By: Torrence Phillips

Creed III serves as a powerful and introspective conclusion to the series, reimagining the themes central to the Rocky legacy through a unique Black American perspective. As the African proverb states, “When the roots are deep, there is no reason to fear the wind.” This wisdom rings true within the film as it delves into the depths of personal struggle, resilience, and the unbreakable bonds of legacy and family.

A poignant exploration of masculinity and vulnerability, Creed III addresses the male ego and the unwillingness to confront personal traumas. Although these issues are not specific to the Black community, they are prevalent within it; however, the movie remains accessible to all audiences. The protagonist and antagonist, each grappling with their emotional scars, project their unresolved pain onto others. These complex characters reflect the broader themes of fatherhood and the lasting impact of abuse on the life trajectories of young boys. By exploring these issues, the film underscores the importance of reconciling the path we walk with the path we plan, finding a balance between our past, present, and future.

According to the Association of Black Psychologists, Black Americans, particularly men, are less likely to receive mental health care than their white counterparts. Mental health stigma and lack of access to culturally competent mental health care providers are significant barriers to addressing mental health disparities among Black men. Creed III offers a unique opportunity to start a conversation around these critical issues, showcasing the importance of acknowledging and addressing mental health concerns. The film serves as a reminder that accepting therapy and other forms of support should be normalized, particularly within the Black community, to promote overall well-being and healing.

The female characters play a significant role in the film as well, with Adonis’ wife, Bianca, exemplifying resilience and adaptability. Faced with a personal challenge that alters her career path, Bianca finds a way to channel her creative energy in a new direction. This transformation serves as a powerful reminder that obstacles can become opportunities for growth and self-discovery, as the saying goes, “turn your scars into stars.”

The couple’s daughter, Amara, plays an essential role in Adonis’ development throughout the movie. Her presence serves as a driving force for him to confront his own traumas and insecurities. By witnessing his daughter’s vulnerability and unconditional love, Adonis gains the strength and perspective necessary to overcome his personal challenges.

Mary Anne’s character (Adonis’ mother and the widow of Apollo Creed) highlights the strength and resilience of Black women who face adversity and loss while providing love, wisdom, and support to their families. As a guiding force in Adonis’ life, she helps him understand the pressures of his boxing legacy and that the past doesn’t define one’s future. The film emphasizes the importance of confronting the past and embracing vulnerability to forge one’s own path in life. This portrayal in Creed III contributes to the overarching theme of resilience within the Black community and adds richness to the narrative, making it even more impactful and relatable.

The cinematography and direction of Creed III are nothing short of masterful. The pivotal fight sequence in Creed III showcases brilliant visual storytelling, drawing inspiration from renowned Black photographers Gordon Parks and Carrie Mae Weems. By stripping away the audience, color, and fanfare, the scene becomes a raw, intimate portrayal of two men confronting each other and their innermost truths. Parks’ striking images, which documented the civil rights movement and figures like Muhammad Ali, serve as a fitting inspiration for the intensity and power of the sequence. Similarly, Weems’ monochromatic photography exploring identity, family, and the African American experience adds depth to Creed III’s visual narrative.

This minimalist approach, reminiscent of Parks’ and Weems’ monochromatic styles, allows the viewer to focus on the physical and emotional struggle, making the sequence all the more compelling and unforgettable. By drawing on the works of these influential artists, Michael B. Jordon creates a visually stunning tribute to the resilience and strength of the Black American experience.

As the denouement to the Creed series, the film culminates in a powerful moment of acceptance and self-realization. Both the protagonist and antagonist achieve their dreams, in part due to their ability to face their traumas and embrace their own paths. The story of Creed III transcends the ring, offering a timely and relevant exploration of the Black American experience, fatherhood, and the value of confronting our own demons. Creed III is a masterful finale to the series, seamlessly weaving themes of legacy, resilience, family, and self-reconciliation through a Black American lens. It is not only a fitting tribute to the iconic Rocky franchise but also a timeless exploration of the human spirit and the power of confronting our past to forge a better future. This final chapter leaves an indelible mark on audiences, serving as a poignant reminder that the fight within is just as important as the fight outside the ring.

