Tag Archives: Danny Brown

Exploring The Minds of Hip-Hop: The Bonus Cut Fantasy Draft (Part Six)

via consequenceofsound.net

via consequenceofsound.net

By: Harry Jadun with help from the Bonus Cut staff

Click here for part one.
Click here for part two.
Click here for part three.
Click here for part four.
Click here for part five. 

Fantasy sports has taken off. Due to the rise in technology and the internet, fantasy sports has not only become unbelievably popular in the United States, but also all around the world. Here at Bonus Cut, we have decided that we would take the concept of fantasy sports and apply it to hip-hop music. Instead of drafting wideouts and running backs, we’ve drafted some of our favorite MC’s and beat makers. The big winner in this situation is you. Not only do we introduce you to some of our favorite hip-hop artists and explain why they are relevant in hip-hop culture, we’ve also laced the Draft with dope tracks for your audio pleasure. With this draft, our goal is to pay tribute to some our favorite hip-hop artists and acknowledge the influence they have had on our lives.

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The Shakespeare of Sixteens: Danny Brown Poetry


By: Justin Cook

This is the second installment of Justin Cook’s take on the poetry of MC’s. You can read his write-up on Common’s writing here.

Don’t let the debauchery fool you: Danny Brown is one of the most talented wordsmiths ever to grace the mic. When he’s not popping molly or getting his super freak on, he’s crafting complex bars from another dimension. The man is a mad genius with the metaphor, and his rhymes are unparalleled. So sit back, roll up a swisher, and get down to some monster verses provided by none other than Danny himself.

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An Ode to the Music Video (Part Two)


By: Daniel Hodgman

Last week I explored music videos that went beyond the norm and extended the boundaries of a song. From Ice Cube’s feel-good video “It Was a Good Day” to the artistic turned cringe worthy “All I Know” by Rahzel, we here at Bonus Cut wanted to share a few of our favorite hip-hop music videos that stand out on a whole other level. This week I present to you the second part of that list, with music videos just as worthy as the ones mentioned last week.

The Cool Kids- “Black Mags”

A video about tricked out bikes over a song about tricked out bikes, so what’s not to love? For anyone who has an 89-90 Pistons champ flat-bill black starter cap with the hologram tags, you win the game.

Danny Brown- “Grown Up”

Over calming piano blips and a sample of Gorillaz’ “Tomorrow Comes Today,” Danny Brown talks about Captain Crunch, Newport soft packs and not doing homework all in the name of “growing up”. Last summer he released the music video and it surpasses the song on pure emotional consonance alone. Who would ever imagine little Danny Brown walking the streets with as much authority as he does now? This video is simplistic, yet it’s creative and highly addicting, so please, take a look for yourself.

Gang Starr- “Full Clip”

This video gets the nod because of everything surrounding it. Whether it’s the tribute to Big L, the combination of the late Guru and DJ Premier or the sincerity behind each scene, “Full Clip” is the definition of “timeless”.

Gorillaz- “Clint Eastwood”

Where were you when you first watched “Clint Eastwood?” It’s hard to think that this premiered 12 years ago, and it’s even harder to realize that this video pushed animated music videos greatly (I mean, look at those graphics). Nevertheless, “Clint Eastwood” will forever live in infamy for introducing 2D, Murdoc, Noodle, Russel, Damon Albarn’s post-Blur project Gorillaz, and Jamie Hewlett, the artist behind the band. It’s also natural that the blue phantom coming out of Russel’s head is the one and only Del tha Funkee Homosapien.

Also: if you want to see how far graphics in music videos have come, at least in the Gorillaz universe anyway, compare “Clint Eastwood” to this.

Pharoahe Monch- “Push”

Did he just say “runs the baseline like Ginobili?” Yes, in fact he did, and all NBA Finals allusions aside, this is the kind of music video where you’re listening to the music and watching the video and just sighing in relief because the two fit like melted butter on the perfect piece of burnt toast.


If film director Gasper Noé did hip-hop videos instead of freaky French films that disturbingly tore at the human mind, I could envision him directing “DOPE.” Here you have dizzying cameras that roll and pan around scenes, backwards time lapses and unique cut-framing, but unlike Noé’s work, there isn’t anything here that makes you want to gauge your eyes out with a fountain pen.

