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Grouchy Greg
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Grouchy Greg

I am Grouchy Greg. I founded AllHipHop in 1996. In addition to running the site, I enjoy breaking news stories. My stories have been cited in The LA Times, NY Times, NY Post, TMZ, Yahoo, Billboard, The Associated Press, CNN, and more.

http://staging.allhiphop.com

Dougie, Lyte Spark Teen Dialogue At NHHPC

“Don’t come here because you like hip-hip,” Deputy Mayor of Newark Ras Baraka told the crowd of teens gathered inside the gym at Essex County College. “Come here because there’s real things going on in the community.” Baraka, along with hip-hop legend Doug E. Fresh, rapper MC Lyte and others, including “America’s Next Top Model” contestant Camille McDonald, were a part of the National Hip-Hop Political Convention’s Youth Summit yesterday (June 16), which featured a panel discussion on topics ranging from activism to bridging the generational gap. Cousin Jeff, of “Rap City” fame, served as moderator for the discussion. “You have to get involved in something more productive than just partying,” said Vinnie, member of the New Jersey-based rap group Naughty By Nature, when asked about inspiring youth to get involved in their community. Because many in the audience were too young to vote, members of the panel urged them to consider how activism relates not to just electoral politics, but to the things that are going on in their own communities. Camille explained how as a college student she wrote letters to corporations to land grants to assist in her advocacy work. “There are people with ears who are listening,” she said. Only one question arose that splintered the panelist in regards to their opinions. Though it wasn’t a hostile exchange, MC Lyte and a young man also on the panel disagreed on whether or not rappers should consider themselves role models. Lyte argued that because fans provide financial stability to rap artists, she and her peers should be responsible to “give listeners something that can inspire them.” “As artists, we have a huge responsibility,” she said. “I’m probably in the minority of artists who feel that way, [but] it should made clear to rappers that we have a responsibility to the youth.” Her counterpart, however, debated her argument stating every artist isn’t ready to be a role model. He added in many instances rappers “get rich by accident” and don’t necessarily understand the responsibility of being a public figure. Doug E. Fresh also contended rappers are not role models. Yet. “We got to add yet to that,” he remarked. Fresh explained one of today’s top artists could grow to become a bigger person in stature. As an example, he cited Malcolm X and the evolution the former Minister of the Nation of Islam made from inmate to political orator. The legendary performer told the audience to have patience with rappers and their maturation process. He explained many of them are still young. But the father of four boys also said older people should have more respect for younger people, whether they are rappers or not. “I feel that young people are not listened to,” Fresh said. “They got a lot of great ideas.” His comments come one month after Bill Cosby chided African-Americans parents for buying their children $500 sneakers and not being able to teach them proper English. Though the comedian didn’t aim his diatribe at younger people in particular, his comments are an example of the rift between the lifestyle of different generations. Cosby is among other notables African Americans with a disdain for hip-hop. Rather than criticize the Hip-Hop Generation, however, Fresh felt the Civil Rights Generation should be more proactive to forge a stronger bond between the two age groups. “Older people can’t be close-minded,” he said. “When you’re close-minded you make the world small.” The Hip-Hop Political Convention continues today with an Intergenerational Dialogue, which will be held at Metropolitan Baptist Church. The theme of the discussion will be “Spirituality, Arts and Culture, Grassroots Activism and Electoral Politics.” The event begins at noon.

Beef: 50, Smurf and Summer Jam

By now the Hip Hop nation has heard the stories and rumors surrounding the incident at the 2004 Hot 97 Summer Jam in New York involving 50 Cent’s group G-Unit and former members of the click, Bang ‘Em Smurf and Domination. While the debacle was not a full-on fight, there were bottles and chairs flying from the audience to the stage and back again, causing temporary chaos in the front rows where Bang ‘Em Smurf and his people had been watching the show. Fortunately no one was hurt, and the situation was swiftly settled.   50 Cent opened his portion of the show with a pseudo awards show, taking comedic verbal shots at several people including Joe Budden, Ja Rule, Lil Kim, Ashanti, and even Jay-Z by way of Beyonce. He became increasingly irritated during his performance as the audience at New Jersey’s Giants Stadium failed to give him the reception he was apparently anticipating. Toward the end of his set, he began chiding the audience for their lack of response to him, and even took some harsh shots at R. Kelly, who had received top billing as the final act of the concert. While 50 Cent captivated fans in 2002 and 2003 with his aggressive lyrics, edgy persona, and constant controversy, things seemed to quiet down in early 2004. It was evident to fans at Summer Jam, however, that beefs he could have moved past were not settled in his mind. In the midst of the media’s rush to find answers to why this even happened, Bang ‘Em Smurf took some time to speak with AllHipHop.com about the situation. “I think [50 Cent] really didn’t know what to do – he was more nervous than anything,” Bang ‘Em Smurf said. “He didn’t expect to see us all, friends and [neighbors], in the front row like that. I can’t really explain that, but to me he was just really nervous, he ain’t know what to do at first. He was playing the whole other side of the stage, so I guess he felt like he had to do something, cuz we were up front making a lot of noise, so he came over there and threw water on us. First they threw money – Banks was throwing a bunch of singles. We didn’t really stress that, cuz that’s nothing – everybody got money, but then 50 came over and he threw water on me. That’s when things got crazy. Before he threw the water he was like ‘Oh, is y’all thirsty?’ and he threw water on us, and the water got on me. That’s when I tried to jump over the barricade, and then [people] just started going crazy letting the chairs fly. I didn’t even have to do anything.” Bang ‘Em Smurf explained that he felt 50 Cent’s quick rise to fame and fortune was the reason for their initial problems with each other. Bang ‘Em Smurf claimed that he was blackballed, and that 50 turned his back on old friends once he got to the top. “You know, everything was good at one point. When we ain’t have nothing – like the mixtape days, before Em and Dre – everything was beautiful,” said Bang ‘Em Smurf. “He got that money so fast, I think it’s the bread that f##### son up. Son got an ego problem already, but when he got that money he really started feeling himself like he was a boss or something. It’s cool to feel like that, but you can’t s### on your homies, the people you grew up with. He ain’t only s### on me – everybody that I had with me [at Summer Jam], he knew everybody’s faces. All of us used to be G-Unit. (See Interview – Bang’em Smurf: Life after G-Unit https://staging.allhiphop.com/features/?ID=747) At the end of the day, everyone went home safely, and Bang ‘Em Smurf does not intend to dwell on the situation. “I know what we’re capable of, and I know our progress is incredible,” he explained. “We got a label deal in less than a year. ( See News – Bang ‘Em Smurf Aligns With Suge Knight https://staging.allhiphop.com/hiphopnews/?ID=3174) That’s why he’s upset – I don’t care what he says. He’s got all that money, but he’s not happy. I feel better as a man, accomplishing s### on my own, taking care of my family. I’m not trying to feed off 50, I’m making music.”

