Saturday, June 04, 2005


every south rapper nowadays gotta get some no name to slow down their cd. even z-ro and flip, who no doubt have nice collections of vintage grey tapes, still let dj paul wall touch their albums. right now, every south dj with a mixtape has to drop a "screwed" version: photoshop blur onto the cover and slow it down five percent and get it out a week later. letting it play out, everything and the skits and the interludes slowed just enough to be dreary and soft. can't jam it in your car. all those bright, perfect crisp beats are carefully balanced and tested to hit thru a pair of twelve inch subs sitting in a ported box behind your backseats. slowing it down by five percent just throws off the balance and makes it sound like you're one of those guys with a system that only jams metallica. screwtapes on a real car system create a sustained rattle and rumble. sustained bass hit after hit layering over each other, sounding like a bass growl thru the chassis, trying to overheat the amp.

forget the screw nerds that can't get over watts saying he elevated what dj screw was doing. watts and the swishahouse have a list of tapes that's got a good share of classics. watts was the first dj to a national release when he did the official chopping for 8ball and mjg. he sped up the base speed of the slowed stuff and had different goals than screw, but he's always been saying r.i.p. to robert davis and thanks for giving him and the city of houston the music to get money from it. watts and those northside rappers are the reason kids are bootlegging the new diary of the originator series cds on the internet. i really got slowed music listening to swishahouse and color changing click mixtapes, so i'll always cut for watts. and all the followers: og ron c, dj d, big baby, yellaboy, whoever does the real thing and brings their own special personal touch to it.

but screw. beyond the basic amazing sound of it all, i'm a sucker for that legend shit, mythology shit. talking like a classic rock dude again, i guess. talking about how people are going to be jamming screw in fifty years. leathery old men on their deathbed passing a grey maxell of wineberry over gold to their grandkids after years of telling them the story of how they bought it thru screw's gate before the kids were born and popped it into the deck in an 89 park avenue with swangs that cost more than the car. i love stories about how everyone on the southside stayed with a couple screw tapes in their pockets at all times in case they took a ride with their friends. i love stories about guys like fat pat and stick 1 and lil keke and e.s.g. and pat lemmons. i love the nerdy collector part of it, earnest young men scouring houston for original tapes that no one has heard, buying and trading, debating origins and dates, discussing quality.

if you want to hear them, please go to the trouble of actually ordering them. check the website, pick a couple titles you like, take a ride down to the post office, get your money order and send it away, wait a couple weeks and hope you got the tapes you picked or good replacements. support the real because people down there are still trying to make a living off this. if you ever have a question about a tape-- "who was on that flow??" "was this really e.s.g.'s last tape??" "was this randy's birthday tape??"-- you call them (713-731-0747) and they'll answer or find out for you cause there's a good chance that the basically unknown s.u.c. member that flowed on that b-legit track or at least someone that was in the house that night is chilling in the back room of that ugly rectangle building on cullen blvd in houston. i'm going to give you ten but it's ten out of the hundreds of tapes screw made and ten out of just the few dozen i've heard.


"southside holding," what southside legend pat lemmons had written in his trunk in neons. lemmons: first one with a pop trunk and really put a lot of people on the southside up on dj screw and supported him with cash (along with stick 1, another southside legend and the first real rapper to flow on a screw tape).

there's a pat lemmons wedding day tape and a pat lemmons r.i.p. tape made after his wife stabbed him-- true story! he's on a bunch of tapes himself, (tha next episode, ridin red, sippin out the gallon). and the original, southside holdin, was a lemmons' r.i.p. tape from 97, after his wife stabbed him on new year's eve. fat pat copied lemmons' trunk set-up and hosted his r.i.p. tape.

screw and fat pat's partners flipped the title of lemmons' tape for a sort of r.i.p tape for fat pat. the voices on the tape other than screw are p.a.t. (the one with the squeaky dranked out heeeeeee heee laugh) and snoop (the one with the crunchy little chuckle), two of fat pat's partners that screw was tight with, too. (pat's other partner, blunt, who got locked up for life shortly after pat died, was in the house, too. they shout him out a few times but he doesn't get on the mic).

