Posts Tagged ‘droopy’

An “Unfiltered” Interview with Director Deezy Miaci

Sunday, September 25th, 2016


photo courtesy of Deezy Miaci

Deezy Miaci is a director from Detroit living in Houston, Texas. He is beyond a conventional videographer, who just creates visuals to accompany songs resulting in incongruent marriages of graphics and sounds. Instead, Deezy is a documentarian who taps into the spirit of the neighborhoods belonging to the artists he shoots, producing motion pictures that convey the very essence of the artists along with the mud from which they’ve surfaced.

Deezy’s films are not easy to digest. Most are gut-wrenching. However, he transcends the typical “hood video” and in surpassing the status quo, Deezy’s depictions of the artists he shoots are so intimately potent that his projects sometimes come off as brief memoirs of his subjects.

Deezy declares, “I am not driven only by money,” and it is this peculiarity which has permitted Deezy to be a voice for independent artists who are without large production budgets. Deezy went on, “I like genuine good music about the streets, family, or anything with some type of message for somebody.” And whether these gloomy accounts in Deezy’s films enlighten his viewers or give them mental overcast, he tailors many of the artists’ narratives he shoots with statistics on incarceration and death. Deezy professed

I was incarcerated from 2007 to 2012. By me knowing how the system is and how it is designed, I make sure I shed light on that for anybody that is watching my videos. It is not to put the system down. It is to keep my viewers aware of the statistics so they don’t become a part of it… I want to make sure that they know that in no type of way am I trying to glorify that.

In my conversation with Deezy, we discussed his work flow and creative process. Tragically, in a humorous sort of way, he also indicated that he never wanted to be a videographer. And thereafter he talked a bit about three of his most vivid videos. Finally, Deezy shared some of his efforts as a diplomat for the streets, in trying to unify parts of Houston for the purpose of successfully impacting the music industry on a level greater than just local acclaim and according to Deezy, it’s working.


Rearward Glances and Real World Chances: A Review of Rilgood’s Mixtape Kingdom

Wednesday, November 6th, 2013

Rear-view mirrors allow drivers to see rearward facilitating informed driving decisions; at least that is their purpose in our culture. Rilgood is from Nigeria. Yorùbá culture originated from Nigeria. Santeria is partially derived from Yorùbá religion. In Santeria, however, looking backwards is sometimes regarded as incautious because it keeps present obstacles that should have been relinquished.

Kingdom, Rilgood’s newest mixtape, is that rear-view mirror music. Kingdom is hazardous to listen to because throughout the mixtape Rilgood fits into view distracting glimpses of  realization, disappointment, bliss, and gloom similarly experienced by motorists taking poorly timed debilitating glances at rear-view mirrors. He caresses the low-spirited and sunken production[1] with simple lyrics that invite reflection which may lead to awareness, a rubbernecking accident, or both.

Kingdom is slick. Your pause button better have anti-lock brakes or else you’ll have a hard time turning Rilgood’s latest project off. On his mixtape, its apparent Rilgood doesn’t vaunt himself, but I am unsure whether he held back more than he should have. As such, his mixtape is a paradox and that momentous tension is what keeps me from getting tired of it. I can’t figure it out. – Droopy

Follow me (@Droopydood) and Rilgood (@Rilgood).

Listen to Kingdom below:

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[1] By Woodro Skillson, The Gift, Rilgood, Dot Da Genius, Kechphrase, Dave Maxwell, Flick James, RC Bankwell, 88-Keys, and Keyboard Kid.

Arrest the President 4: A Conversation with Fat Tony on Hood Party

Thursday, September 19th, 2013

I got a chance to interview the sure-footed Fat Tony about Hood Party, one of the singles off of his new album Smart Ass Black Boy. I am dropping this interview under our Arrest the President column because the song Hood Party is a comment on gentrification, a sociopolitical issue which occurs when poorer residents are displaced and supplanted by an influx of Louis Tully lookin’ Vans Original Classic Authentic wearin’ Newgrass fans. As you know, Arrest the President is a column here at T.R.O.Y., started by Thun, which looks at Hip Hop, past and present, from a sociopolitical perspective. In the song Hood Party, Fat Tony, and featured artists Kool A.D. and Despot, cleverly poke fun at some of the effects gentrification has individually on locals and “gentrifiers” and collectively on affected communities.

