Grouchy Greg

Estate Of Notorious B.I.G. Taking LAPD To Trial

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsJuly 10, 2004

The Estate of Christopher "The Notorious B.I.G." Wallace won a decision June 21 to bring a wrongful death suit against the Los Angeles Police Department, which is accused of being complicit in the rapper’s murder. The wrongful death was filed by Wallace’s mother Voletta and his widow, Faith Evans. The lawsuit focuses on a former LAPD officer, David Mack, who has been implicated in the murder. Mack, a member of the Bloods street gang, is currently serving a 14-year sentence in federal prison for robbing a bank. Central to the lawsuit is a concept, “under color of law,” where a person or persons commits a crime under authority of the law. Wallace was gunned down at an intersection near the Petersen Automotive Museum in Los Angeles, after he attended an after party for the Soul Train Music Awards. Attorney’s for the LAPD argued that since Mack was off-duty the night Wallace was murdered, he was not working within his boundaries as an LAPD officer if it is proven that he committed the crime. According to a June 30 judgment, the investigation indicates that Mack had knowledge only privy to the LAPD, including surveillance information and Wallace’s exit plan from the after-party, which police frequently review when patrolling large events. “It appeared that police radios were used to monitor the location and response of law enforcement to the shooting, as well as to facilitate escaping after the shooting, concealing the vehicle, and disposing of the weapon,” Judge Florence-Marie Cooper said. Cooper’s ruling means that Wallace’s estate now has to prove that Mack was “acting, purporting to act, or pretending to act in the performance of his or her official duties.” If that cannot be proven, the Judge said that Mack could have been acting as a private citizen and that the LAPD could not be held accountable for his actions. Cooper also stated “it is the nature of the act performed, not the clothing of the actor or even the status of being on duty or off duty, which determines whether the officer has acted under the color of law.” Ms. Wallace’s estate is pursuing a theory by former LAPD detective Russell Poole, who claims that Mack and another man, Amir Muhammad, shot Wallace on orders from Death Row CEO Suge Knight, a claim Knight and Muhammad have denied. "I have stated from the outset that I have nothing whatsoever to do with any of this," Muhammad told the LA Times in March. "I’ve done nothing wrong. I don’t have anything to hide." Mack owned a black impala, similar to the one reported at the scene and a witness reported seeing him when Wallace was murdered. A driver’s license photo of Muhammad resembles the police sketch of Wallace’s killer, based on witness descriptions. One witness even claims to have seen Muhammad himself outside of the Peterson museum the night of the shooting. Former LAPD Detective Russell Poole, who advanced the theory, will testify as an expert witness.

Flawed Philosophy: KRS and ‘Being Hip-Hop’

By: Grouchy Greg Watkins (@GrouchyGreg)Category: UncategorizedJuly 9, 2004

Blastmaster KRS ONE, For the last few years I have watched you write or speak about the merits of “being Hip Hop” and alluding to some spiritual core power within Hip Hop itself. While Hip Hop does indeed command more power than any other musical art form before it, too much weight is being put on its true power and potential. I believe that your idea on “being Hip Hop” while sounding and feeling good, is in truth weak. I think it is dangerous for those who truly love Hip Hop culture authentically. Following this concept gives the illusion that Hip Hop can and should be equal to other cultures and faiths like African, Latino, Japanese, Buddhist, Judaic, Islamic, or Christian. The sub-culture of Hip Hop is not built to support people in the manner that one can “BE” of other dominant cultures or faiths. The richness of the contributions of other faiths and cultures to Hip Hop are what MAKE Hip Hop great. I submit that Hip Hop is a subculture. Being a sub-culture, Hip Hop is not meant to facilitate such things. It is meant to absorb things that exist already and re-frame them in a contemporary urban environment. To not realize this point, is to mistake the scaffolding of a building for the actual foundation. I love Hip Hop! But I will not pile cultural and spiritual bricks to its structure (especially when I KNOW it was not meant to support such weight). One of the more disturbing ideas proposed in your philosophy is that in order to BE “Hip Hop” one should consider giving up who they originally claimed themselves to be (African, Jewish, Irish, Japanese, Christian, Native American etc.) . However, almost everything “Hip Hop” now is something else from some other culture, that was deemed “Hip Hop” later. Think about it. Were Technic 1200’s turntables, Adidas shelltoe shoes, and Kung Fu flicks, made with Hip Hop in mind? Or did those who claim the sub-culture of Hip Hop embrace them, thus “making” them “Hip Hop”? From this perspective, what is and is not “Hip Hop” is merely an issue of consumerism. Further, was the African oral tradition HIP-HOP?, The martial arts fighting system of Capoeria? The African American political ideologies of Malcolm X? Were the Black Panthers created specifically FOR “Hip Hop”? Or, were these movements and ideals MADE “Hip Hop” by the Hip Hop community? Imagine Hip Hop without the Black nationalistic infusions of Public Enemy and Paris? How different would Hip Hop be minus the Latin flavor of Cypress Hill and the dance movements of Pop Master Fabel? Can you imagine Hip Hop without the eastern philosophical insights from Wu-Tang Clan or Afu-Ra? What would Hip Hop be without the strong beauty of songs like Kanye’s “Jesus Walks” or Talib Kewli’s “The Proud”? Hip Hop has never and will never stand on its own. With or without Hip Hop’s support, approval or understanding those technological advances, clothing lines, movements and philosophies will continue to exist. What is and is NOT Hip Hop is usually co-opted by those in the Hip Hop community from an outside source. Very little in Hip Hop has been “invented” by “us”. However MUCH has been re-mixed and re-framed to fit the Hip Hop subculture. We must be honest about this fact if we truly wish to see our true selves. To do so does not negate the greatness of Hip Hop. Also, racially and culturally speaking, a friend of mine in the U.K., Kevin Sekweyama made a very salient point. “Let’s say the mother is German and the father is Australian. If the kid’s father is a B-boy is the kid supposed to say ‘My mother is German, and my Dad is Hip Hop’?” The mere suggestion sounds ridiculous! KRS, I know you must see how this kind of thinking spirals toward the insane. You must acknowledge the myopic mind state youve suggested. We must not get so emotionally caught up in the moment that we mistake Hip Hop for something that it is not. The music of the civil rights era was soul, and R&B…But no one from that era says “I am soul”. We must remember that the MOVEMENT was the source of the music and not the other way around. Further, to paraphrase Hip Hop childrens book author of “Turntable Timmy” Mike Perry. He noted that Chicano low rider culture is a major force in the community. But no one would ever say, ‘I am no longer Chicano, I am a low rider’. After heard your statements I would like to formally challenge you, KRS ONE, to a debate on this subject in a public forum. Know that this challenge is not intended to be physical or on wax- but rather a purely philosophical one . I further assert that nothing in the so-called “Gospel of Hip Hop” will have new concepts. I submit that everything in the so-called “Gospel” will be a previously “eastern” or “western” concept framed in a Hip Hop context. Rather than do that, why not just give those who seek knowledge the real roots of the paths you expound upon (Buddhism, Rig Vedas, Taoism, Islam, Christianity, Judaism etc.)? Isn’t that more honorable than masking other faiths with the veil of Hip Hop? Simply changing the context does not make it new. Is Hip Hop possibly the worlds greatest sub-culture? No doubt. Has it given many people a new passion for politics, their own sense of self and a new found love for spirituality? No doubt. But it’s nothing for us to “be”. It is for us to love, nurture, and nourish with truth as we grow. You should also know that these positions are my secondary reasons for denying the “I am Hip Hop” philosophy. I’d rather tell you the rest in person. KRS ONE, I would like to debate you before the end of 2004 at the Riekes Center for Human Enhancement, located in the California Bay Area. […]

