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The Life & Grind of ESSO Entry 6

R.I.P. Disco D I gotta take a second to say goodbye to a good friend of mine that was lost last week when he took his life. I’ve seen a lot of reports over the last week about the death of Disco D (Dave Shayman), and it pains me to have to say goodbye to a person who was real influential in my career. Disco and I met through a mutual friend Joe Hahn back when I went to the University of Michigan. Joe was one of the first people in the industry that really showed me love out in Michigan back when me and my roommate used to throw parties and have a radio show. Joe would always come past our radio show to bug out with us and bring us records from the label he was workin’ at, at the time. Joe and Dave grew up with each other, and Joe knew D was trying to get into production so he told me I had to meet his boy who was a producer. At first Dave was strictly a DJ, and had did a couple Ghettotech remixes to major label records. He came down to the radio station one night when I ended up battlin’ this local group who was a little too cocky. After that night D thought I was ill and told me he wanted to work with me. This was around 2000. D was the first person to put me in a studio and a lot of people don’t know the first rap song D ever produced was a joint we did together called “Always in Control”. Rockwilder was his favorite producer at the time and it sounded a lot like “Da Rockwilder” from Method & Redman’s [Blackout] album, but it was crazy. That was just the beginning. One song that he and I co-produced actually ended up on Teairra Mari’s demo that got her signed. Over the years, me and D would go through our ups and downs and our times of not really talking to each other but somehow we always ran into each other or would randomly speak. The last time I spoke to D was before the New Year, he told me he was proud of the moves I had been making with MTV, The Source and Scratch and the mixtape. We had our differences, but it kinda felt f**ked up that he wasn’t there to celebrate my success. I knew he was going through some rough times, but he had always bounced back before. I know Disco is in a better place, and it humbles me to see how others have remembered him. I’m glad I knew him and we had a chance to work with each other. If it wasn’t for him, who knows where I would be. Rest in Peace Dave, thank you homie. -Esso

An Open Letter to Little Brother

“Now Little Brother gonna break up / Everyday I wake up”… It was almost four years ago to the date. I was interviewing J. Rawls, and shortly before we closed our drab questions and answers, I asked the Lone Catalysts producer what records he was presently feeling. “I can’t stop playing ‘Whatever You Say’ by Little Brother.” That’s the only thing I’ll ever remember about that one… because discovering Little Brother changed my ears forever. I had the pleasure of getting in on the mezzanine level of Raleigh-Durham’s native sons. Just days after releasing The Listening, I remember speaking to Phonte, Big Pooh, and 9th Wonder, as they ducked in a windy alley not far from the ABB Records offices, happily passing around a publicist’s cell phone. Like most new artists, the trio was hungry to talk about song meanings, about the girls they were avenging on the album, and about how much RZA, Pete Rock, and J Dilla meant to 9th Wonder – Preemo too, he added later. When my questions were up, I sensed that the group could’ve talked for hours more – and looking back, I wish they would have. Ironically, 9th Wonder and Little Brother missed a page from their inspirations. They had never spoken to an angry Method Man or Ghostface Killah on a rushed press day, where writer after writer tries to sneak in the question, “Is RZA on the album?” They never read the reviews that praised The Pretty Toney and Fishscale, but wondered if the albums would have been better, had RZA assumed the duties that he carried in the early days. As the Doggystyle interlude joked, Wu-Tang without the RZA may be “like Harold Melvin without The Blue Notes – they’ll never go platinum.” The