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Mannie fosky8/3/2023 He’s clawed his way back, somewhat, though he’s struggled to produce anything as big as he did in his heyday. He became something of a punch line: a man who squandered a $70 million fortune, left with nothing but a $3,000 watch and some petty cash. Dre’s biggest productions of the era-before falling out of favor by the close of the decade. The 46-year-old Philadelphia native and virtuosic keyboard player rose to prominence at the start of this century on the strength of his contributions to Beyoncé, Fat Joe, and 50 Cent singles-plus assists on a few of Dr. In many ways, the nostalgic, snippet-driven format was the perfect environment for Storch to thrive in. (A full video of their stream, which will surely be taken down before the night is over, can be viewed here.) But judging the winners can turn into philosophical debates about music: Are radio hits more important than street anthems? Should we celebrate singular breakout successes or sounds that defined a regional movement? Does a beat count as yours if you had a handful of coproducers? Does presentation matter as much as substance? There are no one-size-fits-all answers, but it’s clear a lot of people want to get in on the discussions, especially as they related to Wednesday’s competitors: Scott Storch and Mannie Fresh dominated Twitter’s trending topics throughout, and their battle drew upward of 200,000 viewers on Instagram at its peak-nearly 10 times as many as Swizz Beatz and Timbaland’s did the week before. These friendly competitions are the perfect antidote to shelter-in-place restlessness: In the absence of live sports, they sate our hunger for competition. (T-Pain dropped out after saying on IG that Scott Storch would “curb stomp” him.) T-Pain, an underrated producer in his own right who was originally slated for the showdown with Storch. Since then, the pair have become the hosts of these unofficial throwdowns, recruiting contemporary superproducers Boi-1da and Hit-Boy, songwriters The-Dream and Sean Garrett, and rappers French Montana and Tory Lanez, among others, to participate. Swizz Beatz and Timbaland, two of the most influential producers of the past 25 years who have sparred in the flesh before, kicked things off on Instagram on March 25. The Mannie-Scott showdown was the latest entry in an emerging online trend of these early days of coronavirus quarantine: live battles, which have typically pitted beatsmiths going track for track, but have expanded to include singers and rappers in the past week. But would you rather win the battle with questionable tactics or win the entire war on the strength of your individual work? The round-and to many, the entire matchup-seemingly went to Storch. He sat at his keyboard with his trademark sunglasses on, replaying his part with a blunt lodged between his right middle and index fingers, as buddies (and one-time clients) like Lil’ Kim, Fat Joe, and 50 Cent cheered him on in the comments. On Wednesday, however, he claimed “Cry Me a River” as his own. Storch is credited for cowriting the song and playing its (admittedly infectious) clavinet line, but at that point in his career, he was best known as the former Roots keyboardist and Dr. In a move that summed up Wednesday’s battle, Storch responded with “Cry Me a River,” the 2002 Justin Timberlake megahit (and top-50 all-time breakup song) produced by Timbaland. That card: a multiplatinum track he isn’t even the credited producer for. “Imma just pull out one of the cards I’m holding right now.” This series, which contains records up to 1942, includes applications from the prisoner for executive clemency trial transcripts legal briefs affidavits summaries and graphs of evidence petitions from the public for and against clemency correspondence and memoranda monthly reports of prison officials to the Prison Commission parole reports to the Prison Commission medical evaluations of prisoners telegrams newspaper clippings rap sheets arrest warrants and photographs.“I see you, I see you,” Storch said as soon as Fresh hit the stop button. In 1943, a constitutional amendment transferred the authority to grant clemency to the Board of Pardons and Paroles which had been created by the General Assembly earlier that year. Beginning in 1897, a new three-member prison commission investigated applications and made recommendations to the governor for clemency. Prior to 1897, applications for clemency were handled directly by the governor. This series consists of applications for pardon, parole, and restoration of civil rights together with supporting documentation.
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