Kurupt, Ol Dirty Bastard Perform At Gathering Of the Juggalos

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsJuly 9, 2004

Kurupt and Ol’ Dirty Bastard will perform at the 5th Annual Gathering of the Juggalos, a four-day Insane Clown Posse fan festival. The festival brings together the loyal fans of Insane Clone Posse. In addition to performances, autograph signings, a “live freak show,” free tattoos and pro-wrestling matches take place. Each night of the festival features a performance. Other confirmed artists include Tech N9ne, Wolfpac, DJ Swamp, Esham, Vanilla Ice and the Insane Clown Posse. This year’s gathering takes place in Garrettsville, Ohio from July 15 to the 18th. The following week, Kurupt will drop his highly anticipated Death Row release, Against The Grain.

Tim Westwood Hosts London’s Respect Festival 2004

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsJuly 9, 2004

Tim Westwood will headline London’s anti-racism festival, "Respect". The free event will feature performances by Shystie, one of Britain’s rising female rappers, as well as Big Brovaz, Mica Paris, Def Jam’s Terri Walker and many others. The festival aims to encourage multiculturalism and promote racial tolerance through nine different stages with entertainment including a Choice-FM stage, a comedy tent, a sports zone, a Hip-Hop stage and a variety of other entertainment. Organizers for "Respect" said that over 100,000 people will attend the festival this year, which takes place in East London’s Victoria Park. The event was founded in 1996 and was organized by Trades Union Congress, a network of 71 affiliated unions that represent almost seven million working people from all walks of life in the United Kingdom. Westwood is the host of BBC’s Radio 1 rap show, which started in 1994. He is regarded as one of the leading figures in UK Hip-Hop. Previous acts have included Asian Dub Foundation, Run-DMC and reggae legend Desmond Dekker. Respect is one of London’s biggest summer festivals and will take place on Saturday July 17th between midday-8pm.

AZ Issuing ‘Final Call’

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsJuly 9, 2004

After a two year layoff, AZ will release Final Call, the follow up to 2002’s Aziatic. The new album features 15 songs with production by Buckwild, Baby Paul, AZ himself and others. The first single “Talking Gangsta” is a collaboration with Terror Squad member Tony Sunshine and has already hit mixtapes and mixshows. Rell, Ron G. and the late Aaliyah are also featured on the album. AZ has dropped three solo albums that have sold more than 200,000 copies a piece. He experienced success as a member of The Firm and walked into Hip-Hop history after a searing performance on “Life’s A B**ch,’ from Nas’ classic album, Illmatic. Final Call is being released by Koch and hits stores on September 21. The full track listing is below: 1. Intro- Freedom f/Lemon – (Produced by Tone Mason) 2. Omega (Produced by Tone Mason) 3. The Truth (Produced by Young Calvin & DJ Absolut) 4. Seems That Way (Produced by Frado) 5. Talkin’ Gangsta f/Tony Sunshine (Produced by Metaphysic) 6. Side 2 Side f/Ron G (Produced by AZ & Deo) 7. You Know F/Rell (Produced by Baby Paul) 8. No Strings (Produced by Baby Paul) 9. Gangsta MC’s Interlude f/Lemon 10. Live Wire (Produced by Buckwild) 11. Magic Hr f/CL Smooth (Produced by Tone Mason) 12. I Am AZ (produced by AZ) 13. Girls R Free (Produced by Baby Paul) 14. Poor Poor People Interlude f/Lemon 15. Let Me Know f/Aaliyah (produced by GV & AZ) 16.) Quiet $$ Anthem f/Nu & Young (Produced by Tone Mason)

Heavy Hitters Take On Turntable Assassins This Weekend

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsJuly 9, 2004

DJ Enuff and The Heavy Hitters will take on The Turntable Assassins at the “Summer Day At The Park” this Sunday. The DJ’s will compete for the “DJ Threat Trophey Cup” for the year 2004, named after DJ Threat, who was killed in a motorcycle accident in XXXX. In addition to the DJ competition, a Barbeque and softball game will take place at Hecksher State Park and starts at 12:30 pm. Tickets are $7.00. Proceeds from the event will go to scholarship[s for high school students in music programs from Brentwood, Central Islip and Bay Shore in Long Island, New York. For more information, contact the Jason “DJ Threat” Campbell Foundation at: (631) 273-4274.

