“Think it is when it ain’t all peaches and cream/That’s why some are found floating face down in the mainstream.” –OutKast (Excerpt from the song, “Mainstream” off the album, ATLiens) Over a decade ago, Hip-Hop theologians OutKast used their southern-fried flow to send an impassioned plea on their seminal track, “Mainstream:” Don’t let a little bling blind your perspective. The prophetic duo – with assistance from play cousins Goodie Mob – exposed the trappings of fame, government corruption, and AIDS via a cautionary rap verse. They knew then what many are discovering now – Hip-Hop’s mainstream coronation would be a welcomed blessing and unforeseen curse. Hip-Hop, like many other Black cultural productions post-Middle Passage, has been compromised by cultural pimps (record labels, media conglomerates, corporations, etc.) seeking to censor its revolutionary elements while green-lighting destructive buffoonery and giving credence to long-standing stereotypes of Black life. Consequently, artists of substance like Dead Prez, Jean Grae, and Little Brother rarely make radio play-lists. Little girls dream of being video vixens instead of spinnin’ soft Black songs like Nikki Giovanni. And while outlets discuss whether Hip-Hop is art or social poison, the larger question we must ask is how white supremacy and market forces have altered the perception of a grass roots movement. Hip-Hop has sadly become a convenient scapegoat for historical inequalities that deeply alter our quality of life. Art ain’t created in a vacuum, and Hip-Hop was originally birthed as an underground anecdote to the psychological trauma of poverty, racism and a range of human sufferings that flow through them. Trouble in Hip-Hop paradise began when artists abandoned the tenets that once defined Black existence (solidarity, social activism, etc.) and began to mimic the values of a corporate system founded on greed, capitalism and individuality. This abandonment of social conscious is aided by market forces and label heads who care more about profits than prophets and offer million-dollar deals to studio gangstas and anyone willing to drop nonsense over hot beats. Today’s Hip-Hop artists are a small cog in a well-oiled corporate machine that has always used Black sweat, toil and cultural production (remember slavery) to serve its seedy economic interests. So, panel discussions like the one that took place on The Oprah Show (April 18) are great for TV ratings, but miss the mark when accountability is solely placed on vulnerable people without power – power that dictates our economy and distributes wealth. In other words, if we convict the rapper, we must convict parents who dropped the ball, elders who turned their backs on the impoverished, corporate pimps who pray for our demise, so called “Black” spokesmen padding their pockets at our expense, and a system of commerce that never gave a damn about Black folks in the first place. The plight of Black folks is bound to escape the limited confines of many talk radio and lunch room venting sessions. And Hip-Hop, like Black life in general, is wrought with pain and struggle. Art reflects the people and if we want Hip-Hop to change, we have to love ourselves enough to change. Record deals don’t change people, they only give folks a greater platform to be the fools or social activists they already were. Edward M. Garnes Jr. is an Atlanta based award-winning writer, activist, and educator who holds a M.A. in Counseling from Michigan State University. Garnes is the founder of From Afros to Shelltoes and can be reached at ed@afrostoshelltoes.com.  The views expressed inside this editorial aren’t necessarily the views of AllHipHop.com or its employees.

Rapper-entrepreneur Master P released an open letter in response to comments made by Curtis Jackson at a recent BET press conference. IT’S TIME FOR CHANGE Curtis Jackson’s comment motivated me. There are a lot of immature people in the world. Oprah Winfrey is absolutely right, we need to grow up and be responsible for our own actions. I paid for Curtis’s first rap tour through the south. He was such a humble guy at the time. Most artists’ mission is to sell records. My mission is to help save and change lives. There’s a lack of knowledge and false information out there. I could actually say Little Jay and Rap-A-Lot Records inspired my successful career and I will always respect them no matter what. I wrote the blueprint for this generation. The only difference is there’s no more honor and respect in the game. Think about it: people in jail are not writing letters proclaiming to come out and do the same thing that landed them there in the first place. People in the hood don’t want to stay poor for the rest of their lives. They want to change. Parents that really love their kids would rather sacrifice their own lives so that their kids could make a change to have a better life and a better education. I’m glad that there are people like Al Sharpton, Jesse Jackson and organizations like the NAACP that are out there fighting for our rights and dignity. I have finally realized that EVERY person is either a part of the problem or part of the solution and that is why I have decided to take a stand! I’m reaching out to corporate America to form an alliance for the sake of putting the value back into our communities by rebuilding and developing schools and businesses. First of all, it’s simply disappointing to see people that are in a position to help make a change just sit back and entertain the negativity. It’s sad to see Steven Hill set all of these programming standards at BET, just to contradict himself for the sake of marketing dollars or artist performances in order to create the appearance of a successful award show. The record company with the biggest marketing check controls the music vidstations so we need to go after the people who actually control these programming networks if we want real CHANGE. I guess by taking a stand, my son and I will probably not be invited back to the BET Awards. But it’s O.K. I got love for BET; there are a lot of good people there. Hopefully, this will help people to see the real changes that need to be made. My son and I will sacrifice our airtime because this is bigger than us, this issue desperately needed to be addressed a long time ago. There are four things that differentiate me from artists like Curtis Jackson. One, I can honestly admit that I was once part of the problem. Two, I don’t want my son to grow up and be like me. I want him to be better and do better – and that is why he is taking the time to pursue a college degree. Three, money don’t make me, I make money. My goal is to educate our people in building generational wealth and knowing how important it is to own real estate. Four, I’m a TRUE entrepreneur; my boss is God not Jimmy Iovine. From one brother to another, if you misunderstand my purpose you could always pick up the phone or talk to me in person. I’m trying to be part of the solution not the problem. The media thrives on entertaining, especially the negativity no matter what the cost. I’m praying for the brothers that are lost out there. Throughout the years, I have lost so many relatives and friends. This year, I’d like to focus on the comedy movies because we need to laugh more. The first movie that I’m producing is “Black Supaman” and thereafter will be “The Mail Man” starring Tony Cox and myself. I’m setting up a book tour for “Guaranteed Success” and a Hip Hop Business class with financial expert Curtis Oakes for those seeking knowledge. I understand that I can’t change the whole Hip Hop industry; I’m only trying to do my part. If you’re real, be a part of the positive movement with Take A Stand Records.com Look for the first single “I Wanna Be Like You” from the album “Hip Hop History.” I’m in negotiations with Wal-Mart and Target for direct distribution. Those are all examples of the positive difference I am trying to make in this industry. I’m reaching out to my friends Shaquille O’Neal, Will Smith, Russell Simmons, Queen Latifah, Derek Anderson, Charles Barkley, Emmitt Smith, Beyonce, and Reverend Run to help contribute to this positive movement. I will also be holding a press conference with the president NAACP and will be able to answer any questions at that time. I am not asking any other hip-hop or gangsta rap artist change what they do; that’s how they make their money. Furthermore, I am not a preacher; I’m just telling the world what I’m doing and the changes that I am making because it’s something I want to do. If that’s sending mixed signals to people then they need to deal with their own conscience first. P. Miller  The views expressed inside this editorial aren’t necessarily the views of AllHipHop.com or its employees.