Kim Mathers Busted In Hotel

Eminem’s ex-wife Kimberly Mathers was arrested in an Ann Arbor, Michigan hotel, two months after a felony warrant was issued when she failed to return to a drug treatment facilty.Mathers pleaded guilty to cocaine possession in January. She was sentenced to 30 days in a county jail and ordered to attend in-patient drug treatment for 90 days.The arrest warrant was issued in April, when she failed to return.Acting on a tip, police went to Weber’s Inn and saw a woman that resembled the 28-year-old Mathers.When officers asked her name, Mathers allegedly told the police “Julie” and refused to let them enter her room.Mathers eventually granted the officers entrance and admitted her identity.Mathers was turned over to officials in Macomb, County, Michigan.

Rap Stars Celebrate ‘Pac’s Birthday

Despite what was perceived as a bi-coastal rap war, the East Coast had love for Tupac and it continues today, as a star-studded group will celebrate the hip-hop martyr’s 33rd birthday. The party takes place at The Coral Room in New York on 512 West 29th Street. Appearances include Chuck D of Public Enemy, The Outlawz, Immortal Technique, spoken word artist Amanda Diva, Digital Underground, Saigon, Sway of MTV and others. Pac’s immediate family, Jim Jones of The Diplomats, Kanye West, Treach from Naughty by Nature and Ghostf ace Killah are expected to appear as guests. Organizer Candy Man stated that the birthday celebration will focus on Tupac’s more prolific, activist side side. “There was more to Pac than all that drama. Tupac did want peace. He was positive. He saw what was going on and he said, ‘Lets change this.’ Tupac had a big dream. [Fans] listen to his music, but … there was a lot more to Tupac that people portray,” he said. Candy Man said that the performers were handpicked by Pac’s stepfather/activist Mutulu Shakur. Additionally, any proceeds from the birthday party will go towards Mutulu’s legal defense fund and Tupac Amaru Shakur Center For The Arts fund. Mutulu is currently incarcerated in the Atlanta-area for crimes centered around bank robberies. He maintains his innocence and has pledged that he is a victim of the government’s Counterintelligence Program (COINTELPRO). Of Mutulu’s influence on his son Candy Man said, “Most people know that Mutulu was one of the biggest figures in Tupac’s life, especially father-wise and with people of color, this is something that affects all of us deeply. “The significance of the event is to educate brothers about whats going on, what’s happening and continuing Tupac’s legend. Its all about carrying on his legacy, his memory.” For those that want to remember Tupac further, they can purchase “Tupac: Resurrection,” a DVD that is specially edited to be narrated by Pac himself. The DVD version features an abundance of new material including commentary by Tupac’s mother, Afeni Shakur, four deleted scenes, a fiery Malcolm X dinner speech, an interview with Mutulu Shakur and a number of other featues. Tupac was murdered on September 13, 1996. He would have been 33. For detailed information, click here.

Snoop, Slim Thug Sign With Star Trak

Snoop Dogg and Slim Thug have inked deals with Star Trak, the label owned by multi-platinum producers the Neptunes. Snoop will drop an untitled solo album before the year is over. The two albums come on the heels of Pharrell Williams and Chad Hugo taking their burgeoning empire from Arista and hopping over to Universal, in a deal worth an estimated $3 million dollars. Snoop’s Star Trak debut will be released via his own label, Doggystyle Records. The highly anticipated major label debut from Houston, Texas staple Slim Thug will follow shortly after. In related news, Snoop will be featured on the premiere of "Celebrity Blackjack." Snoop will be joined by such stars as Andy Dick, Jamie Kennedy, Eddie Griffin, Ben Stein, Rodney Peete and others, as they compete for a $100,000 donation, tournament style. The winner of each episode advances to the sixth and final episode for a $100,000 purse, donated to the winner’s choice of charity. "Celebrity Blackjack" premiers July 5 on the Game Show Network (GSN).

Chilltown New York

Artist: Erick SermonTitle: Chilltown New YorkRating: 3 StarsReviewed by: Javid Is hip hop really a different form of rap music? Ask the average rapper in the game for longer than a decade and their answer will probably go something like, “man, these young cats don’t know about hip hop…this started in the parks. Run DMC, Rakim, KRS, and Herc, that’s hip hop!” Now ask your average cd purchaser, let’s say a white 17 year old from Denver and his answer would probably go something like, “I don’t know but that new Fab with Christina Milian…that’s the hardest record out.” Then we have Chilltown New York-where you can still stunt with a CRX, rock fatigues with one leg up, put a house speaker in your trunk-the title of Erick Sermons latest release. Continuing a run longer than Forest Gump, E Dub is back giving us what we expect from perhaps the most bitten rapper/producer in rap music, uncompromising style. Break dancers get off your ass, for “EE’s” the closest thing you’ll hear on Chilltown to a bouncy track, featuring Sermon using creative wordplay to show us how he does this “with ease.” One of the illest songs on the album, “Street Hop” features Redman effortlessly flowing over a bassline deeper than a NYC pothole and a cut up Nas sample. Funk Doc is in rare form when he rhymes “I’m no joke/ this ain’t Hanna Barbera/ it’s the Bricks Mandela, on Anteras.” Without a doubt, the Green Eyed Bandit can hold his own, but the album’s strongest hits are those with featured artist such as “Chillin’” with Talib Kweli. Of the aforementioned, The Audio Two’s Milk and Giz would be proud of the work E Dub does resurrecting and interpolating their classic “Top Billin’”, keeping it gully for all the heads in Brooklyn. Unfortunately, despite strong guest appearances and above par production that will have you adjusting your rear view, Chilltown finishes like George Foreman in the twelfth (you do the math). Although we hate to admit it, 13 tracks of hard hitting, B-boy street records begin to seem repetitious. At least in ‘94 you had to flip the tape, but as the cd plays on the second half is noticeably weaker even with guest spots from Funk Doc, Mr. Murray, and Sermon’s latest prodigy Sy Scott. By far the albums weakest cut features a sampled Sean Paul reciting “Feel It” (the songs title) a cross between “Music” and “Gimme the Light”, that will have you wishing for a real Supercat comeback. Erick Sermon knows the rap game, and sums it up best when he raps on “Chillin’”, “Yep, he sold more records but son suck, call me washed up, yeah talk about me/ I sound like me, you sound like Jay-Z.” There is no doubt the E Dub fully understands that going this route will guarantee less sales and popularity, but at his stage in the game and with those rims (yes, pre Funk Flex) he doesn’t seem to mind. Sermon even ridicules himself in a Matrix skit where taking a blue pill guarantees less sales like himself, Smilez and Southstar (WHO?!) and taking the red pill guarantees you a wonderland with sales like Rubben Studdard and Hillary Duff. Although this new decade of hip hop has us on the G-4, with the Etro shirt and Evisu jeans, everybody has that pair of yellow Timbs, and when you lace those up, roll thru Chilltown.