Kevin Liles Leaves Def Jam

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsJuly 8, 2004

Def Jam President Kevin Liles has left the company due to internal friction with newly named CEO Antonio “L.A.” Reid.According to reports, Liles was forced out due to pressures by Reid.Reid replaced ex-CEO Lyor Cohen, who now heads up Warner Music Group’s North American operations.Sources said Reid has been staffing Island/Def Jam with colleagues from Arista.The move marks a busy week for Universal, which saw Kedar Massenburg resign as president of Motown.Massenburg will launch his own label and licensing company.Sources told AllHipHop.com that Sylvia Rhone, former head of Elektra, was in the running to take Massenburg’s place as head of Motown.

Fox Of M.O.P. Fame Working On Solo Album

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsJuly 8, 2004

Though she’s known more for inciting crowds rather than rocking them, M.O.P. affiliate Fox has ventured from the mosh pit to the recording booth as she begins work on a solo album. The hype (wo)man/ road manager of the Mash Out Posse revealed it was group member Lil Fame who insisted she make the transition. Fox also admitted fans played a role, too. “Fame brought me to the mic,” she told AllHipHop.com. “We always play around, we be on the bus and touring and stuff like that. Fame was like, ‘You got skills, you need to do something.’ And then the fans, they see me hyping, and they like, ‘When you going to go do something?’” Since Fame and Billy Danze both handle production duties for M.O.P., Fox felt is was an easy evolution for her to make. It was just a matter of listening to their music and putting pen to paper. “My boys do the beats [and] them sh*ts is hot,” she said. “You can’t help it but write some dope sh*t behind them.” And music industry insiders are taking notice, according to Fox. “I got Puffy interested, he took one of the joints that we had on the M.O.P. album [Wanna Be G’s] and put it on the Bad Boys II Soundtrack,” she said. “And Dame just started hearing my music, he like it, [too].” But as the case with anything M.O.P does, it’s all about the First Family. And with Danze serving as her vocal coach and manager, Fox had to impress him first. “She hitting it,” Danze exclaimed. “She’s keeping it calm and simple and still being Fox. Not changing her game or nothing.” In addition to M.O.P., Fox said Heather B. and Sparky D influenced her as artists. Today, Remy Martin and Babs of Da Band serve as inspiration to her and she hopes to collaborate with both of them soon. But don’t expect the novice rapper to be chummy with the competition and share the mic time with just anyone. “Most chicks, I ain’t even really f**king with, don’t even ask me,” said Fox. “I ain’t trying to be on your s**t. I’m just like M.O.P., I’mma do an album with me on it and whoever wants to get on it can get on it—that’s how it is.”

The Roots Do Pay-Per-View

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsJuly 8, 2004

The Roots will come to Pay-Per-View on “The Roots Presents,” which kicks off a new concert series titled The Sonic Events. The concert was recorded June 10, 2004 when the group performed at Webster Hall in New York City to an invitation only crowd. In addition to performing selections from their upcoming release The Tipping Point, The Roots performed songs from their impressive catalog. Extra performances by Jean Grae, Skillz, Young Gunz, Martin Luther, Mobb Deep, The Jazzyfatnastees, Truck North and Mack Dub will be included for viewing pleasure. The concert was recorded in High Definition and mastered in 5.1 Surround Sound in anticipation of the DVD and live companion CD that will follow this year. "Our goal was to capture the live performance experience via high definition video by fusing the artist with the audience reaction utilizing state-of-the-art electronics and surrounding them with sound," said Charles Pankey, who executive produced the concert along with The Roots and others. "There was a visceral reaction to the incredibly clean vocal sounds surrounding the audience. It was loud and crystal clear as if you were inside the music. By using state-of-the-art equipment and techniques we give the television audience a bona-fide live performance experience. You will never forget the quality of this Sonic Event." “The Roots Presents” is scheduled to be shown on Pay-Per-View in October.