Rev. Al Sharpton and his followers recently lead a March for Decency in New York. Rapper NYOIL editorialized the whole matter in an editorial on AllHipHop.com.  Tamika Mallory organized the march with Sharpton and now responds the rapper in her own open letter. Mr. Oil: We feel that you have a right to your opinion, but moreover we have an opinion and a right to express ours. While we agree with some of what you said, we overwhelmingly disagree with many of the points you made. Mainly because the very thing you accuse Rev. Sharpton and Rev. Jackson of being (media w#####) you are being yourself with your weak attempt to exploit the media for your benefit. This is a right we defend and the same right that was practiced by historic leaders such as Martin Luther King, Jr., Malcolm X, and Dr. Dorothy Height, who regularly appeared on talk shows and used media to spread the word about critical issues during the civil right’s movement. Ironically, they were called media w##### by white supremacists, and that you would call the leaders of today the same thing is indicative of your ignorance. Do you for a moment think that this work is a pleasure? It is just that, work. One can not say that they see Rev. Sharpton and Rev. Jackson on “Videos of the Rich and Famous” or popping corks like many of your peers that are being pimped by the entertainment industry and the like. Alternatively, they are on shows arguing about issues that impact us and you. I have been a part of the civil rights movement since I was 3-years-old and I am in my mid-twenties now, and can say that I have fought diligently alongside those who have sacrificed much for the opportunities we now enjoy as African Americans. This struggle directly correlates with what the Hip-Hop generation is now privileged to enjoy. The mainstream media outlets that previously looked upon us with disdain will now allow us air time. The civil rights movement began as our response to the indecency put upon Blacks by a white racist society. It was indecent for Blacks to sit at the back of the bus, to use Black-only toilets and water fountains, and to not have access to public accommodations such as lunch counters, or hotels. We now face the indecency of misogynistic images and terminology which is used by Blacks on Blacks to demean black women. It is one continuous cloth that must be rejected by every generation. The march which you called pitiful was attended by more than a thousand people along with New York Councilwoman Darlene Mealey and James Brown’s children, all in the Hip-Hop generation. Their father is the most sampled artist in Hip-Hop. The march was derived from a town hall meeting that I chaired with Councilwoman Mealy during the National Action Network’s annual convention, and Rev. Sharpton did not sit on the stage but chose to allow the young people to have a voice and mobilize because their voices are so often ignored. At the Town Hall Meeting, one person approached the mic with a point of view similar to yours, and he was subsequently booed and darn near run out of the room by young people. The people that you referred to that marched on May 3, are the same “out of touch people” that fought for Sean Bell, Abner Louima, Amadou Diallo and for the every day issues that we as Black people face. As far as the Decency March is concerned, it was not an exclusionary march. All of the community and all of the Hip-Hoppers were invited to participate, and many did. Not only were your numbers off but for you to formulate demeaning conclusions about the people you saw speaks volumes about your character and biases. It is obvious that your statements are uninformed. I would ask you to defend your conclusion that those who marched are out of touch. That you are the judge and jury based upon what must have been a brief, casual and superficial observance, states volumes about your lack of incite. Moreover those who were there were only a minute representation of the millions more who feel the same way we do as proven by the thousands of phone calls, letters and personal testimonies that we receive at National Action Network. The Decency Initiative was created in order to reduce the dialogue of indecency that has become pervasive in our community as a form of entertainment. We are calling for the removal of “n####”, “b####” and “ho” from the lexicon of the music and entertainment industry. Contrary to the nay sayers and the haters, the decency initiative is already beginning to catch hold across the nation. In New York Power 105.1 has pledged to eliminate music from their airwaves that uses these words and in direct response to our call, legendary Hip-Hop entrepreneur and artist Master P, announced on Rev. Sharpton’s national radio show a new label, Take A Stand Records, which will feature positive Hip-Hop as you referred to you in your letter. It is good that we do live in a country of free speech and that we can disagree openly, but we can assure you that nothing will reduce of resolve to insure a decent society for future generations. I would hope that it is more important for us to raise our children in an environment of decency than it is for you sir, to sell more rap records. Tamika Mallory is the Director of the Decency Initiative.  The views expressed inside this editorial aren’t necessarily the views of AllHipHop.com or its employees.

The metric system. The difference between Shi’a and Sunni. Björk. All things that your average American citizen has a general awareness of but would be hard pressed to explain if asked. Volta (Atlantic) won’t help anyone remember how many kilometers are in a mile, but it is in some ways a “Björk Conversion Chart.” In a move that seems obvious in retrospect, in-demand superproducer Timbaland has contributed a handful of tracks to Björk’s new album, and while Volta is still far from “easily accessible,” this is probably as close as she’ll get.On the lead single (“Earth Intruders”) Timbaland’s gift with rhythm joins Björk’s affinity for tribal percussion to help create something that’s almost catchy in spite of itself. Long time fans shouldn’t be discouraged; it still has Björk’s usual atmosphere of a future where nature has regained control over man. It’s simply that Timbaland’s more focused approach translates the imagery more clearly than similar near-hits like “Jóga” and “Oceania.” Of the other Timbaland contributions, “Innocence” also brings relative structure to the dynamic concept, but “Hope” abandons the huge, deliberate percussion for a light mix of Eastern strings and finger drums.Tim’s fans who’ve tuned in out of curiosity won’t be completely lost with the remaining tracks, but there’s no question that Björk is still Björk. Her flare for theatrics is as strong as ever, especially on the striking “Vertebrae by Vertebrae” or “Wanderlust,” a reminder of her overlooked vocal ability. Most of the work maintains a consistent direction, going back and forth between the mechanical industrial arrangements and more delicate orchestral pieces. Her collaborations with Anthony Hegarty (“Dull Flame of Desire” and “My Juvenile”) will probably be the most off putting to the uninitiated. As a duet, they become an odd version of Serge Gainsbourgh and Jane Birkin, but despite the chemistry, Hegarty’s vocals are perhaps too far from the usual pop/rock style to have a wide appeal.By whatever standard, Björk is weird and she always will be. It would be a mistake, though, to let that be a barrier to giving in to curiosity and spending some time in her world. Volta has a refreshing depth in a musical community that’s decreasingly willing to take risks. Timbaland is a good reason to come, but Björk herself is definitely the reason to stay.

  In a market inundated with urban fashion, Parish Nation’s retro appeal is breathing some fresh life to street swagger across the country. While looking through their collection, the beat to Nas’ “Hip Hop Is Dead” runs through your mind. Vintage artistry mixed with modern fit, Parish brings the best of the old and new together for their 2007 lines. We sat down with Tony Shellman, Pericles Papayannis (both former minds behind the Enyce brand) and José Mertz to discuss the vision behind Parish, what’s next for the team, and exactly why consumers need not look at the clothing line as a “throwback” brand. AllHipHop.com: When was Parish started and what was the inspiration behind starting the line? Tony Shellman: The idea came from [us] wanting to get together and create a brand. We decided to do that with the best people in the world that we think are the best at what they do. We hadn’t even come up with a name before we got the brand together – the idea behind this company was to get all-star players together so we could create this great brand and a force to be reckoned with. Pericles Papayannis: Bottom line with Parish it’s like a community. Like Tony said we’ve brought together a lot of people [now that] we’ve brought together in the past doing a lot of stuff. We wanted to build a line that represented a changing force in the industry. We’ve been doing the same things for 10 years, and now witnessing a new trends and currents coming up and we thought that it was right to do our version of what we thought was taking place. Parish represents art, music, the history of Hip-Hop. It revolves around the culture of Hip-Hop. It’s not only about rap or music per se, but the whole lifestyle which includes the clothes that you wear, how you dress and style yourself. It’s a different approach from the brand name matching the top to your bottom; it’s more of an old school approach. The guy really dresses himself and cares about the details and the look and all of the accessories that you put on. AllHipHop.com: You guys come from different backgrounds. What companies have you worked for? Pericles: My last job was with Enyce, I was the VP of Design there, Tony was there as well. Tony: What happened was myself, Evan and one of our partners created Enyce. Before that we got together with a company in Seattle and that’s how we came up with Mecca too. The thing about that for us is, Enyce is not even relevant to what we’re doing right now. It has absolutely nothing to do with what we’re doing at Parish. As far as the concept of what we’re doing, as far as I’m concerned, I’ve come from nowhere to do this clothing thing called Parish and bring my expertise to the table. Same goes for [the whole Parish team] – Pericles, José, Courtney, Spencer, Shaka Jackie, Evan. The list goes on. José Mertz: All the guys here have pretty much had extensive experience in the fashion world, I’m coming from the fine art realm, and I got hooked up because I went to art school with my boy Courtney. I’ve been doing design for a while – I have a degree in painting and color theory. I had no preconceived notion on how to make anything clothes related, I came in as a freelancer and that was cool, because I could listen to the radio while I worked and just jam out. Pericles: I liked what he was doing so I added him to the roster. José: Yeah it was just a beautiful mix. We come in the office, crack jokes, play some of the newest jams on the MP3 player and then just come up with fresh ideas. Honestly the stuff we’re doing with Parish celebrating the Hip-Hop culture, B-boy dancers, even seersucker stuff and pieces that have no graphics for those heads on the street that just wanna look fresh from head to toe. There you go, you got the gold trimming on there. AllHipHop.com: It’s almost kind of ironic that to get fresh you kind of went retro – it works though. Pericles: The concept of the retro [look] and old school Hip-Hop and pop culture, it’s almost like you’re in a class and someone says, “Today we’re gonna talk about Hip-Hop and the old school”, then everyone gets to add their piece and brainstorm with it. That’s why we call it a community, that’s how we got going. You start doing research and see the design is done by [a whole team]. The company itself is inspired by the environment in how we do it, so at any given day I’ll be like, “Yo, check this book out. What do you think about that?” and they’ll run and do what they do and brainstorm. José: Right now in the public we have the identity of doing ‘80s type of clothing, but that’s only one bullet in the revolver. Right now that’s just what’s being presented, and we have a lot more bangers that are gonna be coming with different themes, different styles all under the umbrella of Hip-Hop but just reinvented. I think it’s cool that we came out celebrating Hip-Hop in a nostalgic way, we have breakers and dudes with Cazals on, but there’s gonna be a major change when new seasons start coming down the line. Pericles: Within the whole genre of Hip-Hop, it’s a very large genre which includes a lot of time periods and different aspects. We started out with the old school early ‘80s Hip-Hop as a starting point, and we’re gonna allow that to see where it leads us. I don’t wanna say that we’re gonna be the old school brand forever because that would be wack. AllHipHop.com: Do you guys look at the trends of where things are going down the road when […]