Kiss Of Death

Artist: JadakissTitle: Kiss Of DeathRating: 4 StarsReviewed by: Matt Barone Whether or not Jadakiss possesses an abundance of lyrical skills has never been the question that has plagued the Yonkers-bred member of the Lox. For skeptics, the main reason why Jada hasn’t been able to reach superstar status is his limited subject matter, rarely opening up while frequently covering familiar topics such as gunplay and battle-threats. His solo debut Kiss The Game Goodbye did little to advance the self-proclaimed ‘Black Babe Ruth’ into the game’s commercial elite, as Jadakiss tried to please too broad a spectrum of listeners rather than providing a more intimate portrait of Jason Philips (his government name). Thankfully, he seems to have taken all of this into account, because his second solo-go-round Kiss Of Death effectively shows off facets of the MC’s abilities that have been dormant. Simply put, those filled with that unfortunate four-letter ‘H’ word would have to search long and hard for reasons to pan Jadakiss’ solo endeavors again. While Kiss Of Death will undoubtedly spark slight anger from Jada’s street-corner following due to some high-profile collaborations, J-A-D-A has put together a solid album that appeals to all audiences and exhibits our host at his best. He gets his grown man on for the Anthony Hamilton-assisted “Why”, offering deep social and personal introspection over a beautifully constructed Havoc instrumental comprised of soft bells and percussion. Further self-examiation takes place on “Bring You Down” and “Still Feel Me”, while he teams up with Mariah Carey on top of Scott Storch’s seductive flutes for the formulaic yet catchy “You Make Me Wanna”. Fellow Lox member Styles makes sure his brother doesn’t completely abandon the group’s signature hardcore sound though, servicing the violent hook on “Kiss Of Death”, and flawlessly tag-teaming with Jadakiss over Elite’s devastating arrangement of electronic guitars and pounding bass on the blazing “Shout Outs”. A perfect rap album is extremely hard to come by this day in age, unfortunately, and Kiss Of Death falls victim to this sad truth. “Hot Sauce To Go” is as unappealing as its title, suffering from a bland Neptunes beat and an equally forgettable Pharrell-delivered hook about (surprise!) female bottoms. Hearing Jadakiss spit over a Kanye West production seems like a sure-fire banger, but “Getting’ It In” is a missed opportunity due to sub-par verses and a beat that was most likely salvaged from West’s cutting room floor. A second dream-collaboration gone sour is ‘Welcome To D-Block”, a track that does find all three Lox members and guest Eminem in top vocal form, but disappoints with its mediocre audio backdrop and awkward chorus. By the time the heartfelt “I’m Going Back” concludes Jada’s sophomore effort, those who have been waiting for him to bless ears with a truly focused album will place Kiss Of Death in their CD players for months to come. Proving that his rhymes have matured just as much as the man himself, Jadakiss has finally capitalized on his God-given gifts and crafted a well-rounded collection of honest music. If growth continues within Kiss, then that allusive ‘perfect album’ previously mentioned might not be far away, but for now, Kiss Of Death is a must-have release that should help place Jadakiss amongst rap’s current elite without any argument.

Flavor Flav Stars In ‘Surreal Life’

Continuing their tradition of pitting rappers against other celebrities, creators of "The Surreal Life" have announced the cast of the third season, which includes Public Enemy member Flavor Flav. Flavor will join an all new cast that includes Dave Coulier (Full House), Brigitte Nielsen (Red Sonja), Ryan Starr (American Idol), Jordan Knight (New Kids On The Block) and Charo (flamenco guitar master who has made the most appearances ever on "Love Boat"). "The Surreal Life" puts an unusual mix of entertainers together to live under one roof and have their lives taped round-the-clock. The first season featured MC Hammer, Vince Neil, Emmanuel Lewis, Corey Feldman and others, while season two featured Vanilla Ice, p### star Ron Jeremy, sex-pot Traci Bingham, Erik Estrada and others.

C-Murder Second Murder Trial Set For September

Corey "C-Murder" Miller is about to go through it again. A judge in Gretna, Louisiana set a date for the second murder trial for the rapper for September 12, 2005. Miller was convicted last September for the shooting death of 16-year-old Steve Thomas, 16, in 2002. He was never sentenced due to allegations that the prosecution withheld evidence. Miller faces a mandatory life sentence, should he be found guilty. Thomas was shot after the two allegedly had a confrontation in a now defunct Jefferson Parish nightclub. While nine defense witnesses testified that Miller had nothing to do with the shooting or the beating, in some cases they gave conflicting testimony. Two witnesses produced by the prosecution, one a security guard for the club, testified that they both saw Miller and friends assault the teenager. One of the witnesses said that she did not actually see Miller holding the gun, but saw sparks from a gun where Miller’s hand would have been. When the jury convicted him, his family immediately responded and said they would fight the decision, with Master P. claiming that the local system was corrupt. "The whole system there is corrupt, but I think the Judge (Martha Sassone) wants it to change." Miller told AllHipHop.com Sassone granted the retrial. "There are so many witnesses that said C didn’t do this. Look at what the D.A. has done, clearing records and that kind of thing. Everyone assumed he was guilty but people testified he didn’t do it. Now he’s sitting there incarcerated and we believe he’s innocent." One of the key arguments for the defense’s motion for a retrial, was the revelation that local detectives cleared a prosecution witness’ parking tickets and an arrest warrant for felony theft charges. In December, Miller’s attorneys produced a key prosecution witness that said she did not see Miller shoot Thomas and witnessed another man with a gun before the shooting. The woman testified under oath that she stood on a chair and witnessed Miller beating Thomas but fell and did not witness the shooting. She said moments before the shooting, she witnessed another man known as "Calliope Slim" with a gun. The woman claimed that she told Jefferson Parish detectives before the trial, but didn’t reveal the information during the trial because no one asked her. Yesterday, Miller pleaded innocent to the charges, as he at the outset of the first trial.