probably best known for that wanna be a baller flow on side one, screw isolating the airiest slumpedest part of the beat and letting it float under while everyone in the room steps up, occasionally scratching in the hook as punctuation. twenty seven minutes. goddamn half an hour. everyone on it: d-drew, cl'che (i love the way she flies into her verses, "watch this four foot ten lil mama just flip this shit / feelin this shit, wreckin this shit / call me that classy bitch"), lil o, big baby (not screw's kin that does his own tapes now), lil o, bunch of other un-notable cats. everyone sounding right off the dome. some coming soft and muddled and fucking up a line and giving it a mayyyynnnnnnn! and giving up. cl'che and lil o tearing it up but lil flip tearing it all down. shit to give you goosebumps when he slowly gets faster and faster until he's damn near in quadruple time, making his flow normal speed thru that heavy screw down. flowing normal speed over a beat that's moving four times slower than he is. and doing it for real freestyle, spitting and spitting for ten minutes with barely a break. getting to the core of why flip was so cold back in the day and really amazing.

read it out loud as fast as you possibly can, mouth humming and skipping thru the syllables with absolutely no dead space in between: nigga talkin nigga bout give me the mic for two minutes nigga don't give me the mic for a second nigga be keepin codeine listening to slow jams nigga be leanin like a tower four leaf clover nigga talkin bout i got more drank than uhhhh doogie howser me and doogie or me and c-note diamonds in ya face rollin to the billboards me and cedric nigga talkin bout nigga i be goin to whataburger get the burger with no lettuce no tomato navigator nigga r.i.p. gator and mafio i got the flow talkin bout people got the money nigga eh lil flip got the cheese got the dough they we be wreckin piece and chain nigga goin to johnny's to the flea market parallel park nigga when i open my mouth say farewell to the dark diamonds in ya face i'll say it once again nigga you'll remember feel that flow i been sick though from the get go tiptoe slow when i sip fours.

screw chops up that realest rhymin, the track that supposedly started the beef between flip and e.s.g. and got another classic flip verse (make em say ughhhhhh like master p / do the bodyrock like p-a-t / swang and bang like e.s.g. / gs and ballas like h.s.e. / if i'm chillin with a girl she gotta be a star / if i hold a white cup it gotta be the barre / blue black or red, don't touch my car / SCREWED UP CLICK IS WHO WE ARE) and e.s.g. coming so cold talking about fucking up the kkk in jasper for james byrd and tearing up neiman marcus. chopping up k-ci and jo-jo to create og ron c's fuck action and michael watts' straight to tha room. chopping up just a bunch of fat pat classics and letting snoop and p.a.t. celebrate over them and getting belligerent and loud in gangsta catchphrases.

2. IT'S ALL GOOD (1998)

fat pat's last tape and his last birthday tape. getting ready for his album to drop, talking at the start of the tops drop, "this for that mr. fat pat album, coming out february, in stores soon, on the shelf." got shot next month, february 3rd. going down to meadows southwest apartments to get cash from a hustler/concert promoter named weasel.

the story of why pat got shot by weasel is deeper than money or a promoter bootlegging pat's show. and it's deeper than the sleazy rumors about pat getting shot behind just some drug game bullshit, shot behind fucking over the wrong people. it's sort of accepted as fact, based on what his people have said and what came out in various trials, that weasel shot pat cause pat's partner snoop (who hosts southside still holdin with p.a.t.) jacked weasel for five digits. the story goes that pat was helping weasel to get out of the dope game by supporting his concert promoter hustle. pat went up to austin and did a show that weasel ended up bootlegging. weasel didn't have the cash to pay pat for the show and pay him off for the bootlegging, cause he had just lost all of his dope money (and--this is a rumor--got one of his dope houses robbed by pat's people). weasel came down to the southside and met with pat. weasel asks pat if he knows where pat can get him some work, so he can flip the dope and get pat all of his money. pat tells him he can't make it happen, can't get weasel the bricks. weasel takes off and pat's partner snoop gets an idea: since weasel came down to buy those bricks, he's probably got a grip of cash on him. snoop takes pat's suburban and ends up flagging down weasel on the road. snoops and whoever was with him pull guns on weasel and take the cash. weasel assumes that pat set up the robbery. pat gets summoned to an apartment on the southside, thinking that weasel has the money. weasel lets him in and his goons shoot pat a couple times in the head.