The Underachievers- “Gold Soul Theory”

The new-wave East Coast hip-hop scene is skyrocketing right now. I don’t know how influential these artists will be in the long-run, but as of now groups like The Underachievers, Flatbush Zombies, Pro Era, and individuals like A$AP Rocky and Harry Fraud are dominating the underground hip-hop waves. There isn’t much to “Gold Soul Theory’s” music video, but it’s transfixed as a ganj-soaked lapse that compliments the song quite well.

Y.N.RichKids- “Hot Cheetos & Takis”

Here we have a group of Minneapolis youths rapping about their two favorite snacks: Hot Cheetos and Takis. What’s even cooler is that this is a product of North Community Beats and Rhymes, a youth development program that gives kids a chance to record and create music that builds leadership skills and cultural tolerance. Programs like this are the reason why you’re reading Bonus Cut today.

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Rap Attack II: Female Artists in Hip-Hop

kitty kilo

A few weeks ago, Gus Navarro wrote about female MCs in hip-hop entitled “Rap Attack.” This is the follow up.

By: Victor Anderson 

The Internet Age has allowed for many diverse voices to be heard that wouldn’t have had the chance if we only relied on what the radio gave us. As we know, sites like Myspace, Facebook and Youtube allow anyone with a computer and internet connection to upload and share their music or videos to the entire world and if it happens to become infectious, it can spread and go viral. This has been the case for a lot of independent artists who are currently in the spotlight right now. One day, you are just a normal person like the rest of us and the next day your face and sound is displayed on the screens of thousands to millions. That could be said for artists like Tyler, the Creator and Wiz Khalifa to people like Lil’ B and Riff Raff. If you present something original and different, it just might catch on and push you into major success without the help of a record deal. Generally, this is a good thing considering you have absolute control of your creativity and integrity without label heads breathing down your back trying to mold you into a product that they can sell.

Now-a-days this viral phenomenon can happen to just about anybody and as we know, America is a melting pot that homes countless individuals from several unique aspects of life. The DIY ethic has trickled down to rap and hip-hop and has opened doors for a ginger-headed Claire’s employee and a textile major from FIT. I’m talking about Daytona Beach “bubble-rapper” Kitty (Pryde) and Orlando native but New York based vocalist, Kilo Kish. The music from these ladies hardly orbits around their gender because today it’s irrelevant that they are “female rappers.” They are true artists who focus on making music that is completely original and ultimately reflects them. You don’t have to fit the mold of a Lil’ Kim or Trina anymore; we have transcended the box and the options for what a rapper should and should not be are now and forever will be limitless.



Kitty hit the scene around this time last year with her video for “Okay Cupid,” and has come a long way for someone who originally began rapping for fun and for the pleasure of her friends. But when listening to her first two EPs, The Lizzy McGuire Experience and haha im sorry it feels like you’re listening to the audio tapes of a 16-year-old suburban girl’s diary. The video for “Okay Cupid” really sets up a great backdrop that really represents what she’s about and where she comes from. She’s a kid who is influenced by the internet, social media and top 40 hits just like a lot of adolescents and acne faced teens from this generation. There is nothing wrong with being a product of your environment and she attracts fans for the same reason that Gucci Mane or Young Jeezy gains fans in the hood. It’s relatable to a certain sub-culture and in Kitty’s case, she pertains to a side of America that isn’t really represented in hip-hop (but ironically happens to be heavily affected by mainstream hip-hop.). Even if it’s not so relatable to you, at least it is something new and refreshing and is an interesting take on rap from an un-popular view point.

In her earlier projects, the quality is incredibly lo-fi (because she recorded them in her closet) and her delicate and timid voice rides on top of glittery cartoonish and pink lollygagging felt tracks produced by Beautiful Lou while other beats were made with GarageBand. Her shy, awkward and embarrassed style produces underrated, but clever lyrics about getting in trouble with her parents, teenage relationships, the World Wide Web, the mall, Starbucks, wetting the bed and anxiety rashes but happen to be delivered with a captivating poise.

A few months ago, she released her more professionally recorded EP titled, D.A.I.S.Y. rage and while staying true to her original style, still managed to produce a project that embodied the growth she has made as an artist. D.A.I.S.Y. rage has received a pretty good amount of hype, with production from hubby, Hot Sugar, Mike Finito and her homebody GRANT, and features from Greenhead’s Lakutis and up-and-coming West Coast rapper, Antwon.

She’s currently touring with Detroit rapper Danny Brown and has claimed to be working on some new music with producer, Ryan Hemsworth and experimental/electro-pop/undefinable artist, Grimes.

Check out her most recent song and video produced by Hot Sugar here.