Method Man: Who Y’all Rollin Wit? Pt. 2

AllHipHop.com: Ghostface has a new album out, and so does Masta Killa, but not everybody from Wu Tang putting out solo albums is going to match the success that you’re having. At what point do you ever feel like you need to reach back to help, or do you? Method Man: They don’t need help, cuz it’s like yo, whenever they call for the next Wu Tang album I’ll be there. My brothers don’t need help – grown men do grown things. You gotta be a man and stand on your own two feet. You don’t wanna f**kin’ carry nobody, cuz he’s useless to you, you know? He’s gonna get used to getting carried all the f**kin’ time and he won’t do nothing for himself. That was RZA’s plan for us in the first f**kin’ place – that’s why we got the deals that we got. It’s like ‘Now you got your solo s**t, now hopefully you don’t always gotta come to me for beats. Go out here and explore’. That’s all I did was grow as an artist, and I think I should have been judged on my merits as far as growing as an artist. [Critics] should have compared each album to each album and judge me on that, instead of thinking ‘he hasn’t done this in five years, and we’re gonna tear him apart – we’re gonna listen extra careful. I don’t give a f**k if it is bangin, I’m gonna say it ain’t.’ That type of s**t. AllHipHop.com: So it comes down to be unfairly criticized? Method Man: Unfairly criticized, exactly. I’m gonna say names anyway. I like Lil Flip. I like that song he got out. Lil Flip got four mics in The Source. Listen to his whole album, then listen to my s**t, and then tell me where the problem is occurring at. It’s because I’ve been in the game ten years, and they feel like ‘okay, we know this [guy]’ – no. I said that on my first f**kin’ album. You don’t know me, you don’t know my muthaf**kin style, so don’t ever act like you’ll get familiar enough with me to know exactly what I’m supposed to say out my mouth, or what beats I’m supposed to pick. Get the f**k outta here. Q: How would you define yourself? What is the path that you’re making? Method Man: I just do me. I’ll give you an example. When I read the first bad review I almost cried, and I haven’t cried since I was 11-years-old – because I knew I was unfairly judged. Anytime you start a g###### music review off with ‘The Right Guard pitchman’ or ‘Ever since he seen the glitz of Hollywood’ and all that s**t – you’re hating off top and you killed your credibility with me. Q: Do you blame any of it on the record company or promotions? Method Man: You can’t blame the record company because the record company is the people that brought you to the light in the first f**kin’ place. It’s what you do with it when you get there. Q: How about the marketing? Method Man: The marketing could be blamed… you have a lot of times, even in Def Jam, you walk up to Def Jam in certain peoples’ cubicles who work at the label, and they’ll have their favorite artists pinned up there. It’s like they’ll work [that artist’s] s**t even harder than they would yours, and I think it should all be fair. It’s a job, you do your f**kin’ job. It doesn’t matter how you feel about the artist. When me and Doc was on the Hard Knock Life tour, the publicist that was there, our Def Jam publicist, would come with different interview people and walk right by our dressing room for the Jay-Z’s and DMX’s, and I ain’t knockin’ [the artists] – go ahead, do that thang, but we’re here and we got something to say too. When I made a complaint about that, it just spread through the whole office – okay, now I’m the bad guy, now nobody really wanna f**k with Meth on the road. I go out by my f**kin’ self – it’s all gravy though, because I’m here. Q: Wu Tang is going to be performing together in Los Angeles. Are you going to join them? How is that going to feel? Method Man: Yeah. If I’m out there, yeah. I don’t know how it’s gonna feel for them, but for me it’s gonna be alright. I got off tour right before we started doing the sitcom, so I’m ready. Q: With all of you together, do you think you’re going to have that same old feeling? Method Man: I hope not, because I don’t know if you’ve ever been to a Wu Tang show, but it’s little chaotic. It’s hard to tell who’s rhyming sometimes. Our last tour was a whole different angle, and everybody came out and did their own set and then we all came together. If it’s like that it’s going to be a beautiful thing. AllHipHop.com: Do you feel like you’re a lot more focused these days? Method Man: That’s so cliché and s**t, but you know what? That’s exactly what it is. I’m perfect 20/20 vision right now. Q: Have you learned anything? Method Man: Well, obviously I have – I got my own TV show that I’m executive producing, and as far as my albums go, yeah – I learned a whole hell of a lot man. I got a crash course in ‘they don’t think you’re hot no more’. AllHipHop.com: We heard that you fired the director from your show because you didn’t like the direction they were trying to take it. Method Man: I didn’t fire him, the studio did, because they saw the vision. They knew when they signed me and Redman on to those thirteen episodes, this was before they even seen an episode, they knew what they wanted […]