and get this: weasel was at screw's house when the tape was being recorded! listen closely. just as b.i.g. is about to kick into his kick in the door verse, pat leans into the mic to say: "weasel in this bitch." damn.

screw chopping up that kick in the door, letting those cut ups of fat horn blast beat into big's slow thickened voice. chopping up glossy east coast rap, ma$e (he's on here with four tracks-- fat pat loved ma$e) and da brat (she's on damn near every tape screw touched!) and jermaine dupri. stretching out ghetto dope cause master p has the greatest grimiest voice to hear slowed. and pac's life's so hard with doubled up gunshot drums cause every tape has to have pac on it, "a tape ain't no tape without pac on it! you gotta have that boy on your tape."

and that flow. fat pat and lil keke! the last time they'd get on a track together. the final evidence in the eternal debate over who was colder, pat vs. keke. and it's been around the world! picturing puff and ma$e swinging legs in shiny suits. but the perfect beat for pat to come with deepvoiced oldschool swagger like it's 1980 and he's in sugarhill sweaters and holding the microphone proper and upright, doing hand motions. (that's why he loves ma$e, cause they've both got the oldschool rapper swagger like that [like flip used to, too]). and keke with the balance between generic southern g shit and that southside houston style.


the screw tape you're probably most likely to have heard cause it got a cd release on bigtyme records and ended up being pretty easy to find relative to the average tape. sequel to a tape from 94, appeared in a couple forms: the original grey tape from late 1995, the original bigtyme release in 1996 with a few tracks cuts for length (blue version) and a "remix" version in 1998 (i think) with a few more tracks (red version).

coldest intro of any tape ever, e.s.g. breaking it down while screw chops up some old above the law track. "it could be your homeboy, your bitch, your main gal, your sister, your mama, your grandmama-- EVERYBODY STEALIN SCREW. so watch yo screw! when a nigga get in your motherfuckin car talkin about 'where the lighter at?' you go and lookin back and shit, watch yo screw! cause niggas want em. you can leave two sticks, a swisha and a fo and a screw tape on the counter. ain't nobody takin none of those drugs!" and telling us about taking it nationwide, him and screw just left jack the rapper and they trying to expand and let the whole world know how they do it down south and ten years later you know how that turned out, screw's name bigger than ever.

the blue version mostly cuts the old westcoast tracks (except the mack 10 track that screw tears up) in favor of the houston stuff like e.s.g. and keke and al-d and moe and the botany boys that screw wanted to put on cause it was going to be a national release.

the botany boys tracks like the perfect example of why anyone would want to hear music slowed down. cloverland, with all the whiny fake g-funk keyboard whines slowed to syrup and the humps of bass softly surfacing under deep houston accents walking you thru southside neighborhoods. "but ain't no thang to them gs in the clover / it's over / got your babymama suckin my dick in the range rover." fading into the original pimp tha pen, that keke classic he's been making sequels to for ten years. "in houston we elbows in cali they daytons / so, 1996, you hoes better duck / cause the world gon drip candy and be all screwed up / just pop in your grey cassette, turn up your fuckin deck / lend me your ear cause the southside fitna wreck."

.380 repping for 84 swangs on elbows swangin, ten years before still tippin on 106&park with mike jones taking the slang international. template for that h-town slab talk, talking about four 15s and 84s and boppas and the 5th and candy on cadillacs. and the group disappeared after this track and a local album that never went north of tidwell. but extra significant for getting sampled on ugk's diamonds and wood. chopped up by pimp c on the hook: "i flips down the ave, know i'm lookin good / i'm bangin screw, nigga, diamonds up against that wood."

