Muff Lucid is still repping the Rvidxrs crew, despite their recent troubles, and he put out “Let A Nigga Know” shortly before Chris Travis dropped “Rollin” over at Soundcloud. The Klan still lives.

Celebrating getting fucked up and ridin’ hard, Lucid raps over another Sky Lexington banger while walking around some kind of strip club/alleyway/abandoned motel combination supervenue. I wish clubs would just dispense with the pretention and put up a couple light bulbs, some poles, and then just leave it at that; see what happens.

Lots of love for all of us here at Мишка, too; look at all them Keep Watches.

Lucid dropped a mixtape last month, Blackland Bakery 2, so check that out if you slept on it.

“I wanted to come with a record that could make suburban hood niggas feel proud, while still showing love to Harlem where I stay. My friend Belief came through with all the production on the tape. Post-Apocalypse boom bap shit, with non-corny sprinkles of trap and electro. I think we dug a little deeper without being all over intellectual and shit. SUB.”

Finally, a record for motherfuckers stuntin’ in the cul de sacs of the world. SUB is for everyone that has a lil bit of hood in their heart, despite their geographic location. Dudes in wave caps at Panera bread ordering bread bowls and discussing the intricacies of alien appearances in The Avengers. It’s a strange but familiar reality, the hood is everywhere.

As Kyle Rapps‘ intro says, SUB is a mixture of classic boom bap sensibilities, tight lyricism, and allusions to some of the hyped up laser driven production of today. Think Def Jux, Anticon, or Rhymesayers in their respective heydays. Songs that audibly bridge the experience of fucking around on the block and lounging in the veranda. Featuring guest spots from Action Bronson, Mr. Muthafuckin’ eXquire, and Aaron Cohen; SUB is a record for the summer, wherever you are.

Download Kyle Rapps’ SUB here or stream it below.

Lawless Inc’s first lady is back on the track and teaming up with Gunplay for her forthcoming mixtape Drillary Clinton (easily one of the best titles this year, bravo). Seemingly shot in the same U-Haul the Always Sunny gang tried splitting to the Grand Canyon in, the “Y’all N****z Ain’t Hittaz” video features the ever popular champagne gun-flashing combination.

And while I’m overly critical of basically everything, I actually fuck with this one pretty hard. Drillary Clinton, due out June 25, will also feature “Pop Out,” Bandz’s single with fellow Chicagoan King Louie. Katie Got Bandz takes the stage in Williamsburg on July 8. Keep watch or get blasted.

As I type this, “Black Skinhead” is no doubt stuck in the heads of millions. People walking to work, going to school, waiting for the train, worrying about their bills, figuring out which sushi to order, sneak-a-tokin’ at work; all of them are doing that “WAAH WAHH W-WAAH WAAH, WAAH WAAH WAAH WAAH” thing with their mouths right now. And who can blame ‘em? It’s instantly catchy, and ridiculously easy to hum. I’m just waiting for someone to sneak up behind me after they hear me doing it and add the toms break. And then a third person does the yell part from across the subway platform, and all is right with the world.

Based on the memoirs of Jordan Belfort, a convicted asshole who got rich running boiler rooms schemes, Martin Scorsese’ latest output, The Wolf of Wall Street, looks like an interesting mix of Oliver Stone’s Wall Street and Ted Demme’s hyperbolic, black comedy, drug romp, Blow.

Musically, “Black Skinhead” works pretty well to soundtrack the cokexploits of wall street robber barons. The track could be party music, could be action music, could be sex music, could be chillin’ with your homies makin’ millions music. Melodically, it works in so many contexts. As for the choice of “Black Skinhead” as the lyrically? I’m trying not to think too much about it; but if anyone could empathize with Kanye’s penchant for nouveau riche fashion and fetishistic sex, it’s definitely dudes who make millions trading stocks.

The Wolf of Wall Street coming soon.

Springfield, Compton? According to The Game, Matt Groening is keepin’ it G in The Simpsons‘ upcoming landmark 25th season, tweeting: “Catch me on the Simpsons next month when Bart has a dream that he is ‘The Game’ in class ha ha ha…” The LA rapper Instagramed a photo of yung Bartholomew swagged the fuck out in a Jesus piece (wonder if he copped it from Flanders’ Leftorium), Givenchy T-shirt, and fresh 13′s. But while I’d kill to see El Barto spit anything off The Documentary, something isn’t adding up.

Forgiving that the photo looks as though it was pulled directly from the annals of Bootleg Bart, I watched The Simpsons Season 24 finale like a month ago. Season 25 doesn’t hit FOX until this fall, so I’m not sure where this “next month” is coming from. Additionally FOX has yet to verify The Game’s appearance; officially confirmed guest stars include Kristen Wiig, Stan Lee, and Gordon Ramsay among others.

Fingers crossed that Bartman’s dream will become a reality, but for now, take a look back at his come up. Here’s a deep cut “Deep Deep Trouble” from the classic second season:

It may be for all the wrong reasons, but I like Chief Keef. His wanton delinquency is rivaled only by Gunplay, and I definitely appreciate that. This new video is such total bullshit, though. It’s only two minutes long; it’s got a wack af beat, the setting isn’t even interesting; the white girls that are in it for a total of 5 seconds are the most boring, basic-ass iPhone hoes I’ve ever seen; and as much as I actually like Keef’s mumble-rap, he takes it way too far in this track. I’ve watched it like three times already and all I can decipher is something about protein, getting shot, and some attempt to reference the sing-songiness of Ring Around the Rosey (that line about ashes).

There’s a secret part of me that hopes Sosa reads this post and Twitter beefs w/ me. It’d at least be something to break the monotony, you know? Nobody’s ever threatened with violence me or asked me to suck skin off their dick, so it could be an enlightening new experience.