By: Justin Pecisto

Beyoncé has returned from a two year music hiatus with her new album Renaissance, which she teased on her website out of the blue, which is always exciting because it’s Beyonce! She revealed that her new album would be released in three acts.    As of July 29th, act 1 has been released. I was definitely excited for the album when it was rumored it would be disco and house inspired. On twitter a user had posted the song credits to each song, to my pleasure there were many artists I loved such as Grace Jones, Syd, and Honey Dijon. I knew it was going to be good.

As someone who clubs frequently in bushwick, where the sounds are mixes filled with techno and house, Renaissance resonated with me. I love the club, I love house, I love techno. Knowing this album was going to be centered around these genres felt like an event! It’s also a love letter to ballroom culture and the LGBTQ community (later she proved my theory by posting a letter to her fans). This album was also dedicated to her Uncle Johnny, who passed away from AIDS.  Renaissance is more than just a dance album, it is paying respects to fallen ancestors, exploring aspects of music she has dabbled with in the past (such as Blow on her self-titled album) and uplifting music for trying times.

                Renaissance starts off strong with “Im That Girl” and with what I call “Charge Up” music, music that helps build confidence, it takes anxieties away and prepares you for the night ahead. The intro repeats “These Motherfuckers Ain’t stopping me,”  which becomes a mantra…no one can stop us.The song shines with her vocals and the soft house beat. “Im That Girl” seamlessly transitions into “Cozy” as the song comes harder with a forceful beat, this is where Renaissance shows it is as an album that needs to be listened to in full.  This song has a funky bassline perfect for the club and the ballroom. It is obvious Beyoncé was enjoying herself in the studio. The lyrics and the instrumentals just scream fun, compared to her most recent projects,Lemonade and The Gift, which held a serious tone. In this album there’s no specific theme she’s adhering to other than Black joy.

“Alien Superstar” is one of my favorite tracks on the entire album. What is a house inspired album without some afro-futurism? What I love is that it samples “I’m Too Sexy” by Right Said Fred, a classic 90’s track. The production of this song really takes me to another world especially with synths reminiscent of a 70’s B-movie with alien sound effects in the background while she sings, “I’m Too Classy For This World”

“Cuff It” introduces the more disco elements of the album, with the drums, rhythm guitar and infectious bassline. It makes me feel like I’m at Studio 54 dancing with all the stars at 3:00am.

I have to review “Energy” and “Break My Soul” together because of the transition from one to the other (which gave me goosebumps by the way). Energy is a shorter song which makes it feel like the grand opening for the lead single “Break My Soul”. This song takes it back to the ballroom with Beam rapping and Big Freedia leading us into “Break My Soul”. On my first listen I had to replay the transition because it was just too good. Beam’s rapping transitions into adlibs Big Freedia, then you hear her “IM BOUT TO EXPLODE”, you know it’s time to get up and dance. Initially, I enjoyed “Break My Soul” casually, but in the context of the album I have new-found enjoyment of the song. When “Break My Soul” was initially released I thought it was a fun song, but it didn’t make too much of an impact on me. Listening to it in the context of this album with the transition from “Energy” to “Break My Soul’ added a new rhythmic dimension to the single.

“Church Girl” is more of a R&B track, a more soothing vibe, where it’s something you can dance to, but also relax to which gives her time to bring the church into the album. The New Orleans inspired track reminds me of her protege Chloe Halle’s “Treat Me”. Both have bounce influences which make for perfect dance music.

“Plastic Off The Sofa” seems to be the general least favorite track off the album (from what I’ve seen on Twitter). I love the song a lot myself, I always have time for a slower paced disco song.

“Virgo’s Groove” speeds up the slower disco pace from the previous song. This one of my favorites, because it’s six minutes long. It doesn’t feel dragged out,, it becomes a song that was meant to be danced to. Songs today you have to have on repeat so you can enjoy it longer, With “Virgo’s Groove” that problem doesn’t exist. In 2022 how many songs can you name that have a runtime over three minutes? “Virgo’s Groove” is REAL disco, a tribute to disco legends and disco lovers alike. If you put the song in a 70’s playlist, nothing about it would make me say, oh this doesn’t belong here. It feels true to the genre without being too gimmicky. It’s like she went back in time and worked alongside the top producers of that era.

