Welcome to HipHopDX‘s new weekly segment Reel To Reel. Here, our video jock Beta Mack picks five videos posted on DX over the last week, and offers you the express train to the good, the bad, the ugly, and other viral video nuggets that keep you updated on the culture, in living color.

The Good:

“The BooBoo TV Interview” by 50 Cent & Coco

has been pimping out his women since his then wife, Darlene, appeared on the cover of Power gripping a pistol-grip pump in 1988. Eleven years later, Coco is by his side playing wifey and amply filling a bikini, and Ice‘s hustler heir-apparent, 50 Cent [click to read], is capitalizing on the “power of the P.” This week, Curtis interviewed Coco for his BooBoo TV segment. You can honestly enjoy this video on mute, although we don’t recommend watching it at work or in some public places. For those watching the clip with the sound up, Coco offers up some interesting tidbits on how she maintains her ass(ets) and what happens when male fans try to touch the merchandise.

The Bad:

“My White Friends” by Deuce Poppi

When all else fails, viva la white girl; it once made a career for underground Boston rapper Mighty Casey. Fresh off the originality of last week’s Plies [click to read] and Gucci Mane [click to read] white people pool party video for “Wasted” [click to view], Deuce Poppi runs down the Hip Hop hallway with a raging late-pass and a grip of racial caricatures. Young Jeezy [click to read], Polow Da Don and Gucci seemed to already have white girl market in the southeast cornered. After being the Cadillac Tah of Slip-N-Slide Records for almost a decade, this Miami artist throws out the playbook, for some Asher Roth [click to read], Shop Boyz [click to read] wildcat offense. With a bad song, and some Young Dro [click to read] hand-me-down clothes, the stragetgy succeeds. Eye-candy aside, this stuff is offensive.

The Ugly:

“The Human Traffic King (White Slavery, Pt. 2)” by Necro

If you listened to Kool G. Rap‘s [click to read] “Talk Like Sex” constantly throughout a felony sexual assault sentence, Necro‘s [click to read] “White Slavery” video stands the chance to still make you feel uncomfortable. From the man who produced and directed a low-budget 2004 porn film Brutality, none of this should be all that shocking. However, if Jay-Z [click to read] and Memphis Bleek [click to read] pouring Cristal on models in “Big Pimpin'” angered crowds a decade ago, their Brooklyn contemporary Necro plunging a fake-blood-covered model’s face like a clogged camode is an awkward look for Rap. DX applauds Necro for mainstream success in producing “Gihad” for Only Built 4 Cuban Linx 2 [click to read], but maybe this guy needs a hug…or a dominatrix.

The Live:

“Rock The Bells (Live At Vh1’s Hip Hop Honors)” by Eminem, The Roots and DJ Jazzy Jeff.

Vh1 capitalized on Hip Hop’s past by taking a look back at 50 Cent and Def Jam‘s 25th Anniversary with 50 Cent‘s Behind The Music and the return of Hip Hop Honors. Both shows featured the usual fare, such as 50 taking nine shots at point-blank range and LL Cool J sending his demo to Rick Rubin and Russell Simmons‘ dorm room/office. The extended format also allowed for more intricate details and live tribute performances–including a cringe-worthy version of Warren G‘s [click to read] “Regulate,” which found Nate Dogg replaced by Trey Songz. Aside from Public Enemy‘s flawless performance of “Bring The Noise,” Eminem, The Roots [click to read] and DJ Jazzy Jeff‘s rendition of LL‘s “Rock The Bells” proved to be the highlight of the evening.

The Come-Up:

“Murda On My Mind” by Freddie Gibbs

Gary, Indiana’s Freddie Gibbs is one of the biggest success stories this year. After years lost in the crowd and in the Interscope Records storage closet, Gibbs has demonstrated his abilities to connect with both the blogs and the streets. This video for “Murda On My Mind” is evident of that. The mix between the fierce delivery and the cutting lyricism is demonstrative of how Freddie offers something different than the average emcee who’s using colorful wardrobe, sidewalk montages and corny crew shots to build up the movement. Freddie Gibbs patience is paying off, and with videos like this, he’s better today than any unreleased act on his former label-home.