4. CODINE FIEN (1995)

(yeah, i've seen every variation on the spelling but that's the spelling they use at the shop now). a personal for lil randy, who was down with screw since the beginning and probably on more tapes than most of the click but has always been sorta overlooked and underrated, and mike d's first tape. sounding extra slow and leaned over, sounding for real like it's made to get fucked up to like every news article about screw says. pulling down e.s.g. and da brat and meth/mary j. into claustrophobic syrup swamp. screw bringing in his west coast favorites (jamming screw tapes will put you up on almost as much west coast music as southern. i heard most of the southern tracks but the west coast stuff is mostly new to me), ghetto serenade by w.c./maad circle and endless shoutouts ending the first side of the tape. side b. the first two tracks the sequence that you have to keep rewinding over and over again. sliding in what's my name by eazy e. a hundred chops a line for cartoon eazy voice stretched out to vibrate slow and serious. "doin wicked shit cause shit is wicked on the streets" brought by a dozen times by screw. fading over into it's all bad by e-40, still giving me goosebumps the hundredth times i heard it. screw warbling 40's son's voice asking his dad about "so is that what they do?" "IT'S ALLLLLLLLL BAAAAAAAAD" "it's crazy out there, huh?" "IT'S ALLLLLLLLL BAAAAAAAAD" "is it gonna be like this when i grow up?" "IT'S ALLLLLLLLL BAAAAAAAAD" "daddy, sprinkle me with some more game." sliding into groovin on a sunday by c-bo. turning it all into nauseous haze. every track completely crushed and ruined, swept with swishing scratches. roused from deep sleep by screw and mike d and randy giving shoutouts and flowing off destroyed glossy new york beats.

5. GRADUATION 99 (1999)

"my nigga d-drew, seventeen years in the game, knowmsayin. it's goin down, boy done graduated, knowi'mtalmbout? steppin on in life, knowmsayin. big dreams... ghetto dreams... fitna put it in yall face...." (salih williams took that cut of screw talking on this exact intro for know what i'm sayin track off who is mike jones). picturing screw just like in all the pictures. standing over his tables with a bank of tape decks behind him. wiping sweat off his forehead with his fat palm. wheezing. bright yellow polo shirt and grey sweatpants and some jordans. sipping big red out of a big styrofoam cup. spinning eminem over a fat pat instrumental. "hi kids! do you like violence! do you wanna see me stick nine inch nails thru each one of my eyelids!" screw leaning down to chuckle, "he killed them boys with that one!" and singing along with "which spice girl i wanna impregnate." playing bam's graduation and some sleepy devin sticky green after the d-drew's announcement, then taking it back to c-note and ugk and bg. dedicating the dj quik to d-drew and telling him to really listen to it, talking about how quik came thru to screwed up records & tapes and showed love, talking about how he saw the video and if you want to understand how his life been going you have to see it. getting comfortable and talking up his crew. calling d-drew up to the stand to talk about how he made it by going to the classroom and not fucking with the guys at the bus smoking weed-- but the laws still fuck with him. picturing screw's team lining up at mic, z-ro and al-d and d-drew spitting their writtens over an airy beautiful fat pat classic.


"why these boys wanna fly to the classic? you know you gotta go down there and really REPRESENT, mayyne. h-town on the map! time to pull out your gun and start cappin on boys cause they don't see us glowing like this here. niggas think we down and out. we ain't ridin horses and shit!" ready to be jammed in the caravan of screwed up click suburbans and impalas rolling down i-10 with seatbelts and screens on for thanksgiving in the louisiana superdome. headed to the bayou classic for photo opportunities and shouting at pretty girls and going wild in the n.o. and representing for your city.

opening with that eternal, everyone going for half a decade with the writtens off unidentified early 90s r&b joint. opening with hawk taking it and then calling screw to the mic to spit a verse of his own, crowding around him while he comes with his drank tribute, propping him up with readings of the ends of his lines in unison. "the way you make me feel when i'm pourin you up / the way you make me feel when you in my cup / i'm gone it's on I'M SITTIN ON CHROME / i just bought a four TOOK IT STRAIGHT TO THE DOME." stepping down to let his two professionals take it. pat with his slow swagger about girls and woodgrain, mike d setting up.

the rest of the tape, screw doing his thing. and i always check for tapes with a classic nas track. study that street dreams, something i've heard enough, played my it was written end to end a million times, to really understand what screw is doing. that strong, rich new york beat, trackmasters beat. stretched out to show you those winks of synthesizer in cross section and drums compressed and flattened into the floor of the track. picture screw's fat, soft hands running over shiny black wax and loose fader. letting the gunshot interlude that introduces i gave you power to fade instead into bomb first and hail mary mixed against each other, playing the farrakhan million man march speech that pac put on his cd, fading into me and my girlfriend played out before the obligatory da brat and e-40 tracks.