Let the old heads tell it and they’ll snarl at the sample-hungry Kanye West’s and Diddy’s of the industry insisting that they’re nothing but beat jacking clones. So naturally the party responsible for a Motown Remixed, Vol. 2 (Motown) album is instantly persona non grata among soul aficionados. Musicians attempting to remix the likes of Marvin Gaye and The Temptations should proceed with caution while tampering with classics.  Just like the old adage says, “If it ain’t broke, don’t fix it.” In this case the spin the remix DJs chose to give Motown hits is the most unlikely one: a Salsa Meringue flavor. There is honestly nothing more irritating than hearing a Diana Ross ballad, “The Boss” swallowed whole by a beat that seems more fit for a round of margaritas and a Salsa lesson.The conga-heavy sound is awkward over The Jackson 5’s “I Want You Back” and the infamous “Papa Was a Rollin’ Stone.” There is a way modernize Detroit’s finest, which was done more efficiently on Motown Remixed Vol. 1. The first mix had contributions from Questlove, DJ Green Lantern, Jazze Jeff, and Salaam Remi. Instead of upbeat party tunes, they paired the Motown soundtracks with more appropriate and groovier picks. Vol. 1 had a song selection that was more familiar to a younger audience too like “Let’s Get it On” and the psychedelic Rick James. Even the Brit sensation, Amy Winehouse has wiggled her way into bringing the Doo-Wop sexy back with her beehive and all. So it’s doable, but the right formula is key.Motown Remixed Vol. 2 is all over the map, literally, but as the album tapers off it comes together better.  Songs that were originally intended for dancing (See: Jackson Five’s “Dancing Machine” Miami Mix) sound decent with the Spring Break-esque musical elements. Teena Marie’s “Square Biz” has been reincarnated many times over the years but the horns and guitar complemented the blue-eyed songstress well on the Sonidero Nacional remix. The most impressive track on the compilation came from the sweet vocals Smokey Robinson sang in Spanish. Surprise, surprise! He crafted a beautiful rendition of “Aqui Con Tigo (Being With You)” that was the highlight of the 11 tracks. On one end the album gets a nod for a think outside the box approach, pairing historical soul anthems with atypical music. Maybe somewhere out there an invisible target audience exists that would fully appreciate this seemingly Meringue medley. But in terms of the Motown masses, nice try, no Cuban cigar.

Blah, blah, marketing budgets, blah, blah illegal downloading, blah, blah fickle consumers. We’re all familiar with the various excuses artists and labels use to explain away poor album sales. Of course, if you ask most consumers, they usually tell you that most CDs just aren’t worth their money. True or not, this makes it all the more frustrating when a deserving artist doesn’t get label support for her efforts. Such is the case with Amerie’s Because I Love It (Sony/BMG/Columbia), which has recently been released in Europe and Asia but currently has no American release date. Whatever the logic behind the decision, the album’s quality can’t be a part of it. While frequent collaborator Rich Harrison is missing in action, Because I Love It still supplies the sound that’s become Amerie’s signature. The hip-hop, funk and go-go elements blend smoothly to provide a live, big-band feel. “Hate 2 Love U” and “Gotta Work” deliver on expectations without coming off as formulaic. Amerie’s ability to convey excitement without sounding insane is akin to Diana Ross (who only sounds crazy when she speaks, not sings). No, her voice isn’t quite strong enough to “belt ‘em out” to the cheap seats, but she makes up for it with her range of attitudes. Her quirky Debbie Harry impression on “Some Like It” is an acquired taste, but the entertaining performance is brave, if nothing else.When stepping out of the club style and into something more sedate, the products are competent, though little more. While traditional ballads like “Somebody Up There” serve their purpose, they’re nothing memorable. The slow-jams are mostly a waste of real-estate since the high-tempo prospects are the main attraction. Amerie doesn’t fit neatly into any specific genre anyway, so she might as well leave the standard R&B fare to the army of standard R&B chicks available to sing them.To be fair, hits are never easy to predict, so it isn’t surprising that Columbia chose to hedge their bets by first releasing the album to the more flexible international markets. Still, both the album and Amerie herself have gotten so much right that one has to wonder where she would be if given a proper chance. Because I Love It may not be on the shelves of your local Target, but the internet has made it simple to order imports, so take the little bit of extra time. It’s worth it.

What’s going on AllHipHop.com? This is ya boy live from the frontlines of Iraq, a.k.a “Flaco” Hip-Hop’s wartime ambassador. It’s just another day of gunfire, mortars, sand dunes and heat for the kid. Today I decided to reminisce a little bit and for my listening pleasure I popped in the first Dipset double album release [Diplomatic Immunity]. The album is straight fire and gets my vote for a certified ghetto classic. It is a compilation of some of the hottest Diplomat cuts ever. For a second, it looked as if the Diplomats were on track to becoming Hip-Hop’s next New York dynasty. Granted, G-Uni is a force to be reckoned with, but I think I can speak for a lot New Yorkers and East Coast dwellers in general when I say we don’t feel properly represented by a G-Unit anything, maybe it’s just me. I mean if you think about it, the spot has been open for minute, and not since the epic reign of the Wu-Tang Clan has anybody even attempted to fill those shoes. Even more recently, the Wu has gone to Europe to sign their record deal for the latest Wu album to be distributed. I think subconsciously, we’ve all wondered when and where the next powerful New York rap group would step up. I mean don’t get it twisted, the LOX and Mobb Deep have consistently put heat out for years now. Both groups remain relevant and potent in they own right. However, The LOX is three dudes and Mobb Deep is only two. The Roc-A-Fella and Bad Boy dynasties created their own lane by having incredible producers with top notch production to include deep rosters of young multi-talented artists who could shine and move units on their own. With rumors of Jim Jones and Cam not getting a long for a whole year, Juelz doing the damn thing for dolo, Freekey ‘s attempt to crossover to being a artist, JR Writer bricking, Max B locked down looking at Fed time, 40 Cal’s lack of persona and star quality, Jha Jha’s sounding like an Amil knock off, and Hell Rell just not appealing to anybody but the block hugger; longevity doesn’t seem to be in the Diplomats future. Even the Diplomat affiliated group, Purple City is showing a lot more unity and promise these days. The kid Agallah put out some straight heat earlier this year, real talk his [Propane Piff] album is officially hard. It would seem like the death of a near dynasty is finally upon us, so I took some time out of my busy schedule of fighting the war on terrorism to review what they did right and what they did wrong. First and foremost, no one will ever duplicate a Dipset mixtape frenzy like they did. We got nothing but street anthem after street anthem, and they touched every mixtape possible worthy of recognition. They flooded the streets with material and that is what Hip-Hop heads want more music. Without a doubt the street was buzzing and they could not be denied the title. Second, the streets of New York City been felt Cam’ron and S.D.E. was a certified ghetto classic. Cam single handedly dismantled Ma$e’s career with the banger, “Let Me Know” and the little street credibility he had. Third, as we all know Cam has been managed by Dame Dash from the beginning so it made a lot of sense that they linked up for Diplomats to sign to The Roc. That short lived marriage at the time was a good look for everybody, sorry Jay it’s true. The Dipset swagger was different, unique, and so Harlem. I mean from they own slang, to the rhymes and clothes the whole world jumped on it. It reminded me a lot of the Wu era, it happened so quick you might of missed it. Fresh faces from New York City who talked that s**t and lived it; come on, everyone loves a true story. The Dips were a true story, the street cred was real and nobody doubted that. They brought back the hustler mentality to the forefront of Hip-Hop. The singles were commercial but street and the albums were full records of good old fashion Hip-Hop music. Camron’s debut on Roc-A-Fella Come Home With Me was crack and The double LP they dropped produced the hits that solidified the fact that these guys were going hard and we needed to take them serious. Juelz Santana first album is still slept on if you ask me, every song was a single. Jim Jones first solo joint On the Way to Church was a good album…on the strength he had mad songs on there for you to vibe to, was a good look from a consumer standpoint. The momentum was set and the pace was moving. They signed JR Writer and 40 Cal, who put in a lot of work on the mixtape side of things and both MCs were building a cult following. Hell Rell was finishing up his bid and was coming home to do the damn thing. Months go by and Duke Da God brings you three compilation albums of Dipset music and depending on who you talk to, the installments were actually alright. The music was what a New York record should be. I think a couple of joints could have been left out, but at the very least, they kept dropping albums for their fans. If you a Dipset fan like me, I thought it hard as hell all three of them. So where did the mighty Dipset go wrong? Was it Cam’s ego? Was Jim Jones’ ego? Is it the classic story of money being the root of all evil? I mean after the Roc-A-Fella Dynasty broke up, I think everyone thought anything is possible. From the outside looking in, one can only speculate what it really going with Dipset. I would have to say jealousy has not played a major factor in the beef. The […]