And if you like Lizzy McGuire, you might dig this.


Kilo Kish

kilo kiloo

Kilo Kish has been extremely fortunate in her career as a musician. Her college roommates where rappers/producers and knew Odd Future member Matt Martians from high school. Matt Martians is a producer for OF’s psychedelic sub-group, The Jet Age of Tomorrow and OF’s trippy neo-soul sub-group, The Internet. Much like Kitty, Kilo Kish was only making silly songs with her friends for fun until she recorded the song, “Want You Still,” for The Jet Age’s second project, The Journey To the 5th Echelon, and that’s when people started to pay attention.

Around the time of her senior year at New York’s Fashion Institute of Technology, she began work on her first recording project and the entire thing was produced by The Internet! The EP was titled Homeschool, and it landed at the 28 spot on Complex magazine’s top 50 albums of 2012.

The Internet provided numerous amounts of strange sounds and rhythms and grooves that served as the music but Kilo wove and sprinkled her unorthodox flow, poetic speech and style into and on top of the production to make this project a brand new listening experience for anyone who cared to open their ears. Her lyrical ability and content is difficult to compare to anyone else’s in hip-hop or rap and that’s what makes her music special and unique.

The funny thing about her is that she never really wanted to be a musician. She is just really keen to artistic expression. So over the past year following “Homeschool,” she has done a bit of touring but has also been focusing on modeling and fashion, design and different kinds of arts. She actually creates and designs all of her album and single art. But when she feels like expressing her self musically, it’s a pretty simple process: she writes a song in a matter of minutes and doesn’t obsess with it; she just moves on and continues to create.

Kish’s most recent project, K+ was a more collaborative record and like Kitty, you can tell that she has grown as an artist and was experimenting with a few more producers and sounds. Some of the collabs include: Childish Gambino, Vince Staples, A$AP Ferg and The Flatbush Zombies. K+ is a pretty record and has a smooth R&B feel to it.

In honor of summer, check out Kilo Kish’s “Watergun.”

And her first claim to fame song.


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Danny Brown Turns Shows Into Parties: A First Hand Experience


By: Justin Cook

Hip-hop is a breathing experience, a way to live, and a way let go. This became all the more evident watching Danny Brown perform at the Pyramid Scheme, accompanied with his crew Bruiser Brigade. The night started like any other: people were slowly piling into the bar, the DJ was setting the mood for the remainder of the night and the audience was sinking into the hypnotism of revolving vinyls and melodies, sipping beer after beer, smoking blunt after blunt. We were feeling the vibe, ready to get turnt up.

The show started with the arrival of Chip$, fresh out of the pen, backed by the magician of mood, Skywlkr; every second the crowd was sinking deeper into the groove of back-beats and sub-bass Skywlkr bombarded us with. In the haze of smoke and dance, the other Bruisers covertly made their way on stage—TRPLBLK, Dopehead, and ZelooperZ—each one building on the hype of the previous entrance, culminating into an organic chant of the performers and audience yelling in unison “PUSSY! PUSSY! PUSSY!” It was at this moment when it struck me: this is not a concert, this is a fucking party.

Danny Brown strolled on stage and exploded into his first song, “The Purist” which is produced by Jealousy. The crowd was out of this fucking world turnt up and it made me think: I’ve been to my fair share of hip-hop shows, but the energy this night was on some other shit. Track after track, from “Molly Ringwald” to “Blueberry (Pills & Cocaine)” to “Witit,” everyone continued to get turnt up, despite being sweaty, fatigued and out of breath. The momentum kept building and had no intention of peaking or plateauing; it was just exponentially climbing to the cosmos. And Danny felt it, repeating between songs: “I am not a performer. You are not an audience. Let’s just get that shit straight. You see, we all family, just hanging out and having a great ass time, bumping some tunes we all enjoy.”

It truly was a party between an extended Michigan family. Danny passed a liter of Jameson around the crowd, calling it the turnt-up juice, making sure everyone was on the proper level. And of course, blunts were being passed between the stage and floor, making the entire venue one big smoke circle. Everyone pushed themselves past their own limits, and we all felt alive. Even at the end of the show, after Danny admitted to being tired, drunk and high, and only having enough energy for one more song, we made an agreement as a family, to stay turnt up for three more songs, which ended with “Kush Coma.” And after that promise was fulfilled, everyone rushed the stage, dancing, partying and loving life. There was no distinction between artist and audience, for this moment was just pure hip-hop.

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