Cuban Link: Going All Out

By: Grouchy Greg Watkins (@GrouchyGreg)Category: FeaturesJuly 8, 2004

There is not an MC on Earth that knows the fall from grace better than Cuban Link. He was once a member of one of Hip-Hop most prominent groups, the Terror Squad. The glue that held the group together, the great Big Pun, died suddenly, and from that moment on, his life in Hip-Hop spiraled out of control. Fat Joe, the recognized leader of TS, supposedly turned his back on Cuban Linx. To add insult to injury, Link suffered a cut to his face in a fracas at Jimmy’s Café in the Bronx and reports began to swirl that Fat Joe was the perpetrator in this unfortunate incident. With claims of being blackballed in major circles of the industry and being left out in the cold by his former family, Cuban Link has re-emerged on M.O.B. Records and he will release his album, tentatively titled Chain Reaction, which is slated for a September, 2004 release. In a recent conversation with Allhiphop.com, Cuban Link decided to step out of the shadows to silence rumors about recent events involving Summer Jam, his manhood, and his relationship with former friend, Fat Joe. Allhiphop.com: Let’s begin things by telling the fans how deep Cuban Link has been in the trenches as of late. Cuban Link: Right now, we are working on our own independent label. It’s called M.O.B. Records, which stands for “Men of Business.” It’s an independently owned company, but it’s moving like a major as far as the power and strength behind the capital. We are trying to do big things. Basically, I’m the first act under that. The album is going to be called Chain Reaction, and should come through sometime in September. Allhiphop.com: I take it you have the distribution and all the politics of the game worked out so things will go smoothly? CL: Everything is lined up, man. All the politics and s**t is good. We made sure we had everything lined up before we made a move like that. The album is pretty much done. We probably need about two more cuts. It got some fire this time around, man! The last album never came out due to a lot of bulls**t on the business side. Allhiphop.com: Who can people expect to make guest appearances on the album? CL: I got Avant on a joint. I got Syleena Johnson on one of my favorites songs, called “Life Goes On.” Pac’s spirit got in me [on that one] and it’s crazy, man. The pen just went crazy on that one. I also got Mya on a track called “Sugar Daddy,” which is definitely a contender for the singles. Allhiphop.com: Are you still a heavy contributor to the Source Foundation and everything they had going on? CL: I’ve lost touch with those brothers. It’s still going, but we’ve lost contact. It’s much love to them. What they had me doing by talking to the kids shined a positive light on me when I had negative thoughts. Allhiphop.com: Talk about some of the things you were doing with the Source Foundation. CL: Basically, I went to different schools talking to young kids, kicking that positive message to them. I would tell them to stay out of jail, hit the books, and do positive stuff. Sometimes we forget. Allhiphop.com: I want to double back on the politics of this industry. How have all the setbacks you have gone through birthed you as an independent artist? CL: Well, in my situation, what happened to me doesn’t happen very often. I was rolling with what I thought was family, so I put my career into the hands of that. In case anyone doesn’t know, I came up through the Terror Squad with that Fat Joe character. Now, I’m doing my own thing with the cards that have been dealt. I had Atlantic Records behind me, but I wasn’t paying much attention to that side [of the business]. I let Joe handle that, but at the end of the day, it just crumbled in my face. I was busy doing the shows and all of that. I was playing my role as an artist. I got lost when it came [time to do] my album, even though it was ready since ’99. Of course, the bulls**t with Atlantic and Joe coming back with information that was far off made me wonder what the hell was going on. I got the short end of the stick because my album never came out. It soured between me and Joe. At the end of the day, the real comes to the light. I’m happy where I’m at now because I control most of the things that go on. Allhiphop.com: I want to talk one of my all-time greats in Hip-Hop, and you know who I am talking about. What did Christopher Rios mean to you in terms of being an artist and being a man? CL: Pun was crazy with everything, man. He was the “vivid poet.” He painted pictures with a million words, man. Pun was incredible. Besides us being best friends, and coming up in this game together, he taught me more than I could ever repay him for. He wasn’t just talented in Hip-Hop, man. He was talented all around. He was a comedian, and he was a genius. He never went to school, but he read encyclopedias and taught himself. He supported a family as well, so there was much respect by just being a man. I was kicking it with Pun when I was 15 and he was 19. There were times when I wanted to quit and he dragged me along with him, even against the wishes of other n**gas. I owe this Hip-Hop s**t to him. He was one in a million. Allhiphop.com: I know you’ve run this subject into the ground, but I want to touch on the Joey Crack situation. Has there been any attempt at reconciliation? We would like to see that. CL: Crack is a dude […]

Bentley Working On Album, Offers Tips To Succeed

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsJuly 8, 2004

As self-proclaimed leader of “The Gentleman’s Movement,” Fonzworth Bentley is hoping the success of his character will translate into album sales when his untitled debut is released. Bentley, who recently changed his professional name from “Farnsworth” to “Fonzworth” for legal reasons, is recording the untitled album with Kanye West and others. “Kanye West called me and said he wanted to produce my album and I wasn’t even thinking about anything like that,” Bentley told AllHipHop.com. “I’ve been doing some recording getting comfortable with the microphone.” As a former “manservant” for P. Diddy, he took the opportunity to learn the intricacies of the entertainment world first hand. Despite appearing on MTV’s "Making of the Band" and making guest appearances in several high profile videos, Bentley said he didn’t know the job of being a rapper could be so trying. “What these MC’s do is real serious,” Bentley explained. "Trying to keep your breath and all that, it’s difficult; it’s real serious what they do. Thank God for Pro-Tools when I’m in the booth. I did a one-taker the other day, and I did it four more times, but I’m getting a lot better.” The album will feature Bentley rapping and singing and will serve as a means to showcase a talent most never knew he possessed. "I’ve been playing the violin for about 8 years so you’re definitely gonna get a lot of that flavor," he revealed. "I love classical music, but I’m just having fun with it." Joking and rhyming to the side, Bentley said that some of Diddy’s good habits rubbed off on him when he worked for the mogul. In addition to appearing in a new Tommy Hilfiger jeans commerical, Bentley will launch his own line of umbrella’s, is hosting an MTV reality pilot and will act as "Arbiter of Good Taste" this fall on the "Most Exclusive Courvoisier VSOP Gentleman’s Tour." Here are Diddy’s five keys to success as told to AllHipHop.com by Bentley himself. 1. Work harder than everybody else. 2. Write as much down as you can. You can’t expect anyone to follow up like your gonna follow up when it’s your vision. 3. Definitely have faith in God. That was something that was real special for both of us, because I made it a point when I started to say "I’m going to church on Sunday" and that’s that. I put my foot down on that and next thing I know he [Diddy] started going with me, so that was good. 4. I would have to say sign all your own checks. All these artists with accountants and all these other people who do what they’re supposed to be doing, Oprah got more money than all these people and she signs every check. 5. Learn how to tie a tie, I’m just throwing that in there. Be a real man. A real man knows how to tie a tie and drive a stick. And that’s all I’m saying about that.

