
Produced by Surf Club’s Chase N Cash. Told ya so.
Here is a short interview he did with vibe talking about the humongous Wayne/Eminem song he produced and the Surf Club’s relationship with Weezy.

Produced by Surf Club’s Chase N Cash. Told ya so.
Here is a short interview he did with vibe talking about the humongous Wayne/Eminem song he produced and the Surf Club’s relationship with Weezy.
My disclaimer: I’ve taken the liberty of deciding for all of you that trudging through some half-assed, inferior, “End of the Year” smorgasbord of songs and situations of importance to me, Employee, would bore you to salty pretzel, heart-shaped tears comprised of an indescribable fury. That being said….I thought it would be lighter on the psyche if I asked as many different microphone megalomaniacs and sample slaughterers if they’d be benevolent by sharing their personal ruminations on the year that will soon be a calendar in the garbage. Nothing is edited.
Mac Lethal

In 2009:
We learned that no matter how many records you sell, and no matter how much of an impact you have on the music industry (which is an effete institution at this point), you will still, always, be confined by the corporal grasps of record labels and big budget entertainment vehicles.
A lot of things have happened in 2009, and they all seem to share an underlying theme with each other; low financial resources, financial crisis, frivolously spent funding for things. But I will extrapolate on the former paragraph a bit, and say that for some odd reason, nothing bothers me more than Lil Wayne’s Rebirth project being pushed out of 2009 into next year. We will get to that shortly.
Personally, I toured relentlessly, headlining only. A good 6 months of this year, even. I will say that I was immensely satisfied with about 80% of the shows, and nearly devastated by the remaining percentile (which were shows with extremely mediocre turn-outs. Some in cities where I have had outstanding crowds, multiple times, and wonderfully paid total artist guarantees.) It probably started in Colorado Springs. In April of 2008– I had the Black Sheep packed full of fans and supporters of my music. In April of 2009– I had about 1/10th of that crowd there.
No rhyme or reason.
Telling myself to not take it personally was very difficult. In fact, after shows like these, I would begin dematerializing, and coming apart at the seams.
“It’s over. I suck. I should have never pursued this. The last tour I did drove everything into the ground. I went back out on tour too soon.”
Then I would catch a nugget of redemption. Some random mystical force would sell my next show in Salt Lake City, UT completely out. Urging me to push on, at least until next year. At least until the sky rains boiling mercury onto my sophomoric career, and I melt into a pile of gooseflesh, failure, and PhilaFlava emoticons mocking that one time I got knocked the fuck out by Copywrite.
That last part is the crux of this writing. I’m kidding. Things went relatively well after I peel the layer of self-consciousness off of my year. As most people involved in the live music vocation know; touring, performing, and general ticket sales for live music are tumbling down an extremely unpredictable slope right now. Unavoidable setbacks and inconsistent ticket sales are, for some of us, the only meal the diner has available on the menu right now.
But it all comes back to 2009 being the year, the milestone, and the symbol of: corporate, independent, self-serving, miserly, rawly and crudely broken down to it’s inner, mechanical guts: human greed.
Most of us are piercing new holes into our belts, and tightening our proverbial Bank of America knickerbockers right now. Rappers are hustling verses. Trumpet players are adding Tuesday and Thursday nights at the Green Mill Lounge to their weekly repertoire, for boosted income. There is even a freeze on the nursing industry, where a lot of newly qualified nurses are not hired, because more qualified personnel are being rationed out nursing duties to save hospitals money.
It’s almost like half of this recession exists because people are so concerned with their funds being depleted by the recession. It’s an economic ouroboros. Yes, the American dollar has receded, but so has the drive and interest people at one point had to simply: take a fucking risk. And that was a prime ingredient in developing this country to it’s peak.
I guess I don’t envy Lil Wayne’s position. In 2009, the guy who sold 1 million records in one week not even a year ago, which as we all know is abnormal on multiple levels: can’t make his own creative decisions, take his own creative risks, and release his own music to his own satisfaction. He still salutes and answers to old, outdated money and business models. The same money and business models that got us here in the first place.
As trite as it sounds: I think one thing 2009 made incredibly crystal clear, is that your risks, and your crazy ass ideas are going to be precisely what pull us out of our current economic holocaust. As bad as it hurts sometimes, fuck it. Watch the movie Rudy, get motivated, and get back to taking financial and moral lashes by the whips and chains of society.
-mac lethal
p.s. In 2009 we learned that in 2010 Manny Pacquiao and Floyd Mayweather Jr. will fight. That saved my year, at the buzzer.
__________________________
A tip of the hat to Mac Lethal. Visit Lethalville or go here for more Mac.
Peace,
Employee
This should be downloaded just for the cover alone. Stay tuned for another CHOPS mix next Tuesday at 3:33. –Philaflava