Today (May 13) is officially Mother’s Day. You can look it up in the calendar. We get so accustomed to Mother’s Day being a designated occasion, that on that particular day is when some of us pull out all the stops to show mom how much we love and care for her. But, we should never wait until a Sunday in May to really show love, or to wish our moms a happy Mother’s Day because EVERYDAY is Mother’s Day. SOME of us might take our moms for granted because we figure that mom is here and will always be here, so we just wait to that good old Sunday in May to show tribute. Bottom line is that most of our mother’s are the centerpiece of our families……they are the ones (especially our African American mothers) that will take on the role of both parents just to raise and care for us. Most mom’s are there for us whether or not daddy is there or not. I remember Shaquille O Neal saying last year that everyday is Mother’s Day and he was so right. Our mothers never  wait for any special occasions to show us love and care during our formative years and beyond. We should always give that daily unconditional love in return to mom. Even if she is up in heaven with the man upstairs, we must cherish her memory and still we must speak to her and tell her that we love her. Why? Whether she is here on earth with us or not, momma hears all. Mothers are not corny and they never go out of style. Why must we wait till Mother’s Day to hear all the Mother’s Day tribute music on the airwaves? If we can walk it out or tell the world “this is why I’m hot,” 24/7 then we should hear songs about mother more often then just on Mothers day. SOME of us think we are too cool to proclaim that love directly to mom most of the time, but we should celebrate her everyday. I am sure that all of us do show that appreciation and love to mom more than just on mother’s day but its good to talk about it or remind certain folk that we must never take for granted our moms. We gotta always REMEMBER mom and show her that respect in front of her face and behind her back. Life is too short to do anything else. Most mom’s are one man bands who conduct the orchestra of their children’s lives everyday all day and we must reciprocate as much as we can. We (Full Force) recently released a greatest hits CD on SONY records called Legendary and it features 4 brand new songs (myspace.com/fullforce)Two of those joints are dedicated to mom. Also we have a 4-song EP called Everyday is Mother’s Day” available on itunes right now. In 1988 the six men of Full Force produced an ode to all single mothers entitled “Thanks For My Child” performed by Cheryl Pepsii Riley. I actually wrote those lyrics because as a man, I was sensitive to the personal scenario’s of the single mom who breaks her back for her children and her family everyday all day. When that song went number 1 on the Billboard Charts……it gave me & Full Force so much gratification that it affected most people the way it did. (That song is on our myspace.com/fullforce site too as well as on itunes) Most Mother’s are the leaders,the genesis and the backbone of most families with or without dad around. We toast our responsible Fathers too. So with all that said…..may all of you stay blessed & may all the positive and optimistic things in life forever be yours. Bowlegged LouCheck out Full Force’s official site: http://www.forcefulworld.com The views expressed inside this editorial aren’t necessarily the views of AllHipHop.com or its employees.

First of all, I would like to say welcome to all those who may be unfamiliar with whatI do here on AllHipHop.com. When I’m not breaking rappers down in my digestive system, redecorating some walls or trying to make some historical music, yes, I do get journalistic with it as well. I was taught to shine across the board, so here I am again to provide a service to the world by divulging the real. For those who are still in the dark, obviously I’m far from your average rapper. I went from a so-called “battle rapper” to a signed artist with an international fan base. I’m set to release my debut album on the world, but I’m sitting here on the block outside Classic Cuts (Harlem 149th & 7TH Ave. Come thru) typing on a laptop about social and political issues that affect the hood instead of glorifying my own experience in it. I could be using my time and energy to reiterate my reputation and activities streetwise, and accentuate the personal drama and crime that I deal with everyday, but If you live the struggle it always translates. Put your bifocals on!! So anyway, last week I was chilling in my grandpa’s recliner on planet piffery (think) when I see a 60 minutes episode where they interviewed Cam’ron about the state of “snitching” in the urban community. I don’t know the host dudes name or why they even chose Cam to speak on behalf of the Hip-Hop community, but they had some token slave-face looking older Black man bashing rappers for promoting the “Stop Snitchin” campaign. In an emotional ass I’m sick of-this-voice he kept making references to rappers and their companies as if they are responsible for criminals not being brought to “justice” in the hood. So you know what my initial thought to this whole show was right? “Get tha f**kada here!” These white American media dudes are hilarious! First of all, the only reason they trying to pull this attack on Hip-Hop trick out the bag is because some racist old white radio host finally got caught out there talking reckless (Don Imus) calling a group of Black female student/athletes “nappy headed hoes” for no reason. So, in an effort to take the spotlight off the fact that there are still a bunch of reject Klan members running around in positions of power, they decided to re-direct the public’s attention and blame Hip-Hop with the same tactics of a snitch. Talking ‘bout, “Well they say the word hoe too!” Then using more media trickery they spin it to act like rappers made up the term “snitching”! Like it’s a race, and they have snitch rights or something… Since when does anyone like a snitch? Even the Feds used to put black bags over snitches heads in court just to humiliate them. Some of you reading this may not be of the same complexion or background as us so you may not even understand why I even care about sh*t like this. However, the reality is, I feel like it’s my responsibility as an intelligent young Black leader and revolutionary gangster to re-steer the minds of those that might be fooled by the news and their bulls**t. Unfortunately, a lot of these so-called veterans don’t have the balls to stand up for this culture or our way of life – which is Hip-Hop – but it’s cool. Serius Jones ain’t scared of these muthaf**kas!! Ok, let’s go real street now. If there are any millennium gangsters reading this then y’all know that the streets across the nation are at an all-time snitching high! Even mafia crime bosses who have built empires based off that code of silence now are singing like f**kin’ parakeets. What makes this even more ridiculous that they chose to blame rappers for making law enforcement officers’ jobs harder. Even when I was too young and square to play the streets, I was always watching. This is what it once was. It used to be the gangsters: They lived by their own code. There was loyalty, respect shown, and organization. They controlled the underworld and supplied the needs and wants on the street level. If the organization was advanced enough, it could elevate to a level where it could infiltrate and work within the system of government. (The Government are the illest gangsters ever, by the way.) Then there were police: Their job was to stop crime from spilling over into the communities and lives of the civilians and bring the criminals or outlaws to “justice” for their crimes. They are trained to treat those trying to rise from the bottom of society as those criminals. Then there were the civilians: They worked whatever tax paying jobs and supported the system by being conventional citizens. They didn’t and were not expected to follow the streets ethics, and could enjoy entertainment without the need to feel like a “tough guy” or a “gangster.” As time moves on it seems like the lines and boundaries have gotten blurrier. Entertainers want to be gangsters and street ni**as and vice versa. The problems is that the lifestyle of the average person isn’t this crazy, dramatic gangster lifestyle that America celebrates. Everyone loves a gangster because he does what the civilian fantasizes about, and above all is in control of his destiny. Movies, music and all forms of entertainment exploit the stories of real gangsters whose families suffer from the reality while the public are entertained by the fantasy. However, the rules that apply to the streets don’t and shouldn’t apply to the average civilian. If a 50-year-old woman doesn’t want someone selling crack in front of her building, she isn’t a “snitch” for telling the police because she doesn’t have any code to stick by besides that of a law abiding citizen. A lot of these rappers and so-called hustlers need to stay on that side of the law and fill out some applications instead of tricking […]