Ced Gee Launches Label, Says Ultramagnetic MC’s Are Reunited

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsJuly 7, 2004

Ced Gee, producer and member of pioneering Bronx Hip-Hop group Ultramagnetic MC’s, recently launched a record label and is planning an Ultramagnetic reunion album. Ced Gee’s founded Factshen Entertainment along with Philly rapper Grafiq. The label has several new groups signed and is currently planning the Ultramagnetic reunion album, as well as a re-release of Ultra Mag’s Funk Your Head Up LP. “Me and Grafiq met in Manhattan at the Sister2Sister expo in August 1999,” Ced Gee explained to AllHipHop.com. “Grafiq was a big Ultramagnetic fan, and couldn’t believe it was me. So on the strength of that we exchanged numbers and we shared the same vision of Hip-Hop. “Because of my man the Jeru the Damaja, we were in the process of inking a deal with Open Door records which distributed Jeru’s Heros4hire. The distributor folded so we’ve been on the grind with our Factshen Fam ever since.” The re-release of the Funk Your Head Up will include original mixes from the song as well as a Beatminers remix of the song “Poppa Large.” And Ced Gee answered the question eager Ultramagnetic fans have been asking since their last official group album, 1997’s Smack My B**ch Up. “We are currently working on a new Utramagnetic album and we have new members Frank Beans and Grafiq, plus the original members,” Ced Gee said. “Me, Kool Keith, TR-Love, Moe-Love and Tim Dog. Ultra is in a zone. The album is coming out crazy.” And after a long hiatus from the group due to internal problems, Ced Gee said that he and Kool Keith were working on the business logistics of re-forming the group. Keith has said that the internal problems arose when Ced sold old masters of their recordings to Tuff City, who subsequently issued what many felt were poor versions of old material. “Kool Keith has recorded some songs with us,” Ced Gee said. “They are definitely going to be on the album. Ultramagnetic has been reinstated!” Ultramagnetic MC’s are widely credited with being pioneers of the digital sampling revolution and released their first single, “” in 1986. Ced Gee also helped produce BDP’s breakthrough album, Criminal Minded. Ced Gee’s most recent release is The Underground Show LP. For more information, visit http://www.thefactshen.com/

Kwame: Nobodys Laughing

By: Grouchy Greg Watkins (@GrouchyGreg)Category: FeaturesJuly 7, 2004

Hip-Hop hurts. I’m not talking about swinging bows and throwing fists. Hip-Hop, the industry, can cut deep, and some scars don’t heal. While most fifteen year olds might not know who Kwame was, they undoubtedly know the opening bars to Biggie’s “Unbelievable” that affirmed Kwame’s decline, and nearly blackballed him from ever being taken seriously again. But while Hip-Hop can certainly hurt, it’s rare to see somebody endure it and come back swinging. Kwame isn’t angry, bitter, or outdated. Truth be told, more people are following his work now than ever. No, not by way of his classic, (yeah-classic!) Day in the Life, but because Kwame is the producer, along with Eminem, behind Lloyd Banks’ chart-topper, “Fire”. This isn’t the first time either. Kwame’s been creeping on a comeback, supplying heaters for LL Cool J, Cam’ron, Mary J. Blige, and others. You won’t even believe what he’s got cooking next. Ice Cube and LL Cool J have always been at the top. Maybe it’s talent, maybe it’s the labels, and maybe it’s everything. But few successful Hip-Hoppers from fifteen years ago are still involved in the Top 40, or Platinum status discussions. Ten years ago, Miss Cleo couldn’t have predicted that Kwame would be at the top today, but as Kwame told AllHipHop: “You’re gonna have to accept me, sometime.” Read what he has to say, ‘cuz like AllHipHop, Kwame doesn’t know what it means to quit. AllHipHop.com: Congratulations on “Fire”. That surprised a lot of people, and will surprise even more who don’t know it yet. Tell us how that came about. Kwame: It was weird. I [knew] people were looking for stuff for they albums. I tailor-make CD’s of tracks I think would be good for [the artist]. So I sent some out to Sha Money XL. It’s like an actor. You go in, you do your audition, and keep it movin’ – if they call you back, they call you back, if they don’t, they don’t. So months later, he gave me a call and said, ‘I like this particular track. I feel strongly that this is Lloyd Banks’ first single.’ I hear this all the time, so it’s, ‘Yeah, yeah. Whatever. Okay. Keep it moving.’ I get another call: ‘Eminem is crazy about the track, he wants to get involved. He’s got some ideas to put to it.’ I’m a team player, so I’m like, ‘Yeah! I always wanted to work with Em also.’ He put some horn embellishments on the track or whatever and they sent it to me, and I approved it. Next thing I know, the record is everywhere in the country, like ‘Damn.’ AllHipHop.com: You were able to be in the recording sessions with Banks on this? Kwame: Yeah, I was. Then they transferred some stuff to Detroit for the mix. I wasn’t able to be [in Detroit]. AllHipHop.com: So even though you said ‘Beat Tape’, you’re a true producer? Kwame: Let me tell you, I’m a producer! I’m not a beat-maker. A lot of people get that twisted. They send in beats or they Pro-Tools or whateva, and they call it a day. I don’t go for that, personally. I’ve been around too long to be treated that way. I force my issue on it. Of course you wanna do it for the money, but at the same time, I do it for the love and do it for the credit. Because that’s pretty much all you have in this game is the credit and your name in situations to get you more work. AllHipHop.com: Do you think there’s a future with you and the G-Unit camp? Kwame: Things are in the works right now. I’m not gonna be the G-Unit producer or anything. We’re finalizing some stuff with 50 for his new album and also with Em, but until things are recorded and done and actually making the album, I can’t put my stamp on it. AllHipHop.com: I also know you’re working with Big Daddy Kane and Black Sheep – so you’re true to where you came from, as well. Kwame: More than just Kane and Black Sheep. As far as ‘old school’: Kool G Rap, Kane, Black Sheep, and possibly Heavy D’s album on Bad Boy. Also, Dana Dane. A lot of people seem to forget the era that they come from or what they were in to, and they just go into keeping everything new. For me, I consider it a give back, because these are the people I looked up to before I came out. So with Kane, we’re just developing records. There’s no deal on the table. We’re just doing songs and looking for the best situation after that. Same thing with Black Sheep. These are people that I came up with, went on tour with, and developed friendships. So doing songs for them, isn’t a big deal. With older artists – unfortunately, there’s a stigma attached to the older artists. Their only recourse is to do independent records, because I can do a hit single on a Big Daddy Kane record, but Universal isn’t gonna sign it. AllHipHop.com: Well, the radio won’t play it and neither will MTV. Kwame: Yeah, it’s my biggest goal in Hip-Hop is to break down that barrier between old school and new school, and let it be based on your talent, your merit, and how you perform [each] record. Because when the Rolling Stones or the Isley Brothers put out a record, every radio station will jump on it. Fans from sixteen to sixty will jump on it. Why can’t Big Daddy Kane be that same way? I feel that’s my duty to break it down. Support what supported you coming up. Rap is the only art form that’ll tear down what created it. AllHipHop.com: How hard was the transition for you from old Kwame the MC to Kwame the producer? Kwame: Very. The mindset that I had was never hating the industry. What I learned a long time ago […]