In this interview, Fat Tony and I briefly discuss his new album, conduct a line by line analysis of his verse on Hood Party, chat about the positive and negative effects of gentrification on established communities, I share my experience of hearing Hood Party for the first time in the courtyard of a highly ranked undergraduate university, and we even tackle the question of whether or not Hip Hop is being gentrified. Towards the end of this great conversation, Fat Tony, with his command and knowledge of Hip Hop, along with his clear and deductive thought process, really helped me understand and come to terms with some of my insecurities with Hip Hop right now.

I suggest you listen to the interview here, where you’ll be able hear Fat Tony read the lines of Hood Party with his soft yet sandy voice, over a piano which was quietly played in the background throughout the entire interview. It’s quite pleasant, especially if you enjoy the song.


The T.R.O.Y. Blog Presents: The Aspiring Me Debuts his Self Titled Album

Tuesday, July 30th, 2013

Generally, when something is great I want to share it because I enjoy making others happy. But, there are some rare moments when I experience something so rich, I’d rather keep it a secret in order preserve it from some of society’s desperate, albeit natural elements that commonly pickpockets the intimacy shared between the object and beholder and cashes it in at the metaculture bank.

Today, July 30, 2013, The Aspiring Me drops his debut self-titled album, The Aspiring Me. Excuse my Dorian Gray mentality, but I don’t want anyone to hear it because it’s too good. The songs are too special.  They deserve better than the mediocre listener’s capacity to appreciate them. One of the reasons the songs are so special is because, as The Aspiring Me described in a prior interview:

It encompasses everything from me growing up. A lot of people aspire to be a lot of things. I am aspiring to be myself. At the end of the day my music is a reflection of my continuous growth. That growth leads to my change and I believe those two things are separate…

His autobiographical album, composed of 11 solid songs (and three bonus songs), is the best Hip Hop album I’ve heard in a long time, simply because I enjoy every single track on the record; there are no skip to the next track tracks. (more…)

Hidden Treasure: ROSEWOOD THIEVZ

Friday, June 14th, 2013


The homeboy, the Aspiring Me put me on to this little gem. The ROSEWOOD THIEVZ are out that Third Ward Houston, Texas.  These dudes have that pre-Houston golden era sound, but not by force, strictly by default as a result of all the fun they had recording this album. Here, there are no songs oversaturated with H-Town terminology or tainted with a distracting entrepreneurial spirit, just that pure and steady swang wide sound, which is a product of leisure, creativity, and their immediate environment.  You will miss out if you don’t give ENTER THE TERRORDOME a listen. Enjoy.  –Droopy (@droopydood)

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The Aspiring Me in New York City

Friday, April 26th, 2013

I interviewed The Aspiring Me a few weeks ago. If you missed it, you can read the interview here.

I got word that he is performing at the Tender Trap 245 S 1st Street Brooklyn, NY, via this very fluid and clear cut freestyle. In the song he also shouts out THE T.R.O.Y. BLOG and yours truly.

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He really killed the beat. So much that the actual SoundCloud sound wave frequency looks like a scar on the computer screen.

There is a lot going on in this freestyle.  (more…)

A Conversation with The Aspiring Me, Son of the Late Big Mello

Tuesday, April 2nd, 2013

On March 5th I went to a panel discussion at Rice University. The theme was Swishahouse’s impact on Houston culture, rap and Hip Hop in general. Members of the panel included the legendary G Dash, OG RON C, DJ Michael ‘5000’ Watts, Chamillionaire, Lil’ Keke, Archie Lee, and Lester Roy. Prior to the discussion, Rice presented an interesting and thorough documentary on Swishahouse’s come up.  Afterwards, during the question and answer period, a sincere question, caught my attention:

“My name is Andrew, the son of the late Big Mello…how was N Love With My Money created?” I got that down home feeling hearing a question that actually called for an answer, instead of the typical blog drop question structure-“Hello, my blog is ______, my twitter is______, I make beats, what are you doing for the youth?” Andrew’s fan boy vibe captured why we all were really at Rice University’s Grand Hall. His truant shame and unaffected interest in the etymology of Chamillionaire and Paul Wall’s classic song reassured me that the Houston rap fan base was as genuine as I remembered it.