It’s been an interesting ride over the past few months in the career of Amy Winehouse. The jazzy UK soul siren has doubled as a media maven amidst rumors swarming of failed interviews, performance absences, and flirtations with the diabolical Mr. Booze. So when her second successful showcase in New York was about to commence (May 9, 2007), fans were both anxious and skeptical that the show would actually happen. With doors opening at 6pm and Amy’s curtain call at 9, looks of horror filled fans faces by 9:20. By 9:30, they were frantic, edging closer to the stage hoping that this wouldn’t be another near miss performance that they’ve read about in the Post. Within minutes a slender figurine with an amazingly impressive partial bouffant shadowed the back curtain of the Highline Ballroom. Enters Miss Amy Winehouse. Clad in a checkered crop top and hip-huggers like the hot cousin at a family picnic, Amy took to the stage timidly unaware of her presently iconic status in the music industry. ?uestlove secured a front row station to the left of the stage, which is only a mere suggestion of the adoration that filled the room. Amy worked the crowd with her 10-piece band, interjecting older material from her previous Jazz days before getting down to the beloved Back to Black. She’d shyly mumble quick hellos and thanks to the crowd up until the title track, where the sassy Amy finally emerged. Perhaps it was due to some unruly fan attempting to touch her hair seconds before a much lighter happier “Back to Black.” Whatever it was, the girl from the album finally appeared. Backed by humming keys and thorough bass, Amy gyrated and wiggled through flawless renditions of “Wake Up Alone”, “Tears Dry On Their Own” and her badass remake of “Valerie.” Throughout her entire set, she exchanged loving glances to her mysterious darling as he cheered the loudest for her, making the already intimate setting even more personal. Concluding with “Rehab”, she coaxed whining fans through the “don’t worry there’s an encore” process. Exiting the stage with more confidence than she entered with, Amy re-emerged within minutes donning a wifebeater, geared to encore the evening with “Me and Mr. Jones” and “You Know I’m No Good.” Amy Winehouse met and exceeded any expectations of how the young vixen should sound on her best night. Perhaps now the press in attendance will be less inclined to swallow her whole knowing that she is potentially one of the greats.

“I’m not here to work for the accolades of no man…artist singing about ‘signal di plane’ when poor people suffering all over di world…what kinda f*ckrey dat” roared Buju Banton to the sold out Theatre at Madison Square Garden on Sunday May 6th 2007.  The Gargamel along side legendary Dancehall King, Shabba Ranks, tore down the stage at Buju’s “Pre-Mother’s Day Driver Concert” marking the first time, two slick talking, reggae emcees ever sold out The Garden.  History was made in the building that night. Before reggae music’s ambassador, accompanied by his Shiloh Band, gave the true Buju lovers a taste of classic tunes from collectables like ‘Till Shiloh, Inna Heights, and 2006 Grammy nominated Too Bad, Dancehall’s First Lady and wicked p****ny lyricist, Lady Saw, strutted on stage patting her front to exclusive tracks from her new album Walk Out.   Other featured performers during the evening included, Jovi Rockwell, Khari Kill, Da’Ville, Tony Matterhon and Gargamel music protégée, New Kidz, who entertained a crowd of over 5,000 patrons with a brief set busting the latest dance moves currently mashing up the streets of Jamaica.“Driver/Don’t stop at all/Drop dis Arizona round a Alba Mall…” sang Buju, dressed clean in all white, as the crowd went wild screaming in unison, the catchy lyrics to his chart topping hustler anthem (“Driver A”).  The Gargamel continued on stage delivering a dynamic, well-balanced medley of Buju Banton hits; old and new, twisting and rocking, leaving the hyped up crowd singing and dancing non stop, throughout the entire performance.  Buju, also notorious for his conscious Roots tunes, took patrons down memory lane with classics like, “Easy Road,” “Hills & Valleys,” “Til Shiloh,” “Wanna be Loved,” and uplifting redemption favorite, “Untold Stories,” forcing heads back, eyes shut, and souls at ease as Buju cried out “It’s a competitive world for low budget people/Spending di dime while earning di nickel/ with no regards to who it may tickle/My cup is full to the brim…I could go on and on the full has never been told.”Engaging the audience in a childhood anecdote, chatting in his scruffy baritone, about meeting Shabba Ranks for the first time when he was a twiggy boy coming up in Kingston, Jamaica, Dancehall’s Father, two time Grammy award winning international reggae phenomenon, Shabba Ranks, charged on stage to throwback, “X-Rated.” The Garden went crazy!  “Shabba,” Ranks called, “in de ya,” the entire stadium responded before he jumped into hits like, “Wicked Inna Bed,” “Trailor Load a Girls,” “Music Lover” and “Love P*****y Bad,” hoping, wining and jooking’, bringing raw excitement to the festive stage. Veteran Caribbean radio personality, Dahved Levy (107.5 WBLS) with partners GB God Bless and Don Grant were the forces responsible for putting this extraordinary show together.  The sounds of the dancehall finally made there way into Madison Square Garden, Reggae music is elevating to a higher level. Big Up!

Right when critics thought they were making great strides in tightening the lips of the Hip-Hop community, a great film takes a stand.  Executive produced by Bruce Willis and Queen Latifah, The Hip-Hop Project (ThinkFilm) tells the story of how Kazi, an abandoned child, pushed through life’s trials to become a leader and great inspiration to the lives of a group of New York City teenagers.  It’s a story of pain, progress, love, loss and development.  Kazi challenged this group of young individuals to put together an album, look deep within themselves and dare to be inspiring and truthful when writing lyrics, even if it hurt.  In this four year process, he became a father figure to many, and an exemplary figure to all.  Working with this group was by no means an easy feat.  It became a draining process both financially and emotionally, but the end result is a powerful and stimulating album filled with narratives, food for thought and social commentary. Hip-Hop is therapy for the urban mind.  If the music is depressing, violent, misogynistic, or materialistic, how can we blame artists for that? Not to say that it’s right, but Hip-Hop never claimed to be right, it just claimed to reflect.  Sometimes life can be depressing, violent and politically incorrect.  Sometimes people want to connect to music beyond the love trials of R&B, the getaway of alternative and the bubble gum, feel-good of Pop.  On the other hand, sometimes Hip-Hop is just pure fun and energy. The Hip-Hop Project breaks it down to this: Hip-Hop is one of very few art forms that allow raw expression. If there was no need for it in society, it wouldn’t exist.  