DMC: Still Got Game

By: Grouchy Greg Watkins (@GrouchyGreg)Category: FeaturesJuly 7, 2004

“I’m the King of Rock, there is none higher! Sucka mc’s should call me Sire!” These words are embedded in our psyche as representatives of one of the best groups to ever be birthed in the genre of Hip-Hop. As one third of the trio who basically grew up in hip-hop and brought it from adolescence to adulthood, DMC of Run DMC is still schoolin sucka mc’s on what’s good, and not so good in this rap game. Still carrying the love for his brother Jam Master Jay in his heart and in his music, DMC has seen some of everything there is to see in this business. With a new solo album about to drop, the evolution of the pioneer takes us higher. AllHipHop.com: – There’s a whole lot going on in hip-hop right now, what’s your take on it? DMC- Right now the competition level is much higher because of all the money being made,,when it used to just be my rhyme is better than your rhyme, your dj is fake my dj is better than yours. I think a lot of people feel like they have a lot to lose, I mean it’s good to get paid, but that’s not the essence of hip-hop. Hip-hop is a culture, it’s a way of life. AllHipHop.com: – So you think the money is what messes up everything? DMC- Yep, well no, the money doesn’t mess it up, the love of money messes everything up. The love of money is what’s evil. AllHipHop.com: Why do you think it’s so hard for the old-skoolers to get paid their just due? DMC- The people controlling the industry don’t spend the money to keep the memories alive. They don’t respect it enough. Like when you look at Jazz or Rock & Roll, they spend money to keep putting out albums to give the artists a chance to make the music forever. It’s ridiculous when somebody says when I get 35 I don’t wanna be rapping. Rapping is a form of expression. It’s like Frank Sinatra saying when I get 50 I ain’t gonna sing no more, it’s music. The difference is you don’t want to be rapping about what you were rapping about at 22 now. Cause when you get 40 years old it’s gonna be different stuff to talk about. But hopefully I can break that barrier because I have a solo album coming out. AllHipHop.com: – Great segue, what’s the album about and what’s the title? DMC- It’s called Checks, Thugs, & Rock-N-Roll It’s about life. You know I can’t rap about things I used to back in the day, I can’t go around sayin I’m the King of Rock or rapping about my Adidas because those things aren’t important. For me, I gotta educate the little kids, I gotta motivate the little kids, that’s what’s important. AllHipHop.com: – What are some of the things you see that’ s wrong with hip-hop right now? DMC- I just think all the images are repetitive. Everybody’s doing the same thing. Everybody’s rapping about the same things, we need a little versatility. Everybody’s driving the same cars, having the same party, but hopefully things can begin to change. AllHipHop.com: – Speaking of change, are you voting in the upcoming election? DMC- If there’s really someone worthwhile to vote for (he laughs) But I do believe everyone should exercise their right to vote. Voting is very personal. It’s a very personal decision to make. AllHipHop.com: – If you could nominate any hip-hop artist to run for office, who would it be? DMC- Chuck D, and that’s not because he’s militant, but because he has knowledge of history. Not just his Black history but he has knowledge of all history, government, community and he’s my idol. I love him. AllHipHop.com: Are you and Run going to be doing anything together soon? DMC- Well on my solo album me and Run do have a record together but we’re not going to perform as Run DMC anymore out of respect to Jay, but he’s on the album. Although it’s Run & DMC we’re just not gonna call it that, even though that’s what it will ALWAYS be.

More Security Guards Fired For Working With Snoop

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsJuly 7, 2004

A year long probe by The California Department of Corrections resulted in the firing of four state parole agents who were moonlighting as security guards for Snoop Dogg. The controversy erupted when it was discovered that three of the four officers state parole agents were part of a heavily armed entourage escorting Snoop during last year’s BET Awards. The fourth officer was dismissed because he was working for Snoop while collecting disability from the state. Police stopped Snoop’s bulletproof SUV and noticed the guards were heavily armed. Later, a search of the SUV turned up weapons and hundreds of rounds of ammunition. Eight other officers who worked in the Inglewood Unified School District have already been fired due to their association with Snoop. According to reports, one was wounded by gunfire while escorting the rapper. Officials expect the fired officers to appeal the decision.