Bun B ft Lil Wayne, CHOPS “Damn Im Cold” Young Jeezy “National Anthem “
Chamillionaire “We Breakin Up “Bun B ft. CHOPS “Keep It 100” Young Buck, All Star , CBoy “Flossin “
Keak Da Sneak ft San Quinn, Bra Heff, CHOPS “I Get It In”
San Quinn ft. CHOPS “Double Dose of Gangster “ CHOPS & Kanye West “Live Ya Life“ Chamillionaire “MM5 Intro”
Kapone ft Lil Weavah, San Quinn “Here Comes Trouble“ All City ft CHOPS- “Get Out My Way “
Fabolous, Magno, Paul Cain “Smokin n Sippin”
San Quinn ft Mistah Fab, CHOPS, Too Short “Devoted “
The Game ft Ice Cube, WC, E-40, Crooked I, Paul Wall, Chingy, Lil Rob, Techniec “Lowrider”
Lil Weavah ft CHOPS “My Rims “ Keak Da Sneak & San Quinn ft CHOPS “The Streets Dont Lie” Sway “Stereo” Johnny Spanish “Shining “
CHOPS “In Love With Your Momma” DJ Clue, Mike Jones, Paul Wall, Bun B “Grill and Woman”
Keak Da Sneak & Quinn ft CHOPS “Welcome To Scokland “

Here it is! Every Thursday at 3:33 PM CHOPS will be dropping a new mixtape. The latest is Glass Ceiling featuring Lil Wayne. Mixtape also features bonus cuts from Nickelus (Portishead ak), Drake and C-Nitty. If you’re a fan of CHOPS and dug the Lil Wayne mixtape No Ceiling then you’re gonna love this. –Philaflava
01 CHOPS remix Lil Wayne – Run This Town – glass ceiling
02 CHOPS – Gonna Fly Now Theme From Rocky skit – glass ceiling
03 CHOPS remix Lil Wayne – I Think I Love Her – glass ceiling
04 CHOPS remix Lil Wayne – Watch My Shoes – glass ceiling
05 CHOPS remix Lil Wayne – Throw It In The Bag – glass ceiling
06 CHOPS remix Lil Wayne – Wasted – glass ceiling
07 CHOPS remix Lil Wayne – Ice Cream Paint Job – glass ceiling
08 CHOPS remix Lil Wayne – Swag Surfin – glass ceiling
09 CHOPS remix Lil Wayne – Wetter – glass ceiling
10 CHOPS remix Lil Wayne – Break Up – glass ceiling
11 CHOPS remix Lil Wayne – D.O.A. – glass ceiling
12 CHOPS – I Shoulda Hit It skit – glass ceiling
13 CHOPS remix Lil Wayne Nicki Minaj Beyonce – Sweet Dreams – glass ceiling
14 CHOPS remix Lil Wayne – I Gotta Feeling – glass ceiling
15 CHOPS remix Nickelus F. Drake – Look At The Ice – glass ceiling bonus
16 CHOPS remix Drake – Best I Ever Had – glass ceiling bonus
17 CHOPS remix Lil Wayne – A Milli – glass ceiling bonus
18 CHOPS remix Lil Wayne – Lollipop – glass ceiling bonus
19 C-Nitty – C. Pertile – Coci Loc – CHOPS – All My Homies – glass ceiling bonus

Look for Glass Ceiling to drop tomorrow. I don’t know about some of you, but I’m kinda hoping we see Nicki’s boobies soon. They look delicious as fuck.
Lil Wayne, Beyonce, Nicki Minaj & CHOPS – Sweet Dreams (Remix)Download
When your father is one of the most acclaimed producers in the history of music and you have more money than God, what do you do? You make Beef DVD’s and rap documentaries simply because you can. Let’s not discredit QD3’s production talents, because after all he was responsible for some of the greatest Cali classics courtesy of Too $hort, 2Pac & Ice Cube. Basically, QDIII has more fuck you money than any rap producer you can think of not named Rick Rubin. His father is Quincy Jones for fuck sakes. So with that said, here is his latest project that will net him even more coin. Looks promising… –Philaflava
QD3 Entertainment presents the world premiere of their Lil’ Wayne “The Carter” documentary. Pre-order your copy now at thecarterdoc.com.
Steady B friend and fellow Phillies fan CHOPS drops the “Run This Town” remix for your listening pleasure. This shit is what we call a Chase Utley, shits a homerun. -Philaflava


Weezy picks up right where he left off with Drought 3. No guitars, no autotune, no Drake…
I had moderately low expectations for this and I now feel foolish for ever doubting Mr. Carter. New flows, slick verses and great sports and pop culture references. Say what you want about him, but Wayne raps his ass off and has fun doing it.

Before Wayne discovered auto-tune. When Juelz still had a viable rap career. Before Wayne became a martian artiste. Before Cam took his ball and went to Florida. Before Drake. Before Skull Gang. Before Lil Twist was potty-trained. Before “swag splashing”. Before Wayne became a pop mega-star with his own Behind The Music. Before anyone gave a shit about a Grammy.
Rumors of I Can’t Feel My Face as a mixtape started in 2006, and later turned to rumors of a full-on album. Songs started leaking, as did reports that it would be impossible to find a workable label situation for the project (Jay-Z beef and early Cam’ron fuckery). Who knows whether these leaked tracks were meant for the mixtape incarnation or the album, but they are pretty fantastic. Both of these guys were in their prime. No pretension, no singing, no big name production, just rapping. These are the tracks that Mick Boogie would turn into the Blow mixtape, which immediately took attention away from the source material with it’s shiny packaging, false “official/exclusive” allure, interviews and skits. Here are the untouched original tracks. Original beats, no drops, no skits.