  Tony Award winner and Dreamgirls co-star Anika Noni Rose has embarked upon a new era of success through the hit motion picture. For Anika, playing the third member of the trio meant she had to work harder than just studying the material from the 1981 Broadway musical on which the film’s foundation was based. Her talent, beauty, poise and character helped her exceed critics’ expectations, and she’s determined to keep the flow. Anika’s work on Broadway has included roles in Footloose, Aida, Carmen Jones and Caroline, or Change, with the latter garnering her several awards, including a Tony for Best Featured Actress in a Musical. After a few small film roles, she landed the part of Lorrell Robinson in Dreamgirls, and the rest is history in the making. The Connecticut native and American Conservatory graduate recently spoke with us about her budding career, the rumor of her becoming Disney’s first Black princess and all the great things happening since Dreamgirls. AllHipHop.com Alternatives: The movie Dreamgirls was an instant success. How has the movie changed your life overall? Anika Noni Rose: I think that mostly it has allowed me to touch and be in contact with people that I never would have been in contact with or have as a fan base. I have gotten letters from South Africa, Ireland, India, and Japan. It is amazing how many people were really moved by the movie and that’s really special because it is hard to do that in any other medium. So, it’s been really wonderful. AHHA: During the filming of the movie, was there a particular cast member that you became the closest with? Anika: I think Sharon Leal. That’s my girl. I loved the girls. We all got along really well, but Sharon and I are like on the phone and I’m hanging out with her little boy. It’s hard because everybody has such a hectic schedule. It’s hard to be in touch with anybody. Beyoncé for example – forget it. She can’t be in touch with herself. She has to leave herself a note. Jen calls every now and then. She’s running all around. AHHA: What scene was hardest for you to play? Anika: I think the scene in the mirror in the dressing room, because I was looking at myself in the mirror. It is the worst to look at yourself while you’re performing. Maybe for someone else it is good, but I don’t ever look in the mirror while I’m practicing or anything. Then, you are criticizing yourself. That was the one that I felt was the hardest to execute. AHHA: Even though you have a lot of other acting experience, people associate you these days with Lorrell. What parts of Lorrell are most like you, and how do you differ from her? Anika: I think I’m very different from her, from my voice to my life experiences. We’re very different. I can be really silly. I was a little goofy, and I can be silly and goofy when I want to be and when I’m feeling free. I can absolutely relate to the desire to succeed. Also, feeling like that you a bigger than the walls that are holding you. I grew up in a small town. It wasn’t a big performing arts town. There were bands and stuff like that, but there was no school of performing arts to go to. I get that desire to stretch out and go see the world and go get big. Not necessarily big as a star, not in a celebrity way, but to expand yourself and be a performer and create on a large scale level. AHHA: It’s being reported that you are making Disney history as the studio’s first Black princess. Is this true? Anika: I have to say, and this is going to sound disappointing, but I know that’s its being reported but I haven’t signed a thing. I’m reluctant to talk about it, because there’s no dry ink or anything. Thank you for all the people who been excited for me and sending me wonderful letters, I thank you so much, but at this moment I am not able to touch on that. AHHA: You were actually born in Connecticut. How hard was it for you to break into the industry coming from a small town? Anika: I didn’t find it difficult because my parents were very connected. I saw Alvin Ailey when I was a little kid. I saw the Nutcracker. I experienced things so it wasn’t anything that felt foreign to me. So when I decided that it was something that I wanted to, I had their support. They didn’t ask if I was sure or if I wanted to major in accounting. I never felt held back in that respect. I was very blessed in that way. AHHA: How do you feel about Black Hollywood and Hollywood? People usually say that these are two separate entities. Do you feel that way? Anika: That’s hard to say, because Dreamgirls was my first big Hollywood picture and it was so across the board and branched out to so many people that I didn’t have that experience. Now when I watch movie and awards shows and I see a movie that has 25,000 people in it and not one person of color, that, to me, says something very intense. When I see a movie that takes place in New York and they don’t have not one Dominican, that’s just not real. So, in those moments, it does feel separate. But, the experience that I have had, it has not felt so much so. AHHA: What aspect of production do you prefer as it relates to your roles? Film, television, or live musicals like Broadway? Anika: It’s a toss up between Broadway and film, because there are things I like about each of them. I love Broadway because it is so live. There is no going back and there is no fixing it. You are […]

Publisher: Rockstar GamesThe Warriors, the quintessential Hip-Hop flick with no actual Hip-Hop in it, save for a graffiti tagging character named Rembrandt. When word of its getting the video game treatment initially spread, a mixture of excitement and dread hit most aficionados of the classic B-movie. Thankfully, Rockstar Games spared no detail in bringing the The Warriors (Rockstar; PS2) video game to reality, impressively. Game play is intuitive, especially for the millions no doubt familiar with past Rockstar titles like the assortment of Grand Theft Auto games. Players can choose to wreak havoc in Rumble Mode or play in the linear Story mode. You can also bop your way throughout the game while alternately playing as any of the Warriors; steady leader Swan, the brash Ajax, the doomed Cleon, etc. Although the game can be easily finished in a week’s time, if not less, the ability to replay levels and various side adventures maximize the games replay value.Besides eventually replaying the events of the original flick, the game provides a nice back story to the origins of the Warriors gang and how they earned their rep on the streets of Coney Island. Late ’70s slang is thick with horny gang members freely relaying their desires for some new “wool” or calling those unfortunate to be left in their paths “wimps”. Side adventures like crossing out rival gang’s burners are another nice touch along with vintage images of NYC when it was truly the Rotten Apple. With its “M” rating this game isn’t for the faint of heart (come on, the film was rated R) since what it lacks in gunplay it makes up for in lead pipes, machetes and baseball bats. After 25 plus years, The Warriors, in all its forms, still holds its rep. Come out and play.

  Dr. Ian Smith’s middle name might as well be multi-task. While millions of people know the young doctor as the intensely polite nutrition expert on VH-1’s Celebrity Fit Club, he is also a scholar (Harvard, Columbia University, Dartmouth and Chicago University’s Pritzker School of medicine), author (five books and contributing editor for Men’s Health magazine), talk show host (BET’s Meet The Faith, American Urban Radio Networks’ HealthWatch), family man and activist – and that’s just the short list. Speaking with Dr. Ian is inspiring, as he doesn’t mind taking a few moments out to give some good advice to seemingly endless diet questions. His likeability has most likely contributed to the success of his Fat Smash Diet book reaching #1 on the best sellers list, and has definitely put him in a position to lead people in their quest for good health. Recently, Dr. Ian teamed with State Farm Insurance to start the 50 Million Pounds Challenge – a movement to encourage African Americans to lose weight through proper eating habits and exercise. Being a helpful type of guy hasn’t left Dr. Ian free of controversy. However, he seems to approach the nonsense with such common sense that the gossip hounds give up quickly. Currently on a nationwide book tour promoting his new diet guide Extreme Fat Smash Diet, Dr. Ian took some time between flights to tell us more about his various efforts to help people get on the right track with food. AllHipHop.com: The new season of Celebrity Fit Club has started, and just watching the previews Screech [Dustin Diamond] appears to be the hothead. There are a lot of rumors about bad things that happened on the set. What can you say about this new season? Dr. Ian: I can say for sure that Dustin Diamond definitely wreaked havoc on the set. There was definitely a lot of contention between the cast, contention which we typically don’t have. But the interesting thing is that he was the common denominator in all of the problems. Dustin Diamond became something that the other cast mates and the show in general had to overcome. There was a lot of negativity and the show is about being positive. AllHipHop.com: There’s a rumor online that he said something sexual to [American Idol’s] Kimberly Locke that really set her off… Dr. Ian: That’s just one of the many things that he’s done. I don’t understand what it is inside of him that made him want to be so negative to people who had done or said nothing to him. He just kind of went off. AllHipHop.com: In a sense, some people that come on the show are people whose careers have kind of passed. Do you feel that maybe he did this on purpose to get attention? Dr. Ian: I feel like the statements that he made to me and the panelists/judges as well as the celebrities were so irrational and unprovoked that you have to think that he was doing it for effect. You just can’t believe that he believed what he was saying. I said to him, “This is not even real, you can’t be serious with what you’re saying, because you’re not even making any sense.” He’s actually a pretty smart guy believe it or not, he’s not dumb. I just think that there’s certain people who will go into shows and have agendas, I think maybe he had an agenda. AllHipHop.com: There are also rumors floating around that you yelled at Ant for lighting up a cigarette next to you. Dr. Ian: [laughs] Well listen, I am very much against smoking in my presence in a confined area. because the study after study shows that secondhand smoke can be almost as dangerous as firsthand smoke. Ant is a smoker, but I’m happily saying he’s not smoking anymore, I’d like to think maybe I had a little influence in that. [laughs] AllHipHop.com: You are involved in a number of new things right now. You have the BET show Meet the Faith – it looks like a very good talk show. How did you get involved with that? Dr. Ian: Well the Vice President [of BET] called me up and basically asked if I’d have lunch with him, he wanted to discuss if I’d be interested in being a host for Meet The Faith. When I learned more about what the show would be about, it was a no-brainer. It’s an intelligent, fun show that covers important topical issues, and more importantly, I think it fills a void on BET with this type of programming. It’s about real issues and having a real conversation about these issues, but also having some fun while having this conversation. I think it’s a great show that’s needed by the station and the community at large. AllHipHop.com: [This] might come off as a little cliché, but after seeing the clips, there’s actually a lot of thought-provoking conversation where you’re challenging people beyond just them stating a bunch of rhetoric. Dr. Ian: I don’t want people to sit down on my couch with preformed answers about topics, I want to challenge people to really think about their opinions on a matter, and I want them to respond to different opinions. We take an issue and we look at it from all sides, we have a healthy debate about topics that are very centered to our community. It’s not that we’re gonna come up with a resolution by the end of the show, but at least we will answer some questions, raise some new questions and then give ourselves [something] to think about when we leave. AllHipHop.com: Working in shows like that and Celebrity Fit Club, do you feel like it’s tested your abilities to be patient with people? Dr. Ian: It probably helps my patience. The thing is, I like to be very efficient. I tend to be matter of fact and I have a lot going on, so the natural tendency to me would be […]