Jadakiss Charged In North Carolina Incident

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsJuly 7, 2004

Rapper Jadakiss was charged with various offenses in Fayetteville, North Carolina on Monday (July 5) after police found guns and marijuana in an SUV he was travelling in.Police said an off-duty officer witnessed one of the occupants throwing firecrackers from the window of the SUV.In a report, the officer said he approached the vehicle and requested that the occupants stop. When they continued, the officer stopped the vehicle and allegedly saw marijuana.A subsequent search of the vehicle turned up less than an ounce of marijuana and two .45 Ruger pistols along with two clips that contained 15 bullets each.The officer said he found the guns hidden under a pillow in the SUV.Jadakiss, whose Kiss of Death was the #1 album in the country last week, was still in town after a weekend performance at local club Carolina Live.Eight other people were in the car, but only Jadakiss was cited.All charges were misdemeanors. Jadakiss is scheduled to appear in court July 28.

U.N. Or U Out

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Reviews / MusicJuly 6, 2004

Artist: The U.N.Title: U.N. Or U OutRating: 4 StarsReviewed by: Matt Barone The Wu-Tang Clan once asked the question, Can it be that it was all so simple then? Turning on the radio or flipping on MTV these days conjures up this intriguing question in the minds of hip-hop purists, with the majority of rap records favoring style over a once prominent amount of substance. Long Island representatives The UN are ready to take hip-hop back to when things were much simpler, using their debut album U.N. Or U Out to reinstate a once governing policy for the state of rap music as they shun flashy gimmicks for rugged street music. Sticking to straightforward MCing over consistently banging production makes this album a definite success for The UN, and despite its clearly underground appeal, should make some noise throughout the industry. Made up of rappers Rock Marciano (a once but brief member of the Flipmode Squad), Laku, Mike Raw, and Dino Brave, The UN enlist the beat-making talents of veterans Pete Rock and Large Professor alongside newcomers such as Mahogany in constructing hardcore sounds in the vein of mid-90s New York City rap. Mind Blowin is a straight spit-fest, with a bare-bones percussion arrangement inspiring lyrical brainstorming from all involved. The eerie violins of the instrumental induce the midnight darkness felt on Golden Grail, while D.O.A. (Death On Arrival) brings back memories of early RZA with its scattered vocal samples and snare kicks. Aint No Thing will require a neck brace post-listening, with its pounding orchestral composition. For some, the steady tough-guy talk may grow tiresome as U.N. Or U Out rolls along, but it seems as if these four UN delegates really dont care what people think. One of the strengths of this album is the hunger that oozes through the speakers, never letting up as each MC delivers his rhymes with enough energy to hold ears at attention. On the aforementioned Mind Blowin, Mike Raw opens his verse with, Hit em up, back in the days down to stick em up/ I done put the tool down, Lord dont let me pick it up. Its this narrative honesty that allows the groups charisma to shine above its limited subject matter, as U.N. Or U Out entertains from beginning to end. If getting tipsy or going skeet, skeet in a club has filled you more with anger than joy, then investing in this UN album is a must-do. U.N. Or U Out is a much-needed return to hip-hops golden age, before The Neptunes and Timbaland replaced names like DJ Premier and Da Beatminerz as the go-to producers, and quality albums were made rather than just hot singles. The UN showed much promise when they appeared on Pete Rocks Petestrumentals, and U.N. Or U Out exceeds expectations in bringing that rough, rugged, and raw music that has been absent for far too long.

Talib Kweli, dead prez & Others Do New York Parks For Free

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsJuly 6, 2004

New York City’s parks will be given a dose of Hip-Hop tomorrow evening when rapper Talib Kweli takes to the stage for a free concert tomorrow in Brooklyn. The City Parks Foundation will present the free live performance in Brower Park as part of an ongoing series in various city parks. DJ G Brown will keep the crowds attention during downtime by spinning classic and current Hip-Hop. In addition to the concert, Ecko and Complex magazine will provide concert goers with giveaways and a chance to win $500 in Ecko clothing. Kweli’s concert is one of many Hip-Hop oriented concerts. DJ Rich Medina, Sugar Hill Gang and Kid Capri, Arrested Development, dead prez, Roy Ayers & DJ Scribe and others will appear for free in the parks. All of the concerts start at 7pm and are free to the general public. Below is a listing of upcoming shows: July 13 – Fort Green Park, Brooklyn Jump N Funk w/DJ Rich Medina & Wunmi July 20 – Fort Green Park, Brooklyn Bilal July 21 – Brower Park, Brooklyn Arrested Development July 21 – Crotona Park, Bronx Sugar Hill Gang & DJ Kid Capri August 4 – Mahoney Park, Staten Island Eddie Palmieri August 10 – High Bridge Park, Manhattan Sise & Akubulan w/DJ Sabo August 12 – Marcus Garvey Park, Manhattan dead prez August 18 – Jackie Robinson Park, Manhattan Carl Thomas August 18 – Mahoney Park, Staten Island Roy Ayers & Ledisi August 24 – Queensbridge Park, Queens Roy Ayers & Eric Roberson w/DJ Scribe August 24 – Highbridge Park, Manhattan Jose "El Canario" Alberto