7. 96 LIVE (1996)

randy echoing thru the static on the intro. "that boy RANDY, still sippin CANDY." 7 am and they're yawning on the intro. "we standing here just four deep, BLOWIN." side b intro, "we out leanin, mayynne. seven thirty in the morning," talking about screw still on the tables and they're still sippin. sounding for real like they're just sitting around getting faded and watching screw lazily mixing with heavy eyes but still really feeling it, pass the microphone around and giving their shoutouts or going off on a sleepy freestyle. sounding like am radio tuned to slighty off the station, a static dust on everything. full of hisssss like a slow leak. a dub, title carved into the plastic with a swiss army knife. screw mixing in all of his westcoast rappers, c-bo and mac mall and spice 1 and ant banks.

putting on kriss kross to let randy and mark flow off. sounding amazingly focused and raw coming out of sleepy intro and yawns and lazy shoutouts. while the drums send the volume into bright red and distort the end of every line. picturing randy rapping on his back, eyes closed, concentrating as hard as he can, "leanin on the codeine all fuckin day / roll thru the trey, what you got to say?" and screw himself, with the tape hiss coming to peak and the tape straight blinking out for five seconds at a time, always sounding like it's a privilege to be able to rap on his own tape, having fun, "i'ma come thru sippin syrup, steady swervin / cause it don't stop in the motherfuckin south / it's the fuckin screw, get my dick out your mouth."

8. BARRE (1997)

a tape for big moe on his birthday. "twenty three and destined to make it to twenty four." the man himself toasting over every track to all the folks that's in the house tonight. and man, everyone in the click was there. when the first side fades out you get a burst of ambient noise and the house must have been full. picturing him officiating with the microphone, mingling thru the party while screw lets all of his favorites play out, unchopped, missy/da brat and bushwick bill and pac and mr. serv on and bone thugs and early 90s slow jams and forgotten classics. giving dap and announcing his endless list of partners and giving general southside->third ward->carroll/live oak shoutouts and singing along to or cracking up with his favorite lines while the music booms and he sips purple prometh and codeine out the puffy white styrofoam. leaning back in a milk chocolate velour track suit and narrating the scene: "the boy randy right here on side of me with something that's thoed. eyes so low, don't make no sense, in the bitch feelin like this." coming up for the freestyle on side b and fuck the willy wonka videos and everything, moe always comes with the real even if people forget he's a real dude, forget that he's more than just an in-house hook sanger. slowly easing into the can i live instrumental with improvised hooks sung into it and chopping up his cadence to sing and mutter into it. "ain't no foes on the southside, keep tight bald fades-- i'm playyyyyyyyyyyyyAYYYYYYYaaa-maAYYYYYYYYYde--... i'ma drank baby, thinkin bout barre, on my mind young g tryna go far... starchy-ass clothes and i'm drownin straight fours."


screw was always cutting up that friends track by whodini, from the earliest tapes to the bootleg live stuff. opening mash for my dream with no intro track, just twenty minutes of the friends instrumental while everyone in the house steps up and does their thing. one of those flows that just drags and slides past you, sounding properly embedded in the instrumental, until every rapper comes and tries to outdo each other, everyone bursting out and sounding furious. screw fading it out to play out tracks unmixed like he was doing by 98, just turning everything down extra slow and soft. daz and yo-yo and nate dogg and steady mobbin with master p and do or die and conscious daughters. keep ya head up fading into we'll always love big poppa, sound crushingly sad beyond the basic idea cause of all the screw r.i.p. songs off that beat, but quickly fading into fuckin you tonight to break the mood.

10. RIDIN DIRTY (1996)

screw throws on the instrumental of fuck my car and the voice you hear on the intro is bun b. "what's up world? it's that big bun b, representing p.a. and they bangin screw." shouting out screw on the tables, introducing who's in the house tonight. pimp c coming in to switch off and on, remix their own track from fuck my car to sip my barre, "you wanna be seen flippin with a superstar but you ain't kickin it with me, you wanna sip my barre." ugk come thru to do a flows tape! a next year's model ls 430 already on blades parked in the alley in the back. screw hands them styrofoam cups and they pull out the weed. screw lines up the classic west coast instrumentals: wc, mc lyte, tha dogg pound, mack 10, ant banks.