On the off chance your Monday was going alright, here’s some news to put it right back in the miserable place it belongs: Chris Brown has teamed up with hologram Aaliyah to solve Los Angeles’ saga of gang violence. But let’s start at the beginning.

In case you forgot: Drake, Aaliyah’s most high profile obsessee (see: love letter written addressing her by her middle name, tattoo of her face on his back), got a lot of shit for dropping “Enough Said” with producer 40, a track he billed as the first single off a forthcoming posthumous Aaliyah album without involvement or even consent from those closest to the singer. As a reminder, he was 14 at the time of her death in 2001, before his ass was even rollin’ through the halls of Degrassi High. Time and again, the Haughton family have expressed they are not ready for the release of a posthumous album, wishes that Timbaland and Missy Elliot, the R&B princess’ One in a Million producers and friends, have naturally respected.

In a Hot 97 interview with Angie Martinez on the Drizzy subject last September, Missy and Timbaland commented that this material is unreleased for a reason; perhaps it was still in progress at the time of her death, or perhaps Aaliyah didn’t believe it to be her best work–and until the Haughton family’s green light, it should stay that way. Though Drake is still most likely sacrificing farm animals before an iridescent chewing gum shrine of Baby Girl’s hair each night before bed, there hasn’t been any more talk of the project’s specifics. This is a sliver of humanity and respect, I did not expect to see from October’s Very Own.

Knowing all of this about someone he slots rather high on the roster of people he’s got beef with, I’ll ask this question for at least the eleventh time this year: what the FUCK was Chris Brown thinking? Not only does his new cut “Don’t Think They Know” sample unreleased Aaliyah material without approval from, I don’t know, a party in any way affiliated with the singer, the video features the ever popular hologram. Yuuuuup, in a sickeningly cosmic twist of fate, Baby Girl is now backup dancing for Breezy.

But it’s the video’s concept that really sends my head into the gotdamn toilet: Chris Brown has traveled across time and space to a gang divided Los Angeles, tasked with uniting the Bloods and Crips through the dual art of dance and wrongful Aaliyah appropriation. Sure, because the physically abusive Tappahannock, Virginia native is next in line for the Nobel Peace Prize. I don’t remember him showering olive branches all over Rihanna after breaking her fucking jaw. The opening scene pays homage to Boyz N the Hood, only instead of Furious Styles speaking on the fracturing danger of cyclical gentrification, the video mostly just features some half-assed spot coloring and children ignorant of what a load of bullshit it is.

As a white girl who regards Aaliyah Haughton with a reverence most people reserve for holy books, let me pull a Chris Crocker: LEAVE AALIYAH ALONE. Why can’t we just respect that this beautiful person released some of the most important music of the 20th century and grieve her loss by enjoying the three albums she released while alive? Some things are sacred, and in my opinion, Aaliyah is certainly one of them.

*Corrections made: spelling errors (sorry y’all, I’m pretti stoopid tbh) and a pending reports that “They Don’t Know” may be pulled from Brown’s forthcoming album X.

I’m not gonna lie. I look at my Twitter feed about every 10 seconds. Shoutout to TweetDeck, I see you. Shoutout to TweetBot, you’re the reason I get up every morning. Important things (weird rap, celebs being idiots, astrophysicists cracking jokes) happen on twitter before anywhere else, so it’s an essential go-to source for nerds like me who have one step in reality, and the other knee-deep in hypertext transfer protocols.

Sad happenings on my TL over the weekend, though. Raider Klan pretty much disintegrated before my very eyes, with Ethel Wulf, Chris Travis, Eddy Baker, and Denzel Curry all leaving the crew, and apparently pissing off Spaceghostpurrp something awful. Kenshin seems to be getting the brunt of SGP’s ire, but dude just wants to be left alone to do his solo thing; same with Wulf and Curry. Sorry to get all TMZ on y’all, but this is one of those things that probably won’t get any press on the major channels because of how the Rvidxer Klvn works mainly through new media.

Whatchu think? Was it time for a split? Is SGP getting a little too butthurt and vitriolic (his Twitter is essentially just him retweeting haters and calling out Chris Travis) about the whole thing? End of an era? Who the fuck cares?

Regardless, check the newest Chris Travis that dropped over Fri/Sat, and reminisce about all the times you got your lean on while fucxchin with some PS3 jRPG and a pizza. RIP :(

Chained up, glowing eye’d down, Ace Hood is feelin some X-Men Kunta Kinte kinda way in “Da Streets” video. I’m not sure exactly where these ominously red tinted avenues are located, but that industrial wasteland-y ambiance could only mean a toss up between Janet Jackson’s “Rhythm Nation” hood and Ninja Turtle turf. And while Ace Hood’s flexin on some flare guns, the landscape’s lack of both pizza loving mutant reptiles and nunchuck slangin’ critical race scholars is amazingly difficult to overcome.

But can you really blame him? How is anyone supposed to follow the “Bugatti” video, basically the Casino Royale opening scene masterfully remixed with some fresh ass shell toes and Rick Ross’ tits? Though “Da Streets” is a v solid track (I’ve become obsessed with ways to weave “that’s a new ballerina” seamlessly into conversation), like me, this video woke up in an ’01 Corolla.

Yeezus has leaked. Somewhere Yeezy weeps. As you download a CD quality version from your preferred hosting service, here’s a first take impression of the album to hold you over. Talk shit and add half baked and/or hateful criticisms of the album below.

1. On Site (produced by Daft Punk) - High energy + braggadocios, sex fueled rhymes = classic Kanye but with the inclusion of Daft Punk’s supersonic-electronic production we’re blessed with something phenomenal. I don’t even want to move on to the next song right now, I’m so amped.