bees have been swarmed by “what if’s” when it comes to RZA’s role, which undoubtedly await for Rapper Big Pooh and Phonte. Pete Rock & CL Smooth made magic together. As an instrumental, as an accapella, and best as a homogenous blend of emotion and Tom Scott horns, “They Reminisce Over You” is arguably Hip-Hop’s best headphone record, something that dance-floors even adapted to. But alone, Pete and CL’s magic has been reduced to store-bought card tricks. Although Pete Rock holds rank as one of Hip-Hop’s hall-of-fame producers, he backed countless projects from INI to Deda, all of which lacked the missing ingredient, the main ingredient. Worse off, CL Smooth’s American Me showed an artist out of his element, settling for paper, when he had made a career rhyming on canvas. After 15 years of hard to earn loyalty, Gang Starr folded in 2004 for what many believe to be ego as well. As DJ Premier insists the group is hardly over, Guru continues to swear he’ll never work outside of new producing partner Solar in his career. Like Little Brother, both Guru and DJ Premier had managed to sustain albums and following without each other, but the Gang Starr sound was always in tact, pointing back to the next long awaited album. Since the breakup, neither icons have lived up to the sum of their parts, and legions of fans have been orphaned. Slum Village has fought hard to overcome the absence of J Dilla. Just as their 2005 self-titled album showed the group capable of thriving outside of James Yancey’s beats, they were presented with his death. Now Slum Village may be looked at as The Rolling Stones were considered with guitarist Brian Jones: there was the era when he was there, and there was everything else. As for Dilla, while his sound grew comfortable both in Stones Throw Records’ roster of talented artists and Common/Busta Rhymes album cuts, there was always that desire from fans to hear him rekindle that Fantastic chemistry he had with his brothers from the D. It is my opinion that Little Brother is making a grave mistake. All three parties within the group have worn themselves thin. Pooh released a Sleepers solo album while Phonte did more feature work than Nate Dogg in his prime. Meanwhile, it seems that 9th Wonder was responsible for single-handedly making Duck Down Records sound fresher, giving Murs two cult-classics, handcrafting a Jean Grae effort that was tragically leaked, and sustaining a career hitting Jay-Z, Destiny’s Child, Memphis Bleek, and countless other major label artists with big dollar beats. Regardless of any A&R’s opinions on the status of the group, Little Brother ought to find a way to make time for each other, and clear the market for their albums. What made The Listening great was that when it ended, you immediately wanted to replay the record. It was unique, in both lyrics and beats, and it earned a listener’s attention. Conversely, what made The Minstrel Show ephemeral in the marketplace was that you could get the lyrics and the beats [whether imitated or from the source] on nearly a third of all the albums released in 2005. Simply put, it was the difference between a small portion of the best s**t you’ve ever tasted in your life versus an all-you-can dinner buffet. Hip-Hop tends to look at circumstances differently – The Main Source after Large Professor, Tha Dogg Pound without Dr. Dre, Goodie Mob minus Cee-Lo. All of these groups had great albums, and shots at Hip-Hop immortality. But egos, career moves, personnel changes, and drama pulled them from those “Top” conversations, from Hip-Hop Honors, and from our memories more often than not. Is Little Brother, the group that redefined Southern music’s integrity – a group that extended to reach U.G.K. and Mos Def fans alike, worth all that? That same 2003 year that Little Brother broke out, I caught them on their first national tour, on a Philadelphia stop. That night, I witnessed a typically-expressionless DJ Jazzy Jeff jump around like he was hearing “Rapper’s Delight” for the first time during Little Brother’s set. Jeff hung on every lyric, every cue, every chorus like he was the newjack and LB, the […]