"the boy c rollin joints, screw mixin it up-- i think that boy want that old school!" and screw lays on some late 80s slow jam with whining plastic guitar solo and snowcrunch drums, fading it into afro puffs, while pimp sounds fucked up and coming no problem with hard dope game raps. "now can you get yo money right?? ... see my shit don't never have no holes and my ounces way up right ... i got the keys ... uhh ... niggas don't understand that you cannot do this with ease ...." I ROCK ROUGH AND STUFF WITH MY AFRO PUFFFFS (ROCK ON WIT CHA BAD SELF) while pimp conducts screw's mixing using a swisher as a baton and lovingly defends him: "yall must think, man... yall must think... it's a lot of niggas think ANYBODY can motherfuckin do this! after standing right here on this mic, man, talkin to yall, can't NOBODY do what screw doin! STOP! all yall out there doin it, just STOP! RIGHT! NOW!" and bun the one sounding so uncomfortable that i'm usually hitting fast forward when he hits the one minute mark and there's three or four more minutes to go. self-conscious rapper flow: spelling out his name and awkwardly toasting the people in the room, repeating himself. sounding naked without his perfectly balanced and calculated lines, getting blown away by grace, the only rapper out of screw's personal stable that gets the privilege of getting on the same tape as the legends.

side b just rolling out b-legit and pac and westside connection like always. mixing while bun relaxes on battered couch playing nba live 96 against al-d, and pimp gets his fade looked at by big jut.

dylan you kept tellin me about your screw post and i was waitin on it but you came with a classic, this needs to get read by everybody in the south and everybody who listens to screw music.
Goddammit man this post is great! Thanks so much! I'm gonna order some of these right now! Have you heard Hurricane Duck? I think that one is a miracle!
you and drank got the power to hold the histories in your minds, and that's what makes up your work, knowing the stories behind this, developing it into a real mythology. you're the best two rap journalists in the nation besides bdb, know that.
Good job Dylan. Your ability to wax poetic with such eloquence despite the uncouthness of the subject matter is shocking. Your overall knowledge of the sounds/culture involved goes much deeper than I had originally thought. You'll go far.

-Bryan Silverado
One of yr best.
who is bdb?

great writeup though.
Solid post. You made me dust of my Screw collection to see if my library included your top 10.
Awesome, Dylan. I'm in Bmore right now and when I met ppl here all they did was talk about how on some next shit you were. Oh and plummy padge I saw phil rocking one of you and minna's shirts in NYC, I want to buy one.
I like this post... The top ten here are good choices.. but you can't leave out that JUNE 27th !! ..
When that one came out -- it sold quick... it got to the point where you really had to hunt for it!

I still got my grey tapes, lol !! ..

Keep holding it down.. .
This was cold, ought to be a book. Keep up that mess.
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Subscribers are given a choice of 10 different offers, including a 45-day trial of AOL and a two-week trial of's genealogy service. Typically, the offers are free and easily canceled.

Once the trials are over -- for both the main subscriber and the referrals -- the free iPod is dispatched.

"Of course I was skeptical, but I didn't see any harm in trying," said Collin Grady, 22, from Salem, Oregon, who received his free iPod earlier this month and wrote about it on his blog.

"They never once asked for a credit card number and I didn't have to pay shipping," he said. "I just told them where to send it.... All in all, a very painless process."

Indeed, some customers are so delighted that they've set up affiliate websites, called "conga lines," to persuade others the program isn't a swindle.

"So many people on the web think is a scam; I just wanted to prove them wrong," said John Sauer, a 19-year-old student at Boston's Berklee College of Music, who runs Free iPods and FlatScreens .com.

Another site, 17-year-old Tyler Derheim's FreeiPodGuide, features pictures of the delivery truck outside his house, his receipt and, of course, his new iPod. is one of several websites run by Gratis Internet, a Washington, D.C., "customer acquisition" company owned by Peter Martin and Rob Jewell.

"I can definitely understand the skepticism," said Martin. "A lot of people believe there's no free lunch, but it's definitely not a scam. It's 100 percent legitimate. We're shipping (iPods) every day."