Method Man: Who Y’all Rollin Wit? Pt. 1

Even in the early days of Wu Tang’s glory, Method Man stood out to the masses as an emcee of distinction. His deep, raspy voice complimented his lyrical artillery, and he continuously brought a rugged intensity to the mic that fans hungered for. He earned the respect of his Hip-Hop peers, while still effortlessly managing to win over all the ladies with his charm. After several projects with Wu Tang, a collaboration with his partner in rhyme Redman, and a trilogy of solo joints, Meth is as hungry as ever – and he’s not about to let anyone step on his head with regard to his current wave of commercial success. Having survived Loud Records’ closing shop and Def Jam’s changing of the guards, Method Man stands tall in the aftermath of industry woes. His latest album, Tical 0: The Prequel, has been selling exceptionally well since its release in May, giving Meth good reason to thumb his nose at the critics who came out swinging in their reviews of the project. He has been reaching beyond his music into acting, both on television and the big screen, and doesn’t show any signs of slowing down. He took some time at Hot 97’s Summer Jam last week to speak with members of the press about anything and everything we wanted to know. [Note: Thank you to the press associates at Summer Jam ’04 who participated in this interview. Questions asked specifically by AllHipHop.com have AllHipHop.com.] Q: What kind of differences have you experienced at Def Jam since the changeover? Method Man: I was feeling that before the change. It’s just different. It’s always with Hip Hop artists that the more you promote yourself the more they pay attention to you. That’s basically what it is. Def Jam has always given me exactly what I needed. If I asked for it, I got it if it wasn’t too outrageous. It’s cool over there – I’m glad to be playing for the Yankees, but it also has its quirks. You gotta go out there and promote yourself, or else you’re not on the radar because there’s a lot of other artists over there. Q: Is there going to be another Red & Meth album soon? Method Man: Absolutely, this fall. Be sure to go out and get it in August – s**t is off the chain, it’s crazy. Q: In between the taping of your TV shows, have you made arrangements to make new music in the studio? Method Man: Not yet – I’m gonna let this album ride first, then go back and work on my next joint. Honestly, I was filming all week on the show and going back and forth to Baltimore on the weekends to do The Wire. Y’all should look out for me on that too. There’s got to be some balance to it too. I ain’t mad at comedy, but I don’t like doing comedy, because people get it twisted. AllHipHop.com: How many episodes do you have on The Wire? Q: Method Man: I’m on two episodes – not much in the first, a lot in the second. It’s a recurring role. Q: Are they gonna kill you off like they did on Oz? Method Man: I don’t think so. I did an excellent job I believe, at least that’s what they told me. I got to work with dude that plays McNulty and the Black dude that works with him. They had me in the interrogation room, I had to fake tears and all that. Q: Lil Rodney Cee from the Funky Four said that when Hip Hop became an industry, that’s when we lost it. What do you feel about Hip Hop becoming an industry? Method Man: Well, I think first of all, dude from the Funky Four is a little soft if he can’t get his foot back in the door – and I love the Funky Four Plus One More. They should be glad that it’s industrialized now, because when the right dudes get up in there, they make such a f**kin’ impact that we don’t need the Grammy’s to televise the rap category – because now the ‘rap’ category is an ‘album of the year’, so it gets televised. It’s a double-edged sword, because there’s a lot of dudes out there that are underground or ‘backpack rap’ or whatever you want to call it that ain’t bein’ heard. It’s for them to step up their s**t and come up out the underground and bring it to the surface. AllHipHop.com: As far as the underground right now, who do you like that really hasn’t got a lot of attention? Method Man: M.O.P. don’t get a lot of attention and they should, UGK don’t get a lot of attention and they should. There’s a lot of dudes out there – you got those street corner dudes that’s just nice with theirs – they be on those smack mixtape magazine joints – that s**t be out there. But what they have to do is… those dudes is good for battling but they can’t make songs. AllHipHop.com: Are there any of the mixtape guys that you like right now? Method Man: I don’t really listen to mixtapes. I been watching a lot of movies, perfecting my craft. Q: What about the situation with the movie Soul Plane? Anything on the rise with that? Method Man: I’m not salty with Jessy Terrero, who was the director, but I am salty at the people at MGM for the simple fact that if that was a movie by David Cronenberg or the big name directors, it never would have got [bootlegged] like that, and if it did they would have put a stop to it and cracked down on it. That movie was out two months before it even f**king dropped, and that’s a shame, and they did nothing to stop it and they knew. Jesse got the word and he went to them, and they didn’t do […]

An AllHipHop Dedication To Ray Charles

The Hip-Hop Nation is still mourning in the aftermath of soul icon Ray Charles’ death. Funny thing is, people may not know that they are mourning – the loss is just that widespread. There is a tremendous lingering legacy in the absence of Brother Ray. And, for some reason, Hip-Hop didn’t directly embrace his work via extensive sampling like say James Brown, George Clinton or Roy Ayers. Maybe its because he owned his master recordings, maybe it was a sense of respect, or maybe Ray was simply untouchable. Whatever the reason, we still loved him, whether it was his moving rendition of “Georgia” or his highly touted Pepsi commercials (“You got the right one, ba-bay –UN-HUH!). He was a class act and he never stopped smiling (at least when we watched). Below are a just a few of the comments that we received from those who enjoyed, were inspired or just loved the legacy of Ray Charles. Aretha Franklin, Soul Singer I was really saddened to hear he was so ill. I had no idea that he was as ill as he was until quite late. Of course, a great soul has gone on. He was a fabulous man, full of humor and wit. A giant of an artist, and of course, he introduced the world to secular soul singing. Undoubtedly, the music world will miss his voice. He’s the voice of a lifetime. Neil Portnow, RIAA President "The world is a quieter place today as we mourn the passing of 12-time GRAMMY-winner Ray Charles. A member of the Recording Academy for more than 45 years, Mr. Charles was honored with a Lifetime Achievement Award in 1987 and this past February, we bestowed upon him the prestigious President’s Merit Award. With a mix of blues, gospel, jazz and soul, Mr. Charles was the preeminent American musician – with a heart as grand as his talents. The Academy has lost a dear friend and the world has lost a musical legend." Michael Jackson, King of Pop “I am saddened to hear of the death of my friend, Ray Charles. He was a true legend…an American Treasure. His music is timeless; his contributions to the music industry…unequalled; and his influence, unparalleled. His caring and humility spoke volumes. He paved the way for so many of us, and I will forever remember him in my heart.” Charlie Braxton, journalist: Ray Charles is easily one of the greatest American recording artists to ever set foot in a recording studio. Ray took chords from traditional gospel tunes and married secular themes to them, much to the chagrin of gospel music fans. This formula is best illustrated by the his smash hit "Baby What I Say. His unique blend of blues and gospel laid the foundation for modern soul music. Without him there would be no Musiq Soulchilds, no Kelly Prices, no soul to put neo in front of. The hip-hop generation owes this great artist a huge musical debt. DJ Vlad, Spin Doctor (DJ): My main memory of Ray Charles was seeing him decked out in the ill suit with the fly honey’s singing ‘you got the right one bay-bay’ in those Pepsi commercials. Homeboy was pretty old back then, but you could tell he was still a player. Dasun Allah DX21, Hip-Hop Journalist & Radio Personality: Ray Charles is a Grandmaster. Many seem to think our musical traditions emerged from a vacuum, without any context. Our generation deals with what has been dubbed "neo-soul" but it was Ray Charles whose scientific melding of blues, gospel and R&B gave birth to what is called soul to begin with. Our generation must know that it stands on the shoulders of those who have come before. For instance, look at the direct influence he had on Stevie Wonder who in turn has influenced countless singers within the Hip-hop generation, and that was just one individual. This man created entire genres! He was accomplished in so many genres and he did it his way. Even Frank Sinatra hailed him as the genius. Paine, AllHipHop.com Features Editor Ray Charles was somebody I grew up admiring. Not because of his early and classic catalog…but because of my favorite childhood film, the Blues Brothers. Ray’s cameo and performance spoke to me as did others by James Brown, Cab Calloway, and John Lee H#####. Without a doubt, Ray’s a big part of Hip-Hop. He isn’t somebody you’re likely to hear scratched on a record. But as far as soul…Ray’s got Triple Five Soul and without Ray, you can forget about Jimmy Castor Bunch and Debarge. Patti LaBelle, Singer When I heard that he, Ray Charles passed, I dropped and started crying. It is a big loss to America. Although I knew him as a friend, he was nice to everyone and even though he was blind, he saw people in his own special way. We’ve lost a great angel. Quincy Jones, Producer, Ray Charles protégé I truly have no words to express the deep sadness that I have today. Ray Charles was my oldest friend, my brother in every sense of the word, and bigger then life. We first met when I was 14-years-old and he was 16 in Seattle and we had the blessing of God to realize all those boyhood dreams together. As a musician, Ray Charles was unmatched. A musical genius that made every song he performed his own. There will never be another musician who did as much to break down the perceived walls of musical genres as much as Ray Charles did. Ray used to always say that if he had a dime, he would give me a nickel. Well, I would give that nickel back to have him still here with us but I know that heaven has become a better place with him in it. Like the loss of my brother in 1998, this is absolutely devastating. Karu F. Daniels, Entertainment Journalist/The RU Report: "Ray Charles was and will remain an eternal force to be […]