“Move” features Grace Jones, who doesn’t love Grace Jones. It makes me happy that she was involved with Renaissance because if it wasn’t for her work in the 80’s this album more than likely wouldn’t exist. The beat is hot, what can I say?

“Heated” the 11th track was made with Drake who I think I can hear. It’s funny because this song is much better than anything on his album that just came out, but also that’s just my opinion (no hard feelings Drake).

“Thique” takes us back to the ballroom. It has a quick pumping rhythm intended to be paired with heels on a catwalk. This song I feel is more like an anthem, with lyrics that feel empowering. It’s not a song for Beyoncé, it feels like a song for the grown and sexy. I also enjoyed the synth at 2:20,which reminds me of ABBA. The little synth sample reminds me of how Madonna sampled ABBA in her song “Hung Up”, that long winding sound to be specific.

“All Up In Your Mind” felt like filler to me initially, but it picks up at the end. If i was at a listening party this would be the song where I rest my feet for a little bit until the last minute of the song. The song has its purpose though because it gives you build up before my absolute favorite song on the album.

“America Has A Problem” is the absolute hottest song on the album. I’ve already played this song in my car at least 15 times. I love the sound of 90’s Southern dance music artists such as 69 Boyz, 2 Live Crew  and Ghost Town DJ’s and this is exactly what this song has.I immediately woke up. This song absolutely makes me want to get up and dance because of the 90’s hip-hop sample of “Cocaine” by Kilo Ali. It makes me feel like I’m on the later episodes of Soul Train in the early 90’s. This song is summer. It is dancing in the middle of Prospect Park at night with strangers, who later become friends. I love love love songs like this, it felt like she made this one for me.

“Pure/Honey” once again takes us to the ballroom, club and disco. This song is so versatile I feel like it’s a modern day “Bohemian Rhapsody” as the song blends different genres that are usually listened to in different places. Beyoncé definitely took time with this song because you can hear the finesse as it transitions to ballroom then to disco and back. The song doesn’t feel oversaturated with going back between the genres, each gets their time to shine and when it times to change, it does.

The album ends with “Summer Renaissance,” a powerful disco song with a pumping beat which turns her into a full fledged disco diva.

Renaissance, one of my top two Beyonce albums,solidified the idea that she is a jack of all trades, master of all. When she does a genre it never feels cheap.  Back when she released the latin-pop album, Irreemplazable, I thought she was bilingual for a good chunk of my childhood. With this album it doesn’t feel like she’s playing a part when she’s singing these disco songs. If you told me this song came out in 1977 I would believe you!  The samples, the beats, the production, the transitions, it is all top tier. She put a lot of care into this album and it’s clear by her collaboration with disco legends and members of the ballroom community to make sure this tribute to them was done correctly. This album was made with the community and made for the community, nothing feels cheap. She put her time and did her research for who she wanted to work with on the album  and we appreciate Beyoncé for it.

The KRS v. Big Daddy Kane VERZUZ was the matchup of two of the most influential rappers of the Golden Age.  It was indeed a night of hip-hop, a celebration of the elements, B-boys (OG B-boys no less) demonstrating their craft, DJs serving scratch battle disses, freestyle acapella raps, and of course bars; more bars than the French Quarter and Austin’s 6^th Street combined.  The guest list alone was extraordinary.

Joey Crack served as the announcer.  He paid homage to Swizz and Tim for holding “us” down during the pandemic and creating a space for the culture.   He then introduced the legendary DJs who would be spinning Kid Capri and DJ Scratch.  Fat Joe then brought out the legendary MC, the Blastmaster, the Teacha, the legend KRS-One. KRS-One appeared, and Brooklyn showed love. Fat Joe then introduced Big Daddy Kane, who didn’t make an immediate appearance. Crack informed the crowd that they were having a technical difficulty, “it ain’t hip hop without a little technical difficulty.” 

