There is an old joke. Someone in New York City asks someone else, “How do you get to Carnegie Hall?” The other person answers, “Practice, practice, practice.” Hip hop has helped modernize that age-old bit of humor, allowing a new answer, “Hustle, hustle, hustle,” and all the double-entendres that are implied when the hustler on the legendary stage is rap icon Jay-Z.

This is as much a feat for Brooklyn drug-dealer-turned-rapper-slash-mogul Shawn Carter, as it is for hip hop itself, a genre of music which continues to face ridicule and misunderstanding by art elitists and everyday musical bigots. Jay-Z in fact, who has never strayed far enough from a street-level base to become as ‘harmless’ to the general public as a Will Smith for example, forces middle-America (or at least middle-New York) to almost fully accept him and his occasionally raunchy ways. Maybe it’s the gamut of businesses he controls. Maybe it’s the personal connection with the president. Maybe it’s the hanging with Warren Buffet. Whatever it is, if there was one rapper that the establishment would have to let grace the hallowed stage built by Andrew Carnegie, it would be Jay-Z.

Of course, the best way to ensure such a feat would be to follow in the philanthropic footsteps of Mr. Carnegie, thus, the two-day concert event was technically a charity event, benefitting the United Way of New York, and The Shawn Carter Scholarship Foundation.

Which is also a clever way to buffer the harsh truth that few mere mortals could attend such a historic event, leaving the sold-out seating full of those who could afford hundreds, if not thousands for entry. While this adds to the fuel of some who recently charge that the rap titan’s wealth and proximity to the stratosphere of entertainment and business gods has removed him from the fans, at least in this case, it was necessary, and for a good cause.

In any event, here are a few interesting pieces from various sources which covered the concerts:

T-Shirts, Tuxes and Rap Without Frills [The NY Times]

Jay-Z Brings Brooklyn ‘Glory’ To Carnegie Hall [MTV]

Jay-Z at Carnegie Hall: Rapper’s Benefit Concert Includes “Glory,” Orchestra and Questlove [HuffPost]

 Jay-Z Celebrates Historic Carnegie Hall Performance at his 40/40 Club [Rolling Stone]

Nicki Minaj continues to see-saw between artistic lows (“Stupid Hoe”) and superstar highs, with high-profile awards appearances, and cross-genre songs and features, such as “Turn Me On,” the pulsating, club-friendly relative smash crafted by DJ/producer David Guetta. Anticipation for the visual counterpart to this high-energy, electro-pop offering from hip-pop’s reigning queen is heightened, with the release of a “teaser” video.

Nicki Minaj is not one to shy away from the macabre, as evidenced by her ghoulishly bipolar performance in “Monster,” the Kanye West, Jay-Z, Rick Ross collaboration which helped Minaj fight off much of the criticism leveled at her, where her pop-like personality and antics began to alienate her from more purist hip hop fans. “Turn Me On,” both in song and video, will do little to reclaim those who began sneaking out of her fanbase once she turned the corner from Southside Jamaica to Harajaku Barbieville, but for the legions of worldwide followers among tweens, the more open-minded, and phenomenon-watchers, the full-on, oddball mini-movie that “Turn Me On” is likely to be, should keep her flying high on the mainstream music landscape.

The full version is expected to drop January 31, but there is no clue as to how, or even if, Nicki Minaj will appear in this video, as the clip is as teasery as a teaser can be. In the meantime, if this type of music is not your cup of hip hop artist tea, feel free to swing on over to our January list of “10 Must See Videos By New York Area Hip Hop Artsists“… You’re bound to find something you like over there.

For all others, here’s your tease.

New York hip hop is made up of a variety of style and substance that no other rap region can match. From street-styled thug raps to hipster-friendly wordsmithing, from vintage boom-bap sounds to live band instrumentation, this depth is, in part, a reflection of the region’s inhabitants. New York hip hop is uniquely positioned, true melting pot music, as diverse as New York’s never-sleeping city and open-air outlying suburbs. This range can be seen in artists’ music video counterparts, some low budget and artsy, some high-budget, ready-for-BET affairs. Once again, we decided to sift through the dozens of videos from New York-area hip hop artists that cross our path on any given month, sharing some we feel are notable. This batch contains a few videos from late 2011, and a couple that are fresh out of the oven, but all are fairly recent examples that we think do a great job at visualizing the dynamic range of New York hip hop.