T-Boz Files For Divorce From Mack-10

R&B singer T-Boz of TLC has filed for divorce from West Coast rapper Mack 10 and, in the windfall, made a series of sensational allegations including death threats. According to the Associated Press, T-Boz (Tionne Tenese Watkins Rolison) said that Mack 10 (Dedrick D-Mon Rolison) cheated on her in addition to threatening her life. Subsequently, she has received a restraining order from the rapper, where he is unable to come within 100 yards of her. Moreover, she wants full custody of the pair’s 3-year-old daughter. In Atlanta papers, Mack 10 denied the accusations and charged that T-Boz only made such allegations in a strategic move to keep him from seeing their daughter. In court documents, she said, “My husband informed me that he would smash my teeth down my throat. I asked my husband to give my daughter back to me and I reached for her, and my husband pushed me to the ground twice.” The incident that allegedly transpired on June 8 he tried to stop her from leaving the home with their daughter. He then grabbed her arm and stopped her, she said. “At that point, my husband grabbed me around my neck and choked me,” T-Boz said and asserted the aforementioned death threats followed. Eventually, police aided her in leaving the Atlanta residence. She said that the 32-year-old Mack 10 threatened to have her “erased” after she attempted to break off from the relationship in March of 2003. The pair was married in August of 2000. Mack 10 is expected to appear in court on June 22.

Saigon Calls For Gang Peace On ‘Color Purple’

Saigon, one of the first-rate mixtape emcees from New York, has received a lot of attention for his troubled background, but the rapper has a message against gang violence. "The Color Purple," a song produced by Scram Jones, speaks directly to kids in the street who claim gang sets and the very rappers selling such images to children. "The reason why I made that song is because in New York we know nothing about gang culture," he told AllHipHop.com. "We’ve heard about [Bloods and Crips] in the movies and videos- that’s how s**t spread, through media. If they can spread the negativity, then we can use the same medium to shut it down." Critics may try to label Saigon as hypocritical considering his own past, which included several years in jail, but he said he has matured and feels like his message is necessary. "I used to be in a lot of s**t, but that was before I was conscious," he said. "When I was out running the street I had no sense of direction. I was following. I wish I had a motherf**ker like me to tell me to chill. Somebody could have probably saved me from all of those years I spent in prison. If one person hears that song and says ‘this gang bangin’ s**t’s wack, killing my own brothers… and there’s nothing good coming out of it’ – it’s cool. These motherf**kers just want to belong to something." Ironically, Crips and Bloods in the Los Angeles area recently reconvened peacefully to celebrate the 10th anniversary of the 1994 gang truce. Representatives from four large local housing projects re-signed a peace agreement, which was based on a cease-fire arrangement between Egypt and Israel in 1949. Saigon stated that the East Coast needs to adopt a similar philosophy. While New York has had it’s own gang culture for decades, he cites a change in the times. "The Zulu Nation is like an evolution. It’s like comparing Malcolm X to Dirty Red. You’ve got people like [West Coast staple] Mike Conception telling [people] to put the flag down, that gang bangin’ s**t is stupid, that it’s wrong, that it’s killing each other and it’s tearing down our community," Saigon said. "And these are the O.G.’s of this s**t. Young rap punk motherf**kers come in the game and try to promote [gang violence], never really put in any work in the street – knowing you’re in somebody’s studio all g###### day. Then these little kids who don’t have nothing take it and run with it. These guys are in a tour bus, doing shows, and these kids who really look up to these motherf**kers and really believe these guys. I was one of those kids – it wasn’t no gang bang s**t, but it was some old thug it out s**t." Saigon expressed that there is a direct connection between the music industry, the media, and the negative effects on society that stem from over-glamorizing the gangsta rap image. "Motherf**kers gotta be more responsible. F### these motherf**kers making all the money off you, be responsible for your people. There’s gonna be a time when people are looking back in retrospect at the reason why we’re in these f##### up conditions. Who’s a part of the problem, and who’s a part of the solution?" With no immediate answers, Saigon likened today’s rap artists as exaggerated stereotypes peddling the destruction images across a worldwide platform. "These rappers look the same way we looked in 1929 when we see the black ‘jiggaboos’ tap-dancing for the crackers. That’s the way these rappers are gonna look 50 years from now," he said. "They don’t see it right now. Just the way [people] in blackface didn’t think at the time that they were being clowned. Think about it. There’s no right way to do something wrong." Saigon recently released of his first internationally distributed project, Warning Shots, a collection of his finest mixtape moments. Post Your Feedback.