Joe Budden Ends Job As Hot 97 Host

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsJuly 6, 2004

After acting as a co-host on New York’s Hot 97 Morning Show for the past few months, rapper Joe Budden announced he is quitting the position to focus on releasing his sophmore album. "I had to go back and make sure that I was pleased with the music I had put on the album," Budden said. "I wanted it to be an improvement from the last album." Since gaining experience in the radio industry, Budden said he realized the medium was similar in concept to his day job as an emcee. "Its just entertainment and images," Budden explained. "You have your people that play the good guy bad guy role. I got there and caused some controversy. When I got there, the ratings were in the basement. I don’t hate Jamaicans or Puerto Ricans or anything, but the ratings went up. That’s all I gave a f### about when I got there." Budden said that Def Jam hoped to release the follow up to his self-titled debut in August, but he decided to strengthen the quality of the music with hopes of topping his first album. "I could have put out an album in August and it would not have been to my liking," Budden said. "I’m not trying to be caught up with the first weeks sales or the politics of it, I’m trying to be caught up with the music. I went back, made some changes and with the change in power [at Def Jam] I dealt with some things." His co-hosts Miss Jones, who recently returned to New York airwaves after a stint in Philadelphia, Ms. Info and Darnell Rollins held a celebrity roast of Budden, where they played some of his more salacious and potentially offensive outtakes. Earlier this year Joe and DJ Envy, who is also on Hot 97’s morning show, dropped a mixtape, "The Best of Joe Budden," which featured some new songs as well as some of his favorite tracks. Joe Budden’s untitled sophomore set is due on Def Jam in October.

Rasco: Unassisted

By: Grouchy Greg Watkins (@GrouchyGreg)Category: FeaturesJuly 6, 2004

One of the fiercest MC’s to ever grip the microphone is the Soul Father Rasco. The beautiful mind who is often quoted for his line, “My mind shines harder than your chain” has been grinding away for a decade, and been making records for over half. One of the leaders in the Bay Area movement, Rasco’s debut Time Waits For No Man is largely considered one of the major independent releases of the “Underground Movement.” But while the times have changed, Rasco truly hasn’t. His focus is still making ground-breaking, defiant, and revealing records – and running a budding label. Fresh from a show with KRS-One, AllHipHop.com caught up with Rasco to discuss the re-release of his classic, the continuous comparisons to Rakim, and even a few more off-topic jewels that may surprise you more than you ever imagined. Some cats are doing it with help, but regardless – Rasco will always be the unassisted. AllHipHop.com: I see you re-released your classic on your label this time. How’d you pull that off? Rasco: We came to an agreement on that, and I was already puttin’ stuff out – you know, reissued stuff on my label. I just got a deal with Caroline [Distribution], and was making everything available, and wanted to be sure Time Waits For No Man was available. AllHipHop.com: You had some label troubles after that album. I was always curious as to why you never stayed with Stones Throw, considering your album was a key player in their foundation. Rasco: It was just, I felt like I wanted to start building something myself at that point. I learned a lot of stuff from [Peanut Butter Wolf], so he was going one direction, and I was going one direction, not really on no beef. It was just, I wanted to have a label after I was doing this. AllHipHop.com: Are there any bonus treats on the re-release? Rasco: Yeah, it’s got two remixes on there that we did back then. It has a Lord Finesse remix on there, and a 45 King remix that we did back then, that wasn’t available. AllHipHop.com: For an “underground” MC, to be able to release an album says a lot. Non-Phixion and Jedi Mind Tricks, that’s like Platinum status. How do you feel to be able to put out an album less than five years old, back out. That’s gotta be great. Rasco: It feels good because I had a lot of people asking if it was available anymore and different stuff like that, so that makes you feel good. But the way I look at it man, is, it’s kinda a double-edge for me because I’d like to be able to add something else to that. I want everything to be that way. I look at it as, “How can I get that status back?” AllHipHop.com: Now that time has passed, what made that your most successful album in your opinion, as opposed to an Escape from Alcatraz or Cali Agents? Rasco: I think the reason it is, it was just a different time then. You didn’t have as many people out with records. You didn’t have a lot of cats out. You had Company Flow, myself, Defari, Dilated. We was at the beginning of the whole thing. Now, it’s a little bit different. And then, if you try something a little bit different, people may not accept it, or it just may not come out the way that you expected. If somebody now can tell me that I was better then than I am now, I don’t believe that. I didn’t know what I was doing on that record. Maybe that’s why. AllHipHop.com: That’s a perfect lead in to your fan base. How does your following differ on the coasts? Because frankly, you have mass appeal in the East. Rasco: It’s weird because with the Cali Agents, the top market for us was New York, then L.A., [then] San Francisco. But on my stuff, it always flips around. It’s like, L.A., then New York. So I don’t know if it’s the addition of [Planet] Asia that helps it with Cali Agents on the East, but’s always those three cities. AllHipHop.com: We talked about your recent work as overlooked. One recent track that I really liked was, “My Life.” It has a timeless hook. You rarely hear the hook get love in the underground, but for such an intimate track, what made you write that? Rasco: One day I was watching Donahue, and it’s funny because it was [also] on the Dave Chapelle Show, but dude was talking ‘bout angry White men. It was dudes talking about Black people taking their jobs. I was like, “Wait a minute. Where the Hell these dudes yappin’ from?” So let me just write as, it’s my life. But it’s also my life as a Black man and the way that I see things. Just how I see Black men in America. AllHipHop.com: One thing about Bay area cats is…in the liner notes, you’ll see a group like Latyrx shout out gangsta dudes like San Quinn or Brotha Lynch Hung. I always marveled at that beautiful Hip-Hop unity. How does that come into play with you? Rasco: Back when I came out and a little bit further, you had Hobo Junction and the Living Legends and Blackalicious and Hieroglyphics, and everybody had their own thing, and we’d support each other. I always liked the Bay area for that. Then you have people like San Quinn and Messy Marv who are dudes who know that they don’t do what you do, but they like what you do. It’s never been like, “Aw, these n*ggas are backpackers.” It’s always just been, “I’m really feelin’ what you doin’.” For that reason, it’s been good. A little bit of that [Bay Area unity] has been lost with people goin’ away and movin’ to L.A. AllHipHop.com: The Rakim vocal tone comparison is something you must get a lot. How do […]