Darq ft. Amy Davis – R.A.W.

Let’s start right with this. If you are an underground/indie artist, and you are going to put together a video in an attempt to set yourself apart from the pack, this is one helluva way to do it. Many videos attempt to self-proclaim themselves “motion picture,” and don’t live up to the hype. This project however, directed extremely adeptly by Kristian Kruz, gives Darq Raw, a heavily grinding Bronx MC, a pretty fantastic calling card that should get people asking “Who is Darq Raw?” and certainly should have artists who are looking to make videos asking, “Who is Kristian Kruz?” Well done.

A lot of folks are starting to hear Action Bronson’s name, in part due to the recently released, Statik Selektah-produced product Well Done, (which is, pun intended, pretty well done), and alongside Mr. Muthafuckin’ eXquire, Bronson and a few comrades hit up the stage at Highline Ballroom on Dec. 27th for a (very) smokey show of spiticism.

The folks over at Who Shot Ya? took a slew of shots, and provided a recap video of Action Bronson’s set, which included guests like Meyhem Lauren, AG Da Coroner, Statik Selektah and Smoke DZA. The animated set, in front of a packed house with many supporters, is worth scanning through, if you’re looking to get a little more insight into the currently buzzing Bronson.

Check Who Shot Ya? for flicks, and the performance video is below. Cop Well Done over on iTunes.

Action Bronson – Highline Ballroom from Brook Bobbins on Vimeo.

Soul Khan doesn’t battle rap any more. As capable as he was in the arena of trash talking freestyling, Soul Khan decided that his music was more important than running around the country facing inferior competition. It appears as if his decision is paying off. With a solo LP due in 2012, Soul Khan has been honing his skills to get to the next level, blazing a trail of highly acclaimed mixtapes, EPs and guest appearances in his wake.

The December 3, 2011 record release party for Soul Khan’s new EP, Pursuance not only celebrated the MC’s new album, but acknowledged Soul Khan’s emergence as a rapper to be reckoned with. Originally from Woodland Hills, California, and now repping Brooklyn, NY, it appears on the surface that Soul Khan has made a successful transition to the East Coast from Cali. Soul Khan dropped a free LP, Soul Like Khan, in 2010, and two well received EPs, Acknowledgement and Resolution in 2011, along with plenty of collaborations with his group, Brown Bag Allstars along the way, all while ripping through performance venues bringing his unique brand of rap music, and voice, to the NYC soundscape.

The appreciative Knitting Factory crowd, led by host The Company Man (Brooklyn Bodega), nodded their heads to the audible delights that came from the short, bearded, bespectacled man with the deep, booming voice, backed by Akie Bermiss’s soothing vocals on the hooks, and DJ Element on the wheels of steel. Soul Khan rhymes with conviction and stellar production from the likes of fellow BBAS members Audible Doctor, J57, and DJ Element give his tracks a depth not often heard these days. Based on carefully selected samples and beats, the Soul Khan sound seems heavily influenced by old soul, jazz, rock, and golden era hip hop records.

Soul Khan’s catalog is not extensive, so his set was not particularly long, but he delivered on each track he brought to life on stage, including “Speeding Bullets,” “Alec Baldwin,” “Someone’s Pocket” and “Lost Ones Freestyle.” All of his material showcases a purposefully varied amount of subject matter and wit, though “Soul Like Khan” stands out particularly, as it is a lyrically personal song with an infectious chorus that shows Soul Khan at his best.

Assisting on the mic, Akie Bermiss killed it on background vocals and really had the crowd feeling good about coming out on a brisk night.