Diamond D: Dope On Plastic

AllHipHop represents for those who can recite a verse from beginning to end, those who quote lyrics to explain serious life situations, and those who have an arsenal of punch-line snaps in their raps. But AllHipHop has just as much love for the producer. From eight bar loops, to live instrumentation, to the Triton, we love true beat makers and trunk shakers. So we continue our series of interviews with the greatest, most innovative producers in Hip-Hop history. In depth interviews looking back, peering forward, and always looking for the perfect beat. Diamond is the MC who made your favorite rapper today rhyme better and inspired favorite producer. With his early work on projects by Fat Joe, Brand Nubian, Show & A.G., and his must-have debut album, Diamond D was a link in the chain from the birth of Hip-Hop to the future. Diamond’s style has always been centered around funk loops and floor-shaking percussion. The sound is simple, but it reeks of true Hip-Hop then, now, and always. Like others, Diamond carries the professionalism including a Grammy, and multi-platinum status. But unlike most, Diamond D is deeply rooted in the streets, and carries a credibility with Hip-Hop that few can even get close to. In an ultra-rare interview, AllHipHop and Diamond chop it up. We get brutally honest on our end, and he follows with his. We discuss the old albums, the new album, the legends, and even the unlikely punks who jumped up to get beat down. Ladies and gents…the self-proclaimed and undisputed best producer on the mic. AllHipHop.com: You’ve only released three albums so to speak, over twelve years. On a day to day basis these days, what is your work ethic like? Diamond D: I don’t know, I try to make at least four or five beats a day. Sometimes, some beats I might leave up on my drum machine for two or three days. I might feel it’s missing something. Some beats come quick. AllHipHop.com: Obviously only a few ever see the light or get used. What do you do with the others? Diamond D: Some [of the] beats I make, I have no intention on sellin’. I just make and I just make it for myself. It depends. AllHipHop.com: Last year you worked with Akrobatik. I thought that it was great that you still get involved with the underground. What motivates you and allows you to keep it live on all levels? Diamond D: I just try to keep those lines open. I don’t want nobody to think that they need twenty or thirty grand to work with me. If we vibe and we connect on that level, then it’s all good. AllHipHop.com: On your new record, Grown Man Talk, I know it’s self-released. But it’s nice to see you’re not afraid to rock an obvious sample or two. But with the official releases, how has sampling laws changed your style in things? Diamond D: Wow, well, I mean, it’s like a double-edged sword. I’ve been able to live comfortably for the last thirteen-fourteen years. There was a period when sampling was frowned upon at one time. Everybody was keyboard crazy. What goes around, comes around. Now you’ve got guys like Just Blaze, Kanye West, they always biggin’ me up in they articles, and you know, now sampling has come back full circle and that’s a plus. But you know, I also make beats where I use no samples. I try to think of myself on a level of Dr. Dre productionwise. He samples, and plays instruments. So I try to do both – although, I know the majority of the music in my career is a heavy sample base. But I’m not close-minded where I wouldn’t use a keyboard at all – if only to enhance to what the samples are doing. AllHipHop.com: What instruments do you play, besides the keyboard? Diamond D: Drums, flute. AllHipHop.com: Did you learn drums as a young guy or later on? Diamond D: Younger guy. I learned in High School. AllHipHop.com: I’ve always wanted to know about Fat Joe. His debut which you largely did, is a timeless record. I still respect that hell out of Joe, and I think he respects Hip-Hop more than most. But even though he’s part of the D.I.T.C. team, how you feel about his “new sound” which kind of goes against the Diggin’ sound? Diamond D: I’m proud of Joe. I’ve seen Joe from his humble beginnings til’ now. Well, well damn. I want to be truthful with this too. I don’t have anything to say. Me and Joe are still cool. I’m supposed to be working on this Terror Squad album that’s coming out. As far as him making the production decisions that he makes, he’s his own man. Of course you got to change with the times. So, I’m not mad at him. I don’t know what else to say. AllHipHop.com: One thing that’s great about you is, you’re usually with cats who came before you, Jazzy Jay and 45 King to name two. You really pay respect to those who paved the way. What have those two guys done for you? Diamond D: Both of them were on and both of them were hot before me. I respect Mark [the 45 King] because back in ’92 when Mark was doing stuff for Madonna and all these big name people – back then Russell Simmons had a producers’ management and it was called RPM, Rush Producers Management. There was a lady over there named Fran, she works for Bad Boy now. Back then, Fran was trying to court 45 King so she could manage him. And Mark, she felt my sh*t so strongly back then that he actually told Fran, “You can manage me, but you gotta pick up this new guy named Diamond too.” Which she did. One of my first jobs I did under RUSH was, remember that song, “Tom’s Diner?” I did the remix for that […]

Kon & Amir: Archaeology

Sampling is back, but who are we really cheering on? Some popular producers may have pocketed a way to get the radio and video markets to play sample-based tracks. But before its new resurgence, Kon and Amir mastered the art and appreciation for classic records with classic sampleable elements, and doesn’t lift them at all? The pair may very well be New York’s answer to Cut Chemist and DJ Shadow. Even that, may be an understatement. Amir is a man you cannot deny, if you know his real work. As the A&R for Fat Beats, Amir decides if your record will be in the crates for all to see when nearly the majority of Hip-Hop’s doers buy their records every week. Kon, has produced stellar works to the likes of Ed O.G., Mr. Lif, and beyond. But as the saying goes…it ain’t even bout that! Together, Kon & Amir are sound restoration masters. These guys and their buzzworthy series of mixes have sewed together rare and dusty classics that have defined Hip-Hop’s conventions for what is dope. Kon & Amir have also spotlighted records in their mixes that while never used, are just begging for the next great butcher to rehash. With a deep appreciation for the “dig”, Kon & Amir and AllHipHop discuss the logistics of Manhattan’s vinyl underbelly, we discuss the new, official debut mixtape installment in the Uncle Junior series, and we get down right dirty with dusty dialogue. What the funk! AllHipHop.com: I loved the Djinji Brown debut installment of the Uncle Junior Friday Night mix. How is your mix different, and reflective progression of his? Amir: The way it’s and progression and the way I look at ours, is, ours is more like a party vibe. But it’s a party vibe that’s for grown folks. A lot of people that are into Neo-Soul, and Soul, and stuff that reminds them of a Marvin Gaye kinda vibe whateva, partying when they were young – that’s kinda what we’re doing. The music on there is a little more up-tempo. It’s pretty much the same kinda music as real Disco and real Funk. With Djinji’s joint, it’d be like he’d play some Hip-Hop, then play some Afro-Beat. It was a progression of a lot of different kinds of music. We wanted to stay consistent in what we were doing and create a party vibe. AllHipHop.com: Did you pick the records yourself, or because of the Friday Night history, were you working within perimeters? Kon: No, no. We picked what we wanted. In fact, we didn’t even pick them to put them together with each other. We just picked songs. I ended up mixing them to the degree where I thought they gelled together. AllHipHop.com: Is that usually the formula? Kon: I’m the DJ. I produce as well. We usually just put our collections together and brainstorm. I get records everyday. Anything I think might make it on to the On Track genre, I just put in that pile, and let it build. AllHipHop.com: Your On Track mixes are very grab bag-esque. You don’t know what you’re gonna get because you don’t list. That’s so Hip-Hop, but it’s gotta be hard marketing that. Kon: The first On Track was done more or less of, “Hey, let’s make a tape of our favorite breaks.” One, Two, and part of Three were done in the theme of “F**k tempo, we’re just gonna put this together on producer’s set. Here’s a Beatnuts section. Here’s a Pete Rock section.” That was for people who were ignorant to what was going on, on the tape. Gradually, when we got to Four and Five, I wanted to do it more [based] on tempo. So it would have a more fluid feel of a mix. I like the later stuff. But yeah, it’s not like we can put our faces on there and sell. We’re still, I guess you’d say, underground. AllHipHop.com: Is there a high point in your career as a duo? Kon: Yeah, I would say right now. The Uncle Junior stuff. So far, so good. AllHipHop.com: This Rare Groove culture is growing so quickly and so sincerely. But I think it’s growing by West Coast people like Shadow, Peanut Butter Wolf, Egon, and Chemist. How is this culture of digging in New York different? Amir: It’s not that much different. When Shadow and all them dudes was doing stuff, we actually started at the same time. ‘Cuz we first started doing our mix CD in like ’97, and my partner and I have always been into Breaks. I think a lot of the West Coast culture learned a lot from the East coast guys. For instance, when you would go to a lot of different record shows in New York in the early 90’s, I used to see Lord Finesse, and Pete Rock, and all them. I’m sure Shadow and all them used to come out here and record shop as well. You used to see those guys out there record shoppin’, and you’d pick up the vibe of what was going on. A lot of East coast collectors are super super collectors. They like to collect Disco to Afro-Beat to rare Hip-Hop. It seems like a lot of the West coast collectors are more into the Funk. But that’s the difference right now. AllHipHop.com: Every day it seems like there’s ten new diggers out there. I lost all my spots to the new cats. You guys are top-notch at this. How does the island of Manhattan and the greater New York area still get good records and crazy finds? Amir: It’s real hard to go digging right now. Especially if I get lazy and I just want to go to the Sound Library and I don’t want to go digging. There’s so many collectors. I feel like ten year old kids are digging for records right now. The cats like me and older, the advatnge we have is we still got a […]