While Def Jam MCs are complaining left and right about slow release schedules and lackluster marketing, the label’s R&B artists don’t seem to be having any problems. Like labelmate Rihanna, singer/songwriter Ne-Yo is quickly following up his successful debut with Because of You (Def Jam), a focused and mature look at the artist that puts him well within striking distance of one of the scant few slots at the top of R&B Mountain. As telegraphed by the breezy first single and title track, much of Because of You is clearly inspired by Quincy Jones and his legendary collaborations with Michael Jackson. Jay-Z’s obligatory (but enjoyable) appearance on “Crazy” draws attention to the Jackson connection for those who somehow missed it, but Ne-Yo doesn’t have to cover-up his inspiration. He lifts recognizable elements of those past hits but also adds enough of his own touch to keep the overall effect from feeling derivative. When he goes in a more modern direction (“Ain’t Thinking About You”), there’s an obvious Hip-Hop influence, but unlike certain other R&B singers, he doesn’t confuse himself with an MC and resort to half-singing over throwaway rap tracks. While Ne-Yo is able to keep his love of Michael under control, there is just plain too much Prince in this album. Ne-Yo’s never been shy about his inner freak, but he doesn’t seem to be able to express it without tearing pages directly out of the book of Purple Rain, which happens too much to ignore. “Addicted” probably suffers the most with its comically blunt lyrics and counterproductive singularity. Additionally, while no one can blame him for wanting to get a second LP out while he’s still hot, there a few spots that seem like they could’ve benefited from either more time or money. There are several moments where the music would have more power had it been recorded with live musicians instead of synthesizers, especially the cold and mechanical horns on the otherwise sunny “Can We Chill.”Ne-Yo has certainly done well so far in his relatively short career, but he’s still got room to grow and therefore might not be on the radar of every R&B fan. Still, with each step that he takes down his path, Ne-Yo shows more and more that he’ll be an artist to watch for the times to come and Because of You is no exception. “Sophomore Jinx?” Not even close.

“Shots go off mothers cry, death since rise, homicide Black On Black crime needs to stop, Y’all can’t blame it on Hip-Hop” – Wyclef Jean, “The Industry” I could tell by the way the media were pumpin’ up the Cam’ron 60 Minutes interview days prior to the airing that this wasn’t going to be one of Hip-Hop’s stellar moments. With Hip-Hop already under fire in the Don Imus aftermath, which was only eclipsed by the Virginia Tech murders, America needed a new bad guy; a Hip-Hop Hitler to point to as the source of all of America’s problems…Enter Cameron Giles… Let’s face it. It was ill advised, (or for the less politically suave, down right dumb) for Cam to say that he wouldn’t turn in a serial killer livin’ in the crib next to his, while Ethel Lou in Topeka was still shook from the story about the Virginia Tech shooter. However, in reality it was a set up that stank to high heaven. White America needed a new mainstream posterchild to blame for the deterioration of America’s moral values and Cam’ron gave it to them, signed, sealed delivered and decorated with a golden eagle medallion. Historically, America has always needed a Black boogie man, a sacrificial lamb on whose back all the sins of the world could be placed. If you look back at the Civil Rights Era, when Reverend Martin Luther King was leading his march to bring attention to racial/economic injustice in Memphis, the media focus was not on the smooth talkin’ dude in the nice suit, but on a gang of paid-off ruffians called The Invaders, who allegedly wrecked havoc on innocent bystanders. This served as evidence that segregation was indeed justified because Black folks were not quite civilized enough to eat a hot stack of pancakes at Howard Johnson’s. Things became increasingly worse in the late ‘80s as White folks went from trying to segregate a swimming pool to trying to segregate an entire ocean at Virginia Beach. The cause of the of problem was not discrimination. No, according to the press, the real problem was that Black college kids were shattering the plaster in Biff and Britney’s summer cottage with their darn “ghetto blasters”… During the early ‘90s, I remember how the videotape of Rodney King being brutalized by the L.A.P.D. was replaced by Reginald Denny getting a mediaeval beat down by a four man army of “street thugs.” And no, the “rioters” in L.A. were not making political statements about systematic socioeconomic inequalities, they were just monsters on a blood thirsty rampage fueled by N.W.A. lyrics and St. Ides malt liquor. Things have remained the same in the 21st century. Back in 2005, in the aftermath of Hurricane Katrina, the questions about broken levees and government cover-ups were drowned out by America’s outrage over Black thugs stealing wide screen TV sets from washed out department stores. And since they didn’t have any electricity the thugs spent their afternoons target practicing at helicopters that were trying to deliver food and medical supplies to storm victims. For those with long term memory disorders, they need only think back to last winter when the outrage over Michael “Kramer” Richards dropping all those N bombs quickly switched to a national debate over why Black folks call their homies the “N” word. This brings us to the Imus “nappy headed ho” fiasco, where the news clips of a deranged looking cowboy who looked like he had one too many shots of Jack Daniels were replaced with clips of Snoop Dogg giving his deep intellectual insight into the various degrees of “ho-ism” So that brings us up to 4/22/07 and the Cam interview, where the talking heads have just discovered that not only don’t rappers, “love dem ho’s” they ain’t got no love for the Po Po’s either. What is odd is that they did not once mention that the genesis of the distrust of the police is not based on a rap lyric but rooted in decades of Jim Crow-isms, COINTELPRO and numerous cases of mistaken identity and driving while Black. Did they once mention that the Sean Bell shooting was maybe just enough to make Black folks believe that the Officer Friendly from their kindergarten coloring books, wasn’t so friendly after all? Although Hip-Hop has been pretty resilient over the years as it has been a consistent cheddar producing cash cow for phat cats from Park Avenue to Rodeo Drive, based on the current political climate as Moe Dee told LL back in tha Day “this be the death blow.” Now, I am far from a Hip-Hop apologist but I know a set-up when I see one. And you can best believe that the “Hip-Hop” question will be the source of endless political debates between now and the next election. What America will never admit is that ultimately, Hip-Hop is not the problem, racism is. And if you get rid of racism today, the “N” word and all things associated would be gone tomorrow. To portray all Hip-Hop artists as members of some Third R#### is ludicrous. Although some of the major record label owners may bear some resemblance to the evil master of propaganda, Adolf Hitler, “da 50 Cent” is not “der Fuhrer.” TRUTH Minista Paul Scott represents the Messianic Afrikan Nation in Durham, North Carolina. He can be reached at minpaulscott@yahoo.com.