KRS wasn’t having any of it, and with a dismissive, it ain’t no technical difficulty he’s hiding in the dressing room.   With a “F*ck this sh*t” KRS starts out with “Boogie Down Productions will always get paid; we’ll take the wackest song and make it better; remember to let us into your skin, Cause then you’ll begin, to master….” The beat to Criminal Minded dropped, and KRS started the first verse just as Big Daddy Kane made his appearance on stage. “Criminal Minded you’ve been blinded . . . “and it was on and poppin’. The Arena was rocking, DJ Capri cutting the audio and letting the crowd handle “Cause girls look so good, but their brain is not ready, I don’t know”..

Kane took the mic after the initial salvo and responded with a cut I wasn’t familiar with, and in my humble estimation, didn’t seem to match the energy of KRS.  However, his voice was strong, the tone identical to the records from which he’s known, and while not as energetic as KRS (who is), he definitely was spitting bars.

KRS followed up with Still #1, the crowd went nuts. Kane shines on Young, Gifted in Black…a hip-hop moment is happening, it is clear to all that experience it; if you were there then and you are here now, it was All The Way Live. 

KRS follows up with the iconic intro of an acapella recorded voice asking “Are You A Philosopher” and the Scott La Rock scratched response of “yes, yes, I think very deeply.”  I’m immediately transported to the highest of 7 hills, a tape cassette playing this eternal classic as I cruise, music on full blast and in the bliss reserved for youth, an actual moment of nostalgia.

Kane then went to work!

KRS drops Step Into A World and dawns on me that this song, so reminiscent of the craft’s early going days, is actually from 1997.  The stage turns into a display of the dance element of the culture. BBoys make an appearance, including the OG of popping. Younger dancers are doing no-handed windmills and move so fresh and athletic they damn near seem unreal.  KRS exits the stage with the crew in tow.

Not to be outdone, Kane introduces the legend himself, Krazy Legs from the Rock Steady Crew. At the conclusion of the breakdance battle, Kane absolutely torches the Mic with Wrath of Kane. Kane’s hat is literally off, and the crowd is anticipatory and hyped. Hearing the track’s frenetic pace, the quickened samples in the production, and Kane’s rapid-fire delivery, it’s hard to fathom the precision required to pull this track off live. But the energy it generates is undeniable; the Barclays is on fire, and Kane is wielding the flamethrower and torching the mic.

KRS returns from his backstage respite and perfunctorily states, “I’m not doing that fast sh*t.” The beat drops, and it’s the intro to the classic South Bronx.  A bold choice; I mean, the battle is in Brooklyn, after all. The audience is not as rambunctious as it had been, but the song is banging.

Ain’t No Half Steppin drops.  Kane spits pure molten lava.  DJ Scratch starts to do his magic. He lowers himself behind the fader, his hands the only thing in sight after cutting the track into ribbons. A moment later, he rises into full view with a Jason mask and beat juggles the catchphrase “It’s Friday the 13^th and I’ma play Jason” to the delight of the crowd.  Kane turns to Capri and taunts, “what you wanna do with that” and, hearing no reply, turns back to his DJ and says, “ain’t nobody f*ckin with you, Scratch.”

Undeterred Capri drops. That’s the Sound of the Police. “Overseer, overseer, overseer, officer,” the slave patrol lyric that remains as politically powerful now as the day the teacha first dropped it.

Scratch is itching (see what I did there) to battle Capri and issues another challenge. This time KRS responds with “I’m here to battle Kane, F*ck that” and drops Loves Gonna Get Ya.

This is followed by extraordinary performance freestyle acapella. KRS goes right at Kane for a solid 16 bars, and “When I spit next to Big Daddy Kane, I become his cocaine” is the final freestyle punch.

Kane comes to the mic and raps a quick 4 bar response stating that he never backs down from a battle “I don’t do that seldom, but I stayed outta you and Shan’s shit, You’re Welcome” the Arena and the internet exploded.