Two days later I went to a Fat Tony show and caught Andrew freestyling by the bathrooms about Mo City, Texas, seminal fluids and Hulk Hogan. But before I got a chance to talk to him about the panel he bounced because he had to serve as Fat Tony’s hype man that night.

The very next day I went to my favorite vegan friendly super market where I, again, coincidentally crossed paths with Andrew a.k.a. The Aspiring Me. We decided to hang and he agreed to bless The Troy Blog by shooting the shit with me about his father, the late Big Mello, Houston rap (past and present), and his upcoming album. Enjoy the conversation (you can listen to the audio here, plus The Aspiring Me’s post interview freestyle). (more…)

ZZ Top Covers DJ DMD’s 25 Lighters (Part Deuce)

Tuesday, October 23rd, 2012

Quickly, for those who don’t know, ZZ Top is a rock n roll band from Houston, Texas. They formed in 1969. The group consists of Billy Gibbons, Dusty Hill and Frank Beard. Their sound is deeply rooted in rhythm and blues. ZZ has released 15 studio albums and has sold over 50 million albums worldwide. In 2004 the band was inducted in the Rock and Roll Hall of Fame. Their new album, La Futura embodies the single Gotsta Get Paid, a reworking of the classic Houston rap song 25 Lighters, by DJ DMD featuring Fat Pat and Lil Keke.  (more…)

ZZ Top Covers DJ DMD’s 25 Lighters (Part Ace)

Monday, October 22nd, 2012

Along the same lines as a prior post I did on T. Rich “switching genre lanes,” comes another and this one is swangin’ wide! ZZ Top covered DJ DMD’s (featuring Fat Pat and Lil Keke) 25 Lighters for their upcoming album La Futura and for a Jeremiah Weed advertisement.

Last year I did a post (click to read) on the meaning and myths behind the song. This year all the blog noise on ZZ Top’s cover awoke more conjecture and possible truth on the history and meaning of 25 Lighters. In an enlightening  interview by Rocks Off of the Houston Press, DJ Screw’s protégé Lil Randy had this to say: (more…)

Bleeda is Southwest Houston, Texas concentrate. No Karo here.

Friday, September 28th, 2012

The only way to properly listen to Bleeda is in a 1992 Cadillac Brougham missing both rear ¼ panel body fillers, on blown speakers, with the treble turned up high and trunk rattling, while driving slowly over speed-bumps bumper scraping the asphalt in a Fiesta supermarket parking lot.


Similar to DMX, Bleeda’s lines hit like blows to pressure points; you will feel him. But instead of DMX’s New York inspired quick ferocity, Bleeda has an unhurried intensity, just like the water that flows through the bayous of Southwest Houston.  Still, Bleeda wastes no time getting his messages about friendship, betrayal, and the streets across to his audience. He really spits it how he lives


The song above, Bandanas, is the single off of his new album Being Real Ain’t Easy. The two songs below are also on B.R.A.E. The first, Streets Don’t Love Nobody, features Z-Ro, one of my favorite Houston rappers. The second, Salute Me, features J-Dawg, a legendary member of the Boss Hogg Outlawz. All three songs go really hard. B.R.A.E. should be on iTunes soon. I can’t wait to hear the whole thing.


For more, check out Bleeda’s two mix tapes, Da Zookeepa and Welcome 2 My Hood, available on DatPiff. The production on those two tapes isn’t great but his talent, sincerity, and passion undeniably shine through. Don’t believe me? Check out his live performance here. Enjoy.

(Bleeda featuring Z-Ro, Song: Streets Don’t Love Nobody, Album: B.R.A.E. – 2012)

(Bleeda featuring J- Dawg, Song: Salute Me, Album: B.R.A.E. – 2012)