In a joint interview, Martin and Jewell denied the site is a pyramid scheme, like the myriad matrix schemes advertised on eBay, which also promise free iPods.

Pretty cool deal....already ordered mine! if you want to try it out for yourself heres the link
say mane, i need to know where i can get me some screw tapes. i'm tombout 'wreckin classics', and such. put it down for me mane and let a nigga know where he could get that shit out here on the west coast. i been listening to screw since 95, gotta love him RIP. fuck paul wall and any white rapper out there. BLACK UP!
Fuck any racist bitch out there, and Fuck Paul Wall
Fuck the racism is right - stop hating.

Why does skin color matter when it is your ears you use to feel the music?

Can't stand folks that be talking shit and hatin .. need to look in the mirror, who are you to judge?
BLACK UP! <------- seriously?

Damn, you an ignorant motherfucker.
Say cuz. How old are you. I'm 18 and been jammin the real shit since I was 5 or 6. I'm talkin' bout since like 93, 94. Fuck Watts, and Wall they didn't elevate their just makin money of the originator. And I'm talkin' bout Dj Screw nigga. R.I.P. Screw, R.I.P Fat Pat, R.I.P. Big Steve Mafio, R.I.P. Big Hawk and R.I.P. Big Gator.
It might not of been official but Dj Screw got alot of songs with the permission of the artists.
I'm lookin g for an old freestyle with big jut on it to the beat by NAS "if i ruled the world". any help on the name of the tape? this ones old.
All work no play, that's the one you looking for. For real with the fuck the rascism. i wish everyone was color blind, but you cant change some peoples minds. like paul wall. hes white but hes got that feel. You know he feels music. How dare this motherfucker brung rasism into music, its the last pure thing humans got, and when we choose to segregate our music, then we kill something beautiful. rip hawk, rip screw, rippat, rip big steve, and oh yeah im a beaner!!!
man this is a nice lil info deal on dj screw. i have been listening to screw tapes since the early ninetys on the original gray tapes i actually still have about 30 originals thats tuck away. if you were a real screw head you would remember the pager number on the screw tapes 713.289.1026 on all his tapes screw had a lil under a thousand tapes out. thats including all the custom tapes that he made for people. the ones you got posted up are just a handfull of some of the popular ones. he made like 6-7 tapes a week and the ones that were jammin became the ones people would request the most. as for watts, he would honestly been straight up trash today if screw was still alive. many of the last screw tapes made disses watts and all them. that was back when slim thug eldorado was green and before he did a callabo with esg. candy coated excursion in which slim thug fu#$%d over esg in signing with the people he signed with now. if screw was still alive it would be a whole different story. also all the real screw heads would remember the house off of telephone rd and the fu@#$ng gate. man if that sh@t was closed no tapes were sold.
oh yeah i also like to say rip to all them rappers rip fat pat. i use to see him on mlk with blount, rip big steve/ aka mafio man we use to get high in the clarke jammin screw. rip big hawk. i use to see him all the time at the gym before he passed. and finally rip dj screw!! always had a couple of gray tapes for me when i went to go and visit his house...that damn gate!!!!!
I have 96 screw tapes I dont mind sharing if someone would like to here a sample of a CD before ya buy one from screwed up records and tapes believe me im not selling em just trying to put people up on this screw. RIP screw we'll never forget ya....
I think the freestyle with Jut on it (over the Nas If i ruled the world inst.) you're refering to is off the tape "Still Hooping". It also has Grace, Los, and even a tight verse from Screw. Definitely one of the more slept on tapes in my opinion.


Nice tapes man.. do you know which tape has runnin' on it by biggie n pac.. I know there's one version on "no time for bullshit" but that's some kind of remix with some reggae/ragga dude on the chorus and I'm not talking bout that.. I know it's like tryin' to find a needle outta haystack but I just have to find this tape that got this track on it.. heard it once and been lookin' for it since!!
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Do you know his song about Generic Viagra Blue Pill is the must funny song of all the times.
Do you a have a tape referee to Sildenafil ? please post it !
this is an awesome post/write up
A little biased in some ways, but very informal nonetheless. 8 points overall. R.I.P. The South's Godfather Robert Earl Davis Jr aka Dj Screw
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