do this, but I could hear him reciting muffled lyrics. When the music paused, he peeked out and Five handed him a Frappuccino. I could see his mask hanging from a mike stand. He nodded and closed the door, and that was the last I saw of the villain.
[ Bericht 66% gewijzigd door RudyCarell op 12-01-2010 10:50:08 ]
![DOOM - Cellz [OFF "BORN LIKE THIS"]](https://i.ytimg.com/vi/I8HcVzZm1E0/2.jpg)
Levert gewoon met ieder album weer kwaliteit af
quote:Uitgebreide stemanalyse om te checken of het de echte is!
Vriend van me heeft een interview met DOOM via skype vrijdag! Te vet!
Wel heel tof idd, zal dat naderhand nog ergens terug te vinden zijn?
quote:Geen idee... Maar als het uit komt laat ik het weten. Maar 4 maart ben ik er sowiesoOp woensdag 20 januari 2010 20:56 schreef krioro het volgende:
[..]
Uitgebreide stemanalyse om te checken of het de echte is!
Wel heel tof idd, zal dat naderhand nog ergens terug te vinden zijn?
quote:Ok is niet helemaal goed gegaan inderdaad... Maar nog 3 weekjes en dan PARADISO!Op woensdag 20 januari 2010 20:56 schreef krioro het volgende:
[..]
Uitgebreide stemanalyse om te checken of het de echte is!
Wel heel tof idd, zal dat naderhand nog ergens terug te vinden zijn?
quote:What happened?Op vrijdag 12 februari 2010 10:44 schreef RudyCarell het volgende:
[..]
Ok is niet helemaal goed gegaan inderdaad... Maar nog 3 weekjes en dan PARADISO!
quote:Weet ik niet precies...
Maar het artikel is wel verschenen: http://www.dance.nl/featu(...)levende-legende.html
quote:Geen interview geweest dus....Op woensdag 17 februari 2010 20:34 schreef RudyCarell het volgende:
[..]
Weet ik niet precies...
Maar het artikel is wel verschenen: http://www.dance.nl/featu(...)levende-legende.html
Die tekst is bijna letterlijk de biografie die ook op Wikipedia is te vinden, niks nieuws helaas
quote:Nee... Maar ja... We zien hem hopelijk 4 maart!Op woensdag 17 februari 2010 21:39 schreef em-dee-em-aa het volgende:
[..]
Geen interview geweest dus....
Die tekst is bijna letterlijk de biografie die ook op Wikipedia is te vinden, niks nieuws helaas
quote:
[..]
Nee... Maar ja... We zien hem hopelijk 4 maart!
ik denk dat de heer dumile er echt zelf zal zijn
rhinestone live
quote:Sofa KingOp donderdag 18 februari 2010 22:54 schreef PeZu het volgende:
[..]
ik denk dat de heer dumile er echt zelf zal zijn
rhinestone live
quote:hmm hij mag op doomsday gewoon geheel doen, wat een plaat is dat nog steeds hee
quote:
[..]
Ok is niet helemaal goed gegaan inderdaad... Maar nog 3 weekjes en dan PARADISO!
.quote:Ja wat?! Probeer jij Doom maar eens te strikken voor een interview...
quote:Niet om vervelend te doen, maar dan ga ik liever naar Utrecht:Op dinsdag 5 oktober 2010 20:22 schreef RudyCarell het volgende:
Kick! Heb hier 2 kaarten voor DOOM in Brussel 21 oktober, interesse iemand?
http://www.tivoli.nl/agen(...)-okt-2010/titel/DOOM
quote:Ja klotp maar dat is een verplaats optreden die in WATT zou zijn, die was toen uitverkocht...Op woensdag 6 oktober 2010 01:06 schreef krioro het volgende:
[..]
Niet om vervelend te doen, maar dan ga ik liever naar Utrecht:
http://www.tivoli.nl/agen(...)-okt-2010/titel/DOOM
COMING SPRING 2011:
MF DOOM - OPERATION: DOOMSDAY (COMPLETE)
The history of MF DOOM's debut album OPERATION: DOOMSDAY is a spotty one - it's been released in at least two different versions on different labels, out of print, bootlegged, and even released once with a cheap scan of the original cover.
This Spring DOOM's own label Metalface Records will be releasing the first complete & remastered version of OPERATION: DOOMSDAY, containing the original album, alternate versions, b-sides and instrumentals - 51 tracks total - with all new artwork and two deluxe, metal formats:
LUNCH BOX 2/CD and METAL 4/LP BOX each containing a 32-page lyric book, and set of 10 cards with images of the Operation Doomsday MCs.
Stones Throw will have an advance sale on these two formats. Complete photos and pre-sale will be announced soon. The artwork, which we previewed last year, was created by Jason Jagel and Jeff Jank, who also designed Doom's 2005 album MM FOOD.
http://www.stonesthrow.co(...)-reissue-spring-2011
Die lunch box vind ik wel tof. Remastered not so much.quote:Op dinsdag 18 januari 2011 21:58 schreef arucard het volgende:
[ afbeelding ]
COMING SPRING 2011:
MF DOOM - OPERATION: DOOMSDAY (COMPLETE)
The history of MF DOOM's debut album OPERATION: DOOMSDAY is a spotty one - it's been released in at least two different versions on different labels, out of print, bootlegged, and even released once with a cheap scan of the original cover.
This Spring DOOM's own label Metalface Records will be releasing the first complete & remastered version of OPERATION: DOOMSDAY, containing the original album, alternate versions, b-sides and instrumentals - 51 tracks total - with all new artwork and two deluxe, metal formats:
LUNCH BOX 2/CD and METAL 4/LP BOX each containing a 32-page lyric book, and set of 10 cards with images of the Operation Doomsday MCs.