SOUL KHAN PERFORMING “SPEEDING BULLETS”

There was no filler this night, and that’s because Soul Khan knows his fan base. A few weak tracks can derail your career, but Soul Khan is a carefully calculating MC, and his releases have shown him unwilling to deliver music that doesn’t have a high chance to connect with his tremendous fan base. His EPs are short, leaving listeners wanting more, perfectly utilizing the intended purpose of an EP, to leave listeners thirsty for a full length album. In addition, Soul Khan knows how to work a room, rewarding those in attendance with a free download of his latest EP, the six-track Pursuance produced by exclusively by The Audible Doctor.

During the performance, Big Chief and Sene dropped some guest verses and Brown Bag Allstars members J57, Koncept and Audible Doctor joined Soul Khan to perform “Beerz,” a collective effort that brought a young Wu-Tang Clan to mind. All these guys can spit and the in-house production team really helps to create the unified, distinctive BBAS sound.

BROWN BAG ALLSTARS PERFORMING “BEERZ”

(Unfortunately, I got to the venue just as Maffew Ragazino finished and missed performances by Rasheed Chappell and Julius Smith. So to them I apologize.)

I did catch Chicago artist Psalm One’s full set where she performed “Ginsu Knives” and “Tits and Guacamole.” Also known as the First Lady of Rhymesayers, Psalm One seemed so at ease with herself and performed so effortlessly that it looked liked she could do this with her eyes closed. As for my first time hearing her, I was impressed.

PSALM ONE PERFORMING “TITS AND GUACAMOLE”

Soul Khan closed the show out by thanking his manager, Byron Ward, his Brown Bag brothers and most importantly, the fans.

“Every one of you is the reason I’m here, so I never get gassed up because without you I’d probably be in a desk somewhere hiding internet porn. I’d be getting fired everyday. Instead, I’m doing what I love for ya’ll, so keep on supporting. Thank you very much. I appreciate y’all.”

Soul Khan’s new project Pursuance is available for sale through soulkhan.bandcamp.com.

SOUL KHAN – HOLD ON

Say what you will about the popification of hip hop’s reigning Queen, Nicki Minaj, or the bubblegumness of rap royalty heiress Willow Smith (who apparently simply goes by “Willow” now), but when the child of one of the world’s biggest movie stars and one of the world’s biggest music stars team up to make a song and video, it’s a big deal.

In this case, it’s also a pretty big fail, all things considered.

Veteran video director Hype Williams uses the force of overused concepts and opens with dazzling special effects, which do nothing to distract from the impending doom of Willow’s doing her best (worst) Rhianna channeling and Minaj’s less-than-stellar contribution.

We’re happy to give both a pass, after all Willow is a kid, and Nicki is clearly playing much more to her demographic on “Fireball,” but that being said, Willow had an unquestionable pop hit with “Whip My Hair,” and Nicki Minaj is often much more dynamic on guest appearances, so to see each performer essentially phone it in, was a bit unexpected.

We’re sure dad and mom are proud, but it’s kinda like when your kid hits a home run in Little League, but really only scores because everyone on defense makes an error.

Overall, “Fireball” is a painfully uninspiring effort than may (thankfully) quickly extinguish, even among the follow-the-musical-leader youngens that the song is intended to be a hit with.

As an (almost) lifetime Long Islander, I’m always keeping an eye out for representatives rocking out on Strong Island that are worthy of showcasing. One such group, Fresh Vetz (Dashah Prince and DJ Pause) just dropped a video for “Move The Crowd,” filmed in and around their hometown of Riverhead, Long Island (including the infamous “Big Duck”).

The Control Creativo-helmed video, which features extensively delicious-looking footage from Riverhead eatery Spicy’s BBQ, showcases the jazzy, boom-bap production and a nod to fellow Long Island veteran Rakim.

Put your hand up if you feelin’ their style. And order me some of those chicken strips!

Pick up Fresh Vetz 14-track album Fresh 2 Def on iTunes.

Georgetown professor and author Michael Eric Dyson is teaching a course studying, from a sociological view, the lyrics and life story of rags-to-riches rap success story Jay-Z.

While this isn’t the first time a hip hop artist has become the subject of a collegiate course, “Sociology of Hip Hop: Jay-Z” is drawing mixed reactions, particularly among others in acedemia and mainstream media. In her reporting, Nyia Hawkins of the Associated Press states, ”Critics argue that Jay-Z’s lyrics and life story are unworthy of intellectual study at a Jesuit institution that cost students $40 thousand per year.”