Congressional Hopeful Cynthia McKinney Unveiling Hip-Hop Platform

Former Congresswoman Cynthia McKinney will deliver a special webcast on June 15, addressing Hip-Hop culture, issues that affect the Hip-Hop generation and a five-point Hip-Hop platform. McKinney, who made history in 1992 when she became the first African American woman from Georgia to serve in the United States House of Representatives, is now a candidate for the Fourth District Of Georgia’s Congressional seat. As a member of the United States Congress from 1992-2002, McKinney offered a full-fledged Hip-Hop platform. "Hip-Hop culture is one of the greatest influences on the thinking and behavior of young people in America and all over the world," McKinney said. "Everyday I see its impact and potential for good right here in DeKalb County, Georgia." McKinney said her webcast would also lay out the vision and her commitments to the interests and concerns of those who reside in the Fourth District of Georgia. According to McKinney’s official website, she was one of the first members of Congress to demand an investigation into the September 11, 2001 terror attacks. After asking what the Bush administration knew about the attacks, McKinney said that she was targeted by Georgia and national Republicans for ouster. McKinney said an estimated 40,000 Republicans voted in the Democratic Primary to unseat her. Her supporters have filed a lawsuit against the tactic, which is known as "crossover" voting. "Soon, it will be a Hip-Hop world," McKinney said. "I care what kind of world the Hip Hop Generation inherits. I know they do, too. I want to work with them to make sure that world is a peaceful one that values justice." McKinney’s father, also a former Georgia State Representative, was one of the first black law enforcement officers in Atlanta. The webcast is scheduled for Tuesday, June 15th, 2004 at 2 p.m. EST on McKinney’s official website, http://www.cynthiaforcongress.com/.

Police In The Philippines Compete For Best Rapper Award

While the police in the United States have taken up monitoring rappers in various cities across the country, police in the Philippines will compete for the best rap artist within their ranks. The National Capital Region Police Office is coordinating the "Kuya Ko 2 Rap Contest," in an attempt to find the best emcee in Metro Manila’s police units during today’s celebration of Independence Day. Police from different units in Manila, a metropolis of almost 20 million residents, will compete against one another for the "Best Rap Artist Award" at NCRPO’s headquarters. Officials for NCRPO said that a policeman that can rap will bring officers closer together with the communities they serve. "There are numerous ways of expressing love of country and patriotism. It does not necessarily have to come in the form of heroic acts," NCRPO chief Director Ricardo de Leon told Manila’s Today Newspaper. "Expressing nationalism through the arts is a way of giving importance to freedom."  

Book Publisher Targets Hip-Hop

Riverhead Trade recently launched Riverhead/Freestyle, a new literary division of publishing giant Penguin Group. The new division will focus on feeding a growing demand for books by "Hip-Hop" consumers. The company just published the first title, "Blinking Red Light." The book was first self-published by the author, Mister Mann Frisby, former reporter for the Philadelphia Daily News. The novel by Frisby focuses on man who’s life spirals out of control when he and his crew become involved in committing sexual acts for cash. "The incredible success of some of the self-published titles in this category indicates that there is a hungry — and probably under-served — readership for books that share the energy and themes of Hip-Hop culture," co-publisher Julie Grau said. "We see books that reflect this movement, both fiction and nonfiction, as an area of growth," Grau said. Riverhead/Freestyle will also release "The Wu-Tang Manual," a book about the origins and story of the Wu-Tang Clan by Wu themselves as well as two self-empowerment books from Tariq "K-Flex" Nasheed. Nasheed, a former hustler and self-proclaimed "Hip-Hop dating guru," has already various titles including "Play or Be Played," "The Art of Mackin’ and "The Mack Within." "We believe that the Riverhead identity is clearly defined, so by creating this line within the imprint, we can signal to the publishing industry and to consumers that we are branching out into new areas of the bookstore," Grau reflected.

DMX Hit With Lawsuit Over Dog Clothing

DMX was hit with a lawsuit stemming from his involvement in the canine clothing company Boomer 129. Amusing Divisions Inc., the company behind Boomer 129, recently filed a lawsuit in Manhattan Supreme Court, saying they weren’t aware of DMX’s 13-counts of animal cruelty charges, to which he pleaded guilty in 2002. DMX was ordered to make public service announcements for the Humane Society of the United States and was obligated to pay production costs, which were estimated at $20,000 when he was sentenced. Amusing Divisions claims that DMX instead made radio spots promoting the clothing line "for dog awareness as part of a community-service obligation judicially imposed upon him for having been involved in animal cruelty." DMX was paid $15,000 up front to be Boomer 129’s spokesman, which included leather jackets, sports jerseys and other clothing for dogs. According to a lawyer for Amusing, the company had trouble marketing the dog clothing to certain pet stores, due to the animal cruelty charges. Amusing is seeking the $15,000 advance as well as $75,000 which went into the production of the clothing line. DMX’s animal troubles started in June of 1999, when police went to his Teaneck, New Jersey home after finding his wife’s purse near the scene where his business manager/uncle was shot. When police raided the house, they found a loaded 9mm handgun, hollow-nosed bullets, six used glass cocaine smoking pipes and 13 pit bulls. Under his plea agreement, DMX forfeited all weapons and animals and was ordered to pay $15,000 to the Bergen County chapter of the Society for the Prevention of Cruelty to Animals. The judge granted the Humane Society the rights to use his image on printed materials.