You have to love the code of ethics that some rappers abide by. If you don’t, you are subject to go batty. Cam’ron is of the streets in a way that I clearly cannot relate to. When he informed 60 Minutes that he adheres to a strict diet of no snitching, I knew a new level of ignorance was about to be displayed. And Killa Cam did not disappoint. He told 60 Minutes’ Anderson Cooper that even if he discovered that he had a serial killer for a neighbor, he would not tell the fuzz that a ravenous murderer lived in his midst. At worst, he’d relocate. But Cam isn’t just somebody that talks the talk, he lives it. When he was in Washington, D.C., he was shot several times while cruising in his Lamborghini. He frustrated the hell out of area police by refusing to help them arrest the assailant. On other occasions, Cam’s refusal of police cooperation creed has been muddier. At a basketball event at Harlem’s Rucker Park New York, Cam met with police, but his level of cooperation is mostly unknown. These days, aiding police in ANY crime (rape, murder, maiming, killing newborns) is the moral equivalent to snitching, says the 60 Minutes report. Since Cam’ron has been beefing with 50 Cent, I decided to write “21 Questions” and situations in order to test the strength of the Harlemite’s “No snitching” policy. 1. Would you talk to the police if somebody in the hood killed your one of your immediate family members (mother, father)? 2. Would the cops get a call from one Cameron Giles if his son was threatened? 3. If you knew of a plot to destroy the entire planet Earth by space aliens, would there be a call placed from a certain leader of Dipset to President Obama? 4. Captain America was recently killed off…couldn’t Cam have given him a warning before the sniper bullet hit? 5. Speaking of snipers, if Cam’ron was reared in the ‘60s and knew of the COINTELPRO plot to destroy Black leaders…couldn’t the Nation get some “snitchy” love? 6. James Earl Ray’s spilling his guts? No action? You know the killers of Biggie, Pac, Big L, Jam Master Jay, Scott La Rock, Jimmy Hoffa, Ren, Stimpy and others…can you speak up? 7. Capo Jim Jones gets all of the master’s of his new album stolen, which contains a hit bigger than “We Fly High (Ballllllin!)” and you know the only way to get it back is through the cops…? 8. Okay, let’s try this a bit differently. If you knew a band of diseased monkeys were hiding out, would you tell authorities where they were so they couldn’t spread their infectious disease to more humans? 9. Would you use a snitch to find information on a crime against you even though you hate snitches? Police do this a lot! 10. If a female bit off your Johnson and hid it, would you tell the cops who did it to get it back? (No h### x 1,000, pause and all that.) 11. Your son has been kidnapped and the kidnappers have a special request in order for him to be returned safely. They simply want you to “tell” on them. What do you do, even though they refuse money? 12. You catch Jeffery Dahmer with a human hand in his hand…911 on the sneak tip? 13. If a man raped his daughter, wife or mother on 125th in Harlem and was going to go on vacation, because nobody would ID’d him… would you “snitch” then? 14. If you could anonymously snitch on the world’s biggest drug dealer for $1 billion dollars, would you? 15. Would you snitch on Osama Bin Laden if he lived in Apt. 4E with his dialysis machine? 16. A doctor is performing surgery while drunk and causes somebody to have permanent watermelon-sized head, and you know he had a 40 ounce before cutting. What? 17. You know of a filthy, low down snitch that is going to snitch on you for a murder you didn’t commit. Do you snitch on the snitch to clear your name? 18. The Ku Klux Klan decide it’s time to reinstate slavery and they start with whipping you like a slave, Roots-style, do you just take it or take it to the police? 19. You can become a national hero if you reveal _______ orchestrated the September 11th terror attacks if you just drop a big dime. Can the government get change? 20. Would you tell if somebody stole every dollar you owned and swiped your pricey Lambos too? 21. If 50 Cent had a plot to destroy your illustrious, highly profitable and successful recording career, would you…nevermind! Illseed is AllHipHop.com’s resident cultural critic even though nobody on staff will co-sign him. Write him 21 questions at ahhrumors@gmail.com.

To all the people who are trying to stop Hip-Hop, you can’t do it, because you don’t have the wherewithal to truly do what it takes. Hip-Hop is the voice of a generation, in all its violent, misogynist, deviant and self-destructive glory. We’re still here, y’all, and you posh, spicy types need an assassin like illseed to assist you in annihilating rap. You want to ban us and boycott us! Censor us! You want to shut us up and sweep us under a big, fat rug with the rest of the dirt! All of that is for sissies…let me show you the way to really destroy Hip-Hop. KILL ALL THE RAPPERS If these rappers are like the plague or something and, since there is no antidote, kill them. When you finish exterminating the vermin, hang them from the street lamps in urban every city in America (and the suburbs), Vlad Tepes style and show these young kids that Hip-Hop is no longer an acceptable form of expression. Quarantine them like any other contagious disease or else it will continue to infect the pure, pristine world we live in. KILL THE REAL HOES There was no reason for Imus to call those upstanding college ball players "nappy headed hoes," especially since many of them relax their hair and are not sexually promiscuous. I hate to unearth this secret, but there are actually a lot of real hoes in the world that contribute tremendously to the global s#### level. Consequently, the p### industry pumps out a lot of hoe cakes! All strippers are not hoes, but smoke generally indicates a fire. (No pun intended.) I ask, "What’s a pimp without a h#####?" He is a weird older dude with funny looking clothes and no money! Remove these real hoes and you won’t have a rapper with any hoes to talk about. OPRAH HAS TO START A RAP LABEL Now, this Imus stuff has re-ignited an argument that has existed for years and even Oprah Winfrey jumped on the bloated band wagon. Since she is riding the wave, she might as well go "all in."Oprah should start a label that represents the kind of Hip-Hop her audience would like. Why not? GET THAT GWAP! (For the Hip-Hopically impaired, that means "get as much money as you can.") But, with the mythical Oprah at the helm, it could truly serve as a means to destroy racism, sexism and every other "ism" that we face daily. Furthermore, it would eradicate the war on terror, poverty itself, lower the AIDS rate, create jobs, educate the ignorant and erase the affects of 400 years of slavery in America. I nominate Stanley Crouch as the Chairman of O Records, Tipper Gore as the VP, Jason Whitlock as the "unsexy" Secretary of Snacks and Young MC as the first signee. Mo’ Money, Mo’ Money, Mo’ Money! REVOKE THE RIGHT TO TALK "Cussin wasn’t nothin ’til a black man rapped," a well known rapper Treach once said. He was right. Despite the fact that profane language has existed through the years, these rap guy are just taking it to far. If they talk, mandate that an officer write a ticket! Of course the economy of the African continent may falter with no money left over to buy iced-out chains. Eventually, enough tickets and violators would be fined, arrested, and even have to be physically impounded like a car. After they serve their jail time, make them have to log in as registered bad word offenders. The sign outside of their homes with allow you to know that your daughter, son or you may be called a "b***h," "hoe," "n***er," or some other word those Rappers call each other. On "Freedom of Speech," MC Ice-T rapped with filth, "The more you try to suppress us, the larger we get." Famous last words, sucka! LASTLY – STOP REALITY All this reality is really just giving rappers material to talk about on these records! Oprah Winfrey, Bill Cosby, Jason Whitlock, Bill O’Reilly and others can properly pool their resources and STOP REALITY. That’s right my friends, reality is the ultimate foe! You knock "it" out and everything else will fall in line like beating up the school bully. I recommend that Oprah stop producing all these slave-period movies/ plays/ productions, because it reminds people of the racist reality Black folks used to endure. The Bills, Cos and O’Reilly, ought to use their vast minds to prevent reality from showing these rappers what they are going through – mentally and physically. Rapper have this big mirror and its reflecting a lot of "ugly" that was in society well before rap. Break that mirror, screw the bad luck and bury reality itself. FINALLY If the haters of rap don’t execute what I have prescribed, you will not only fail, but you will prove that you are not serious about getting rid of a generation. Yes, sadly a large body of people call themselves "The Hip-Hop Generation." These people consist of a veritable cornicopia of races, colors, nation alities, creeds and societal subscriptions. Not only are they crooks and criminals, they are doctors, lawyers, writers, women, kids and professionals. Somebody kill us already! Get it over with before Hip-Hop music descends us into the bowels of hell. Do it. …If you can. THE ALLHIPHOP.COM 100…A TUTORIAL ON HIP-HOP MUSIC We at AllHipHop.com surely do not condone the at times lewd, sexist and even racist verbiage rap artists sometimes use to express themselves artistically. At the same time, we will not tolerate sweeping indictments of Hip-Hop culture as the root of greater society’s ills. Next time some quick-on-the-trigger hater claims Hip-Hop is the cause of our moral demise, ask them if they’ve bothered to listen to any of these joints. We kept the suggested tunes up to date while throwing in some notable classic joints for good measure. In fact, print this out and tell the hot air blower to consider it homework. (Send us your additions […]