Kid Capri attempts to respond to the niceness that was DJ Scratch, attempts being the operative word. He drops a few bars that literally fail to move the crowd, then feels as if they were lost. Capri’s a DJ, one of the greatest to ever work a hip hop audience.  I’ve been to multiple private parties where he was the DJ, and you can’t ask for more. Nonetheless, he should stick to the ones and twos where few mortals can do what he’s done.

The Bridge is Over comes on, and I can only imagine Queens is feeling some kinda way. The roof has definitely been raised.

Roxanne Shante makes an appearance.  Kane gives her roses, acknowledging that she is the mother of the absolutely free dating websites and that it was Roxanne who brought out Masta Ace, Biz Markee, MC Shan and Kane.

Symphony drops, and Craig G and Masta Ace make an appearance.

KRS does a shortened medley, taking the best bits of Golden Era Classics. The audience gleefully participates KRS shouts, “if my train jumps off the track,” the audience responds, “pick em up, pick em up, pick em up.”  KRS then hits the “friends how many” and switches to “emcees must be dissed, how many emcees must be dissed, before somebody says don’t f*ck with Kris” and drops the iconic battle anthem.

Bucktown joins him, shows love to Kane via freestyle, and Kane comes back with “Warm it Up Kane.”  The Barclay’s roof explodes.

At this point, DJ Scratch is bullying…and is beautiful. He’s cutting “Sucker DJ” “Kid Capri” folding the cuts into a taunt that Capri, to that point, does not seem willing to engage.  Kane cuts it short, and Capri uses the classic “it’s time” from Al Naafiysh cutting, scratching even moving into a transformer, it’s not as clean as DJ Scratch, but it’s an energetic answer.  Scratch breaks out a shoe; Grandmaster Dee from Whoudini style,  but Kane cuts it short and stops what’s about to be a full-on DJ Battle.  The only disappointment of the night is that KRS didn’t do his verse on Self-Destruction, but that is the literal equivalent of complaining that the deluxe chocolate banana Sunday with a cherry on top came with a spoon and fork did include a spork as well.

This battle was summed up best by @krareemslick and @michaelharriot

Joey Crack kicked off the battle with a classic. The 93 summer banger Flow Joe…old school boom bap and audacious rap. Ja-Rule’s answer? Murda.  Fierce lyrics and bombastic in place of boom-bap classic. Round 1 to Ja but the energy is set.

Ja-Rule looking for the early knockout, bringing the energy with Can I Get a What What and the audience complies, whoo-whoo echoing through the Garden. Ja’s ability to sound exactly like the song is matched by so few rappers, namely the late great DMX.  Not sure that Fat Joe can answer this one, and then the beat drops…its the remix to Who Shot Ya.  Lyrical fury and it this points I’m just vibing because this! is! Hip-hop!!!

Ja finishes his second track the audience seems uninspired and Joey Crack shows stage presence by paying homage to Jeb Bush with a “y’all show some love to Ja Rule”. Crack round III without even spitting a verse…

Joe is putting on a show…

Ja has hits tho, Holla Holla and the crowd again is in on the chorus with Ja. Commercial hits versus Street Bangers is the theme.

Stagecraft is Joe’s ammunition and Crack goes to the classic MOP Ante Up and brings out Remy Ma!  Remy Ma stays on stage and does the duet with Fat Joe rapping the late great Big Pun’s verse; two on one…its a 187 on Ja.

Ja Rule answers with another hit, Between Me and You, hit after hit.

Crack asks the question, Ja where have you been the last 15 years..and drop All the Way Up.

Joe does more stagecraft, discussing his incredible reach in the industry, name-checking the various artist he discovered, put on, or otherwise helped to succeed, Remy, DJ Khaled and Big Pun,  I’m not a player drops, the audience does a call and response Boriqua Morena…

Joey crack makes the point to Ja Rule, “you’re playing your biggest song and the crowd not responding” Ja Rule answers with Lil Mo Put It On Me, and the crowd goes in on the chorus.  Great response to Joe’s diatribe…this battle just got started.