Sociologist Chris Marsh says courses like this communicate to students in a way they understand, telling the Associated Press, “You can criticize Jay-Z all you want to, but he is an outstanding example of the rags to riches story.”

Mark Anthony Neal, well-known professor at the Department of African and African American Studies at Duke University brings up valid criticism of the criticism via his Facebook page, stating, “The thing that’s maddening about the coverage of Michael Eric Dyson’s Jay Z course is 1) commentators keep acting like this is the first hip-hop course ever taught 2) seem to express shock that there’s a midterm & final; WTF, it’s a course at a top-tier research institution by a nationally known scholar. Were having these discussions 15 years ago.”

Dyson himself tells the AP, “I want them to see first of all that young black guys that grow up in poverty can have some interesting things to say about America. Number two, that their rhetorical and creative genius rivals the best of what we know in western culture, whether it’s Homer or Melville, whether it’s Toni Morrison or Langston Hughes, whether it’s Scorcese or Francis Ford Coppola.”

What do you think? Are Jay-Z’s life and lyrics worthy of study at an institution of higher education?

Though Naughty By Nature has been touring the world heavy in 2011, covering four continents and hitting spots like Australia and England, Las Vegas served as the perfect backdrop for the “Perfect Party.” The video, directed by Jay Rodriguez and Rock Davis, features soul crooner Joe on the chorus and a plethora of perfect partying pretties accompanying the veteran New Jersey representatives Treach, Vin Rock and Kay Gee.

According to the @NaughtyByNature Twitter account, the video for “Perfect Party” isn’t going over too well with the folks at BET, stating that “We’re still working with the standards dept. lol BET has love for us so I’m sure it’ll work,” but sending fans to their YouTube page to catch the video online for now.

While Naughty By Nature may not be at the forefront of today’s music scene, they stand as solid testimony as to the effectiveness of touring for rap acts that were big in years past, and can still perform. While life on the road can be a tough way to make a living, the Naughty crew recently told HipHopDX they put in around 100 shows a year, and have put out music consistently from their 90′s heyday.

Naughty By Nature will soon be dropping Anthem Inc., an album marking the group’s 20th anniversary that will include “re-recorded, 20^th Anniversary Collector’s Edition of select Naughty classics such as “O.P.P.” and “Hip Hop Hooray” as well as unheard tracks written and recorded over the last year.” Producer KayGee tells HipHopDX, “Don’t expect 1991 Naughty By Nature. However, everything you like about Naughty By Nature, the things we represent and the things we’ve always represented since 1991… that’s what you can expect from us, but with a newer sound.”

In the meantime, here’s the video for “Perfect Party.” Anthem, Inc. drops December 13th.

Rap veteran Heavy D will be laid to rest on Friday, November 18 at an invite-only funeral in Mt. Vernon, NY, however fans and friends across the globe can watch in, as the service is streaming live over the internet.

News of Heavy D’s sudden and unexpected death shocked the music world, as fans and celebrities alike shared their sadness through various media channels. Many turned out for a public wake, held in Mt. Vernon on Thursday, November 17. Among those in attendance, legendary VJ Ralph McDaniels, who shared via his Facebook page, “Just got back from Heav’s Wake… Mt.Vernon is representing.”

Iconic figures in entertainment are slated to be in attendance at Friday’s funeral, including Diddy and Will Smith, according to reports. The video stream can be seen by clicking below, live from Grace Baptist Church in Mt. Vernon, starting at 11 a.m.

A donation fund has been set up for Heavy D’s daughter, Xea, and details of this, and other information can be found at a special website that has been set up, www.rememberingheavyd.com.

Once again, the Birthplace Magazine family sends sincere condolences to family, friends and fans of the late, great Heavy D.

CLICK HERE FOR THE LIVESTREAM VIDEO OF THE FUNERAL FOR HEAVY D

(Note: This is the official stream, however, as expected, due to traffic, they seem to be having a problem keeping it running from time to time.. If you get an error, give it a few minutes and try again)