The Life & Grind of ESSO Entry 5

“If Hip-Hop should die before I’m great I’ma do more than just murder a mixtape” -Chamillionaire (Hip-Hop Murder from Mixtape Messiah II) Whatup everybody? 2007 is already lookin like an interesting year…and a whole lot of signs are starting to pop up to let me know that we just might be near the beginning of the end. First it was 73 degrees in New York City on a Saturday in January, and then just this week DJ Drama and DJ Don Cannon of the Aphilliates were raided in Atlanta by the RIAA and the Feds. RIP Mixtapes as we know them or knew them until this happened. I don’t even really know where to start talking about this, but first let me say that the way that the mainstream media handled this situation is fu**ed up to say the least. I watched the report that aired on FOX in Atlanta, and some of the sh*t that I heard them talking about was not only extremely disrespectful to Drama and what he’s done for the mixtape culture, but it was also completely irrelevant. To present DJ Drama as a bootlegger is one of the farthest things from the truth. Gangsta Grillz the series has almost completely changed the way people look at mixtapes. Think about it like this…when’s the last time you saw him put out a traditional mixtape with tracks from different artists and the “exclusive” compilations that the internet has basically made obsolete. I can’t remember the last one. Then for the f**kin ATF to get on and say “well we didn’t find any weapons or guns during this raid, but its not uncommon to find that sort of contraband in these situations…” If you didn’t find it, why open your mouth about it? These men were obviously operating a legitimate business which has been partially funded by labels promotional budgets…let’s get real here. It’s like the government putting coke in your hands, then sending the FBI when you turn it to crack. But this whole thing is much bigger than Drama, Cannon and this one raid. Canal St. in NY is dead quiet as I’m writing this. MixUnit.com pulled all the mixtapes off of their site and is restructuring. The mixtape game is goin under a serious re-evaluation of itself, and trying to figure out how to recover. Mixtapes have always been an integral piece of the culture from Brucie B recording his sets at The Rooftop and sellin em for 100 a pop to DJ Clue getting the most exclusive records months early to bring u that new sh*t first to Drama helping move the south movement, breaking Young Jeezy and dropping 2 classic tapes with Lil Wayne. Mixtapes are so big right now that Drama even pops up on Soundscan 3x for the week ending January 14th 2007 as high as #82 on the Top 200 R&B Albums chart with Dedication 2. Maybe that was the reason the RIAA officers in ATF Jackets and the SWAT Team was called in to knock down the doors and confiscate over 80,000 CDs, cars, studio equipment and bank statements. Whatever happens from here on out is going to have a huge impact on the next couple of steps that I take to create a career for myself. My first mixtape was an extremely important step in my career, so much so that it took months to make, and brought attention from some of the most well-respected outlets in HipHop such as The Source, SCRATCH Magazine, MTV and the site that you’re reading this journal on right now. Who’s to say how long it would have taken to make each one of those individual moves without a single piece of work to display to listeners exactly what I’m capable of as an artist. I don’t even want to venture a guess, but hopfully the impact of this controversy isn’t such that it shuts down mixtapes from reaching the masses. Where’s it gonna go from here? Independent Mixtape albums with barcodes? No change? No more mixtapes? As long as people want to hear their favorite artists spittin that raw, mixtapes will never die in some shape or form…but they’re either gonna be completely legitimate works with licenses granted and all that, or they’re gonna be completely underground and distribution of tapes is never gonna be the same. Part of the beauty of making a mixtape, which I experienced first hand when I made my debut CD is that you can do pretty much whatever your imagination dictates. There’s no “commercially acceptable” master that needs to be turned in, so creatively there’s no limit to what you can do inside of those 80 minutes…no having to worry about sample clearances, no real budget concerns other than recording, and promotion which can all be minimized if you’re smart enough. And you’re giving the music directly to the people. Whatever the case may be, its an interesting time to be a fan of HipHop. Nas is sayin HipHop is dead, KRS-One is doin tribute records to Nas and dropping a new album in 2007, the mixtape game is bein watched by the Feds, album sales are declining every year, and we’re only in January. It’s an even more interesting time for me to be looking at it from in between where the fans and the players are. Go to my website and I’ll leave you with my first mixtape ESSOcentric Volume One…FOR PROMOTIONAL USE ONLY. Who knows if I’ll even be able to put out the sequel the way things are going http://www.essomusic.com http://www.myspace.com/esso talk2esso@gmail.com