Vita makes an appearance and her verses shred the mic like her six-pack…the young lady got bars and fitness for days.

Ja rule follows with a Bobby Brown song…I gotta admit I’ve never heard it..something about missing my thuggin..the crowd is silent but in all fairness, social media is eating this song up.

Joe responds with the anthem…All I Do Is Win Win Win and the silence ends, the crowd erupts.

Intermission

Waiting to be inspired but it appears the Versus battle ended and an R&B sing-off has began. 

Ja Rule with an honest assessment, “that aint ringing Crack”.  It isn’t the wheels fell off of this battle..Ashanti..R&B and stuff. LOL.  I’ll let the R&B heads take it from here. Social media goes crazy when Nelly hugs Ashanti (did I mention Nelly showed up for the second half, I think I was yawning but he did his thing). 

And with a Hail Mary at the end Jadakiss shows up and saves the show.  Can we just have 2 more hours of Jada….

Opened with a prayer, DMX’s voice rising in the staccato cadence on the cobblestone road of our memories. These two legendary MC’s were staged similarly to Bounty Killah and Beenie Man, two mic stands, sitting area a common open space. Snoop danced, X growled and magic happened.

Round 1 – Snoop Dogg’s “Deep Cover” vs. DMX’s “Intro”

Snoop went first with 187 classic, the “first song that you know me from”.  DMX did an acapella introduction, had us wondering what he was doing and then the beat hit “Where my dogs at, we right here dog”.  Round 1 DMX

Round 2: Snoop Dogg’s “Who Am I? (What’s My Name?)” vs. DMX’s “What’s My Name?”

Round 2 – Snoop Doggy Dog…Gfunk and live bars from Snoop, his laid back style perfectly suited for this format.  DMX accepted the challenge and said ya’ll want to know what my name is? I think the DJ was surprised, seems as if this was less the planned order than a response to Snoop’s song choice.  Either way two barks into it and one What Ya’ll Really Want and I was boppin.  Snoop gave him mad love and stated he wanted to spit the second verse.  “You aint’ hear me with them ad-libs”.  Round 2 DMX

Round 3: Snoop Dogg’s “Gin and Juice” vs. DMX “Get at Me Dog” 

Round 3 – Snoop said he was going to need a lil something to drink, DMX stated wouldn’t be Gin & Juice and after a line, the iconic groove dropped.  Gin & Juice, the classic “Laid Back”…the second verse was with the remixed beat, GFunk synths, bounce to the ounce rhythms and at the coda the classic “rolling down the street smoking….” Returned.  DMX shouted out to people and Cali and asked “WHERE’S MY DOG’S AT”.  Tough round but the “get at me Dog” took it for me…blame it on my Que Dawg bias but something about “where my dawg’s at feels true.  Ok Ok, Snoop won the round with that classic.  Round 3 and I have it 2-1 DMX.

Great interlude, the “get at me dog”, according to DMX came from a conversation between Snoop and DMX backstage in New York when DMX first heard it from Snoop. DMX thanked Snoop for the inspiration, they in turn thanked the father of Gfunk beats…George Clinton.  The friendship and camaraderie is real between these two legends.

Round 4: Dr. Dre feat. Snoop Dogg’s “Dre Day”  vs. DMX’s “Some X S–t”

Bowowow yaye snoop dog’s in the house.  DMX gratzed Snoop for spitting G-shit and then said but Imma spit some DMX shit.  Tell me how ya feeling now.  I’m absolutely biased, this is the conclusion I’m coming to.  Coming in I was thinking Snoop in a rout…and I find it 3-1 DMX after four rounds.

Snoop wanted to give a shout out to the celebrities watching…I was literally expecting him to list of the myriad of names scrolling in my chat window, absolute hip hop dignitaries, he points to the screen and says out to you, you and you.  Great comedic timing.

Round 5: Tupac & Snoop Dogg’s “2 of Amerikaz Most Wanted” vs. DMX’s “Stop Being Greedy”

Gangsta Party, 2pac and Snoop, not a lot that beat that, just on strength.  The needy by DMX from the iconic album hell is hot. At some point I need to give another round to Snoop…it aint yet.  4-1 DMX

In between songs, in acknowledgement of the respective brilliance being displayed Snoop quipped to DMX with regard to the challenge “Two dogs, one motherfucking cage and one bowl of dog food”.

Round 6: Snoop Dogg feat. C-Murder & Magic’s “Down 4 My N’s”  vs. Jay-Z feat. DMX’s “Money, Cash, H–s”

Ok here we go. The collab section has initiated.  C-Murder’s epic song.  Down for My N’s.  DMX response Money Cash Hoes (Where My N’s)….oh this one hurts.  Two of my favorite stroll songs. 4-2 DMX

Round 7: Snoop Dogg “Aint No Fun”  vs. Aaliyah feat. DMX’s “Come Back in One Piece”

Snoop feeling the pressure went G-Funk, the legendary Nate Dawg, the King of the Hooks! DMX pulls out the classic Aaliyah hook on Come Back in One Piece.  What a battle.  Another round to Snoop buttt apparently the chat room feels different.  I’m still going it Snoop 4-3.
Another comedic interaction.  Snoop mentioned that he was going to have to go in his bag.  DMX responded you go in bags, we going in pockets. I guffawed.

Round 8: Snoop Dogg feat. Xzibit’s “B—h Please”  vs. DMX “X Gon’ Give It To Ya”

No Limit Snoop is truly limitless. Do it doggystyle. X Gone Give it To You.. 5-3 DMX don’t get @ me dog.  LOL.

Round 9: Snoop Dogg’s “Gz and Hustlas” vs. DMX’s “Who We Be”

Odd choice by Snoop, that’s my way of saying I don’t know it. The keys are nice, the flow great but given his catalog I’m wondering how Gz made the set list.  Chance for DMX to steal an easy round or save a hit.  I came in assuming that DMX catalog was far thinner but the beat drops and it wasn’t just me “They Don’t Know” was timely “the bullshit, the drama, the guns, the armor, the city, the farmer, the babies, the mama.  6-3 DMX

Swizz Beatz announces 500k streaming the Gram on a Wednesday night!  It’s a dope event.

Round 10: Snoop Dogg’s “Tha Shiznit” vs. DMX’s “Get It On the Floor”

187…and he ends on don’t try to see Snoop but then the beat drops and well Get it on the Floor..7-3

Round 11: DMX’s “F—-n Wit’ D” vs. Snoop Dogg and the Eastsidaz’s “Lay Low”

DMX with Get at Me Dog…as a former offensive lineman, I hated sprints…DMX delivery is a full forced anaerobic exercise and clearly he has my cardio or lack thereof…jus sayin. Snoop breaks out another classic Nate Dawg chorus with Lay Low.  I’m going to have to reconsider my scoring, but ya know this is how boxing refs feel, round for round…its 8-3 DMX.

Round 12: DMX’s “What These B—–s Want” vs. Snoop Dogg  “Beautiful” 

What these Bitches want from a Nigga there is literally nothing Snoop can do to take this round, absolutely nothing…then the song dropped, Beautiful and I Just want you to Know… I’m wrong again, Snoop won this round 8-4 DMX

Round 13: DMX’s “How’s It Goin’ Down” vs. Snoop Dogg’s “Pump Pump”

DMX plays one for the honeys Hot its Going Down. Snoop spitting BARS. My personal rule is no tie rounds so DMX by a hair 9-4 DMX.
DMX jokes about the fact he used to take his shirt off for this song but given his current physique that won’t be happening.  Snoop offers that if we get 9.5 million viewers they’d both take their shirts off.  DMX retorts if we both take our shirts off we gone look like the number 10.  Another guffaw!

Round 14: DMX’s “It’s All Good” vs. Dr. Dre feat. Snoop Dogg’s “B—hes Ain’t S–t”

DMX jokes about recording the song in LA, then points out that everyone from NYC thinks LA is anywhere in Cali, Oakland, San Diego…all LA.  This song was actually recorded in LA however at Magnolia Studies.  Snoop starts his track Bitches Aint Shit…DMX popped up and started spitting the lyrics with such zeal I thought it was his song. Easy win for Snoop. 9-5
DMX announces that Snoop’s track is his favorite when he and his fiancé have umm how to put this… disputes. Another great round of banter.  Two grown black men sharing their respect and love for each other and celebrating their extraordinary talents.

Round 15: DMX’s “Slippin'” vs. Snoop Dogg’s “Murder Was the Case”

Slipping I’m Falling Can’t Get Up. DMX wraps up an energetic hype performance with this a story about the origins.  Stating this was his pain, “write your pain”.  Then X did an acapella verse about his first sexual experience, essentially about an incident of child rape (he was 13 she was 26) and how it lead to his sexual exploration and impacted his relationships.  He also shared the trauma of his mom beating him and how violence was became a part of him.  Snoop responded with the most honest song he’s written. Murder was the Case.  I want to call this a draw.  Then I recall that while on trial for literal murder, on bail for the same, Snoop gets wheeled out on stage to rap “Murder was the case that they gave me” at the MTV awards. They both ‘write your pain” but round to Snoop.  9-6 DMX

Round 16: DMX “N—az Done Started Something”  vs Snoop Dogg  “Doggy Dogg World” 

DMX with the gangsta song; Snoop with the response Ta Dow.  Snoops round 9-7

Round 17: LL Cool J feat. Method Man, Redman, Canibus, DMX, & Master P’s “4,3,2,1,” vs. Snoop Dogg feat. The Eastsidaz’s “I Luv It”

DMX guest appearance 4,3,2,1.  This song deserves its own article.  First, it was my initial exposure to X and Canibus. Second it was the jump off for the famous Canibus LL legendary battle. 3^rd it featured one of the dopest Redman Method Man co-features. Lastly, it was LL at his last peak.
BIO BREAK!  DMX needed to be excused.  Snoop regals a story about a friend who remains unnamed that sent him a video of his outfit that he planned to wear that night…for the Versuz battle…in his living room.  I now feel bad for not having a haircut since Covid.
On return Snoop laments not being on the track, asks why the couldn’t “let me wiggle in there and get 8 bars?” and does a little sideways wiggle to accent the notion. Snoop is entertainment.  EastSiders the joy is contagious but the round goes to DMX. 10-7 DMX

Round 18: The Lox Featuring Lil’ Kim & DMX’s “Money, Power & Respect” vs. 50 Cent feat. Snoop Dogg’s “P.I.M.P. Remix” 

Money Power Respect and DMX is likely going to win this.  PIMP Snoop version.  Dope AF but its 11-7 DMX.

Round 19: DMX’s “Ruff Ryders’ Anthem” vs. Dr. Dre feat. Snoop Dogg’s “Nuthin’ But a ‘G’ Thang” 

Can we start this off with a fact?  Swizz Beatz was 16 when he produced this track.  Let that sink in a second. Rough Ryders Anthem and DMX did the live Remix…frankly there are few songs that I think can touch that.  Snoop answered with one of the most iconic songs ever. G Thang…I’m biased but objective and its Snoops round.  11-8 (personally I prefer Rough Ryder’s Anthem Remix but this G Thang is on the pantheon of iconic hits).

Round 20: DMX’s “Party Up (Up in Here)” vs. Snoop Dogg feat. Pharrell’s “Drop It Like It’s Hot”

The song starts Ya’ll Gone Make Me Lose My Mind and as far as I’m concerned it’s a wrap. Party anthem, unfukwitable.  That’s DMX all day. Then the four count refrain that Pharrell is known for and Snoop’s laced out voice rises with a Drop it like its Hot…. Snoops round.  11-9
Post battle DMX kicked Where the Hood At.  Snoop reenacts the Source scene, the East Coast don’t got no love for Snoop and Dr. Dre? Snoop Hold Up Heeeyyyyyyyy. Shocking he never did Still Dre.  The two of them just sat and freestyled bars.  Snoop encouraging DMX and DMX delivering.

A true hip hop night.