Stones Throw will have an advance sale on these two formats. Complete photos and pre-sale will be announced soon. The artwork, which we previewed last year, was created by Jason Jagel and Jeff Jank, who also designed Doom's 2005 album MM FOOD.
[ afbeelding ]
http://www.stonesthrow.co(...)-reissue-spring-2011
http://www.stonesthrow.co(...)y-2-the-madlib-remixquote:
SPOILERmaar dat kom wss omdat ik madlib echt heel slecht vind de afgelopen 3 jaar.
[ Bericht 46% gewijzigd door Culthit. op 19-07-2011 09:00:14 ]
Te fokkin vet! Kom maar op met dat albumquote:Op zaterdag 16 juli 2011 13:17 schreef arucard het volgende:
http://onethirtybpm.com/m(...)killah-victory-laps/
Ik post hem gewoon nog eens
Wel betere kwaliteit (Nature Sounds) 
Tofquote:
[..]
Te fokkin vet! Kom maar op met dat album
Ik post hem gewoon nog eens
Begrijp ik trouwens uit:
http://www.hiphopleeft.nl(...)ks-album-in-aantocht
Dat DOOM de producties doet en Ghostface voornamelijk de raps? Hoop toch wel op flink wat DOOM raps op het album...
Wat ik eruit op maak is dat Ghostface bijna op elke track staat, en DOOM dus vaker?quote:
[..]
Tof
Begrijp ik trouwens uit:
http://www.hiphopleeft.nl(...)ks-album-in-aantocht
Dat DOOM de producties doet en Ghostface voornamelijk de raps? Hoop toch wel op flink wat DOOM raps op het album...
http://mfborat.bandcamp.com/
quote:Op donderdag 21 juli 2011 19:30 schreef arucard het volgende:
Kennen jullie deze al? MF Borat
http://mfborat.bandcamp.com/
.Video niet gevonden
En vanavond wordt er een live concert gestreamed
http://boilerroom.tv/live(...)-londons-roundhouse/
quote:Metal-faced rapper DOOM has been working on a brand new album project with Jneiro Jarel as the combined force JJ DOOM. Click the YouTube link above to listen to ‘BANISHED’ a taster from their forthcoming album ‘KEY TO THE KUFFS’ coming soon. Artwork by Stephen Powers aka ESPO.
Wat was er tussen MF GRIMM en DOOM aan de hand?
Waren eerst goede vrienden en samen bezig in de muziek. MF Grimm belande in de cel, DOOM ging door en werd populairder. Nadat Grimm uit de cel kwam was DOOM al een stuk verder en had hulp van Grimm niet meer nodig. Grim voelde zich hierin achtergesteld.quote:Op woensdag 15 februari 2012 23:19 schreef rumiii het volgende:
'The mask took control of you like Jim Carrey'
Wat was er tussen MF GRIMM en DOOM aan de hand?
Dit is wat ik ervan begreep...
Bedankt, veel interessante info over DOOM en Grimm .. Ik vind het wel apart van DOOM moet ik zeggen..quote:
Tsja maar het is ook wel een beetje vanuit de kant van Grimm geschreven...quote:
[..]
Bedankt, veel interessante info over DOOM en Grimm .. Ik vind het wel apart van DOOM moet ik zeggen..
Beste reactie, de rest gedraagt zich als een bakvis, dope rhymes hoor doom maar em behandelen als de nieuwe verlosser is een beetjequote:
Mij kan het niet veel schelen eerlijk gezegd
En wat is er met deze titel? Just remember all caps when you spell the man name!
[ Bericht 31% gewijzigd door Jmsls op 15-05-2013 16:37:03 ]
DOOM is geniaal, nog nooit live gezien maar wat ik daarvan gezien heb stelt hij inderdaad teleur...quote:
Zijn er nog MF DOOM-fans? Ik vind zijn muziek geniaal maar jammer hoe hij zijn fans/podia behandeld.
En wat is er met deze titel? Just remember all caps when you spell the man name!
Zit nog steeds genoeg aan te komen op DOOM gebied maar ik vraag me af of we alles daadwerkelijk krijgen. oa Ghostface Killah & DOOM album, Nieuwe Madvillain
Hij stuurt ook vaak imposters, en doet er veel aan concerten te vermijden, heel vervelend.quote:
[..]
DOOM is geniaal, nog nooit live gezien maar wat ik daarvan gezien heb stelt hij inderdaad teleur...
Zit nog steeds genoeg aan te komen op DOOM gebied maar ik vraag me af of we alles daadwerkelijk krijgen. oa Ghostface Killah & DOOM album, Nieuwe Madvillain
Vooral benieuwd naar nieuwe Madvillain, ik hou van dat album.
Met dat imposter gedoe is hij al een tijdje gestopt geloof ik, maar wel heel zonde inderdaad, je zou er maar staan een duur kaartje hebben gekocht en er een totaal andere gast met masker het podium op komt lopenquote:
[..]
Hij stuurt ook vaak imposters, en doet er veel aan concerten te vermijden, heel vervelend.
Vooral benieuwd naar nieuwe Madvillain, ik hou van dat album.
Nieuwe Madvillain kijk ik heel erg naar uit. Eerste album is misschien wel mijn favoriete album ooit. Momenteel vermaak ik me prima met het "nieuwe" Quasimoto album, zelfde straatje
2 CDs containing all 14 of the album’s original vocal tracks second “bonuses and instrumentals” CD set also contains a 7-inch picture disc of the single “What A Nigga Know.” encased in a truly unique hard-page Children’s Book package, with a KMD “Sambo Mascot” pop-up.