30 Strong And A Gun To His Head…Pay Attention?

There have been and probably will be numerous articles on the January 16, 2007 RIAA raid of the Aphilliates Music Group studio and arrest of my brother Tyree "DJ Drama" Simmons and DJ Don Cannon. There have been and will be numerous articles on what the implications of this raid will not only have on the Aphilliates Music Group but on the entire mixtape business/game. In the midst of those ongoing discussions, let’s not forget the reality that racism and sexism are alive and well in Ameri-KKK-a. Tuesday, January 16, 2007 marked the first day of my supporting a three day fast that Black Women in Durham, North Carolina organized to expel and heal from the ongoing collective trauma that many of us who are victim/survivors of rape and other forms of sexual assault have been experiencing ever since members of the predominantly White Duke LaCrosse team were publicly accused of raping a Black woman in Spring of 2006. Little did I know, that while I supported my Spirit Sister-Survivors in Durham, North Carolina, that another assault against a member of my Blood family was about to happen. No one will ever be able to explain to me why the hell a SWAT Team of at least 30 strong went charging into the Aphilliates Music Group studio as if they were doing a major drug or an illegal arms bust? Why did they need to put my brother Tyree (DJ Drama) and his cohorts face down on the ground with guns to their heads? Did the agents need to ransack the studio, confiscate cd’s featuring artist sanctioned original music not bootlegs, disc drives, computers, cars, ultimately stripping the studio of everything with the exception of furniture Based on the January 16, 2007 Fox Atlanta News edition, when one of the agents said "Usually, we find other crimes during these types of busts." Clearly the agents expected ( possibly wanted) to find drugs and/or illegal arms. K-9 dogs whose noses are trained to sniff and find drugs, were ultimately board with nothing to do. So the question for me and the rest of the Portnoy-Simmons-Thwaites family is was a SWAT team needed? Was this solely about mixtapes? Would this have happened if this wasn’t a Black run company? One of the claims is that Tyree (DJ Drama) was racketeering. Well, this alleged racketeer is a legitimate businessman who played and continues to play a pivotal role in the careers of numerous known and unknown hiphop artists, which by direct extension helps the recording industry immensely. Tyree ( DJ Drama) is also a partner, a father, a brother, and a son. When I think about all of the scandals in corporate Ameri-KKK-a (Enron and WorldCom to name a minute few)…I don’t ever recall hearing about any SWAT enforced raids. I don’t recall any images of Ken Lay or other top executives of corporations being forced to lay face down on the ground surrounded by SWAT agents with guns to their heads and K-9 dogs sniffing them. For a detailed expose on the evils that corporations all around the world do and get away with legally and illegally, check out the powerfully gripping documentaries "Enron: The Smartest Guys In the Room," and "The Corporation." As Tyree’s (DJ Drama’s) sister and as a radical Black feminist lesbian social activist, I am beyond outraged at how the RIAA handled/orchestrated the raid. If he or anyone in the Aphilliates camp didn’t follow the directions of the agents, asked the ‘wrong’ questions,’or made the ‘wrong’ move during the raid, he and/or his cohorts could’ve been murdered in a twinkling of an eye. And for what? Selling mixtapes, which feature artist sanctioned original music? The RIAA should be held accountable for their actions. They need to know that their violent response to addressing their accusations of racketeering was unacceptable. There was (and is) no covert operation going on with the business of the Aphilliates; and yet the Aphilliates were treated as if they were public enemy number one. I am explicitly clear that the music entertainment power structure has a very serious problem with people of Color making profits, on their terms, off a multi-billon dollar international industry that they created. Hip-Hop. I am also clear that since the founding of Ameri-KKK-a, this type of state sanctioned racist and sexist treatment towards men and women of Color happens every single minute of every single day. Unfounded police raids are nothing new to countless communities of Color across this country. So while we debate and discuss the legalities of mixtapes and the long term impact of what the January 16, 2007 raid of the Aphiliates studio will mean, we must not ever forget that innocent people were terrorized and incarcerated in the name of protecting the Recording Industry Association of America. Aishah Shahidah Simmons is a Black feminist lesbian documentary filmmaker and social activist who recently completed the award-winning documentary NO!, which unveils the reality of rape, other forms of sexual violence, and healing in African-American communities. www.NOtheRapeDocumentary.org www.myspace.com/afrolez

Illseed’s 2006 Person of The Year

After much internal deliberation, pondering and personal infighting, I have decided that there will be no 2006 Person of the year appointed by illseed. NOBODY. Why? Nothing in 2006 really moved me as an individual. For those that don’t know, I attempt to defy convention in my own little way and the Person of the Year is one way that I can honor somebody else that shuns the norm. In 2005, I choose to honor Will Smith and this year, I might as well honor him again, because he’s one of the few people I truly respect in Hip-Hop. Prior to Will, there was MC Hammer – whom I appreciate in hindsight. Back in the days, Hammer was seen as a clown and nearly 20 years later, he’s performing at James Brown’s funeral. Trust me when I say, few not too many in Hip-Hop were considered for that gig. When I think about my annual Person of the Year, I think of somebody that inspires me, that gives the mainstream or our own subsegment of culture a middle finger of sorts and does what ever they are compelled to do. They don’t have to have the hottest fashions, they don’t have to get all super ignorant to compete with the other ignoramus and they don’t dance to the beat of another man’s drum. They simply follow their heart. I was trying to force somebody as the person of the year, whether that person was a negative force in the world or a positive force. My heart wasn’t into it this year. But, to me, most people were just gray, lukewarm or middle-of-the-road. It was like looking at reality television, really a lot of hype and little substance. So, there you have it – nobody is one lucky dude, because he/she is my person of the year 2006! CONGRATS! The contenders for Person of the Year. So, in my hunt, I did observe and consider many. Here are a few: Nas: Nas is a perfect candidate for Person of the Year and perhaps I should have given him the title. The only problem, it would have been to basic, because Nas is a candidate for a real person of the year, not just illseed’s. Hip-Hop isn’t dead, but Nas sure scared the crap out of us! Sean Bell: I don’t know much about Sean Bell, but I know all I need to know. He was murdered by NYPD hours before his wedding. I also know that Sean Bell could have been any Black man in America. To most, he was a reminder that all is not well. Michael "KKKramer" Richards: Like Bell’s death, KKKramer served as a reminder that racism is alive, but is able to hide very well. "Fifty years ago we’d have you upside down with a f—ing fork up your a**," KKKramer said on the stage at The Laugh Factory in Los Angeles. Who would have imagined that hate could come in the form of a jerky, eccentric goof ball from a show as popular as "Seinfeld." I haven’t watched since. Sean "Diddy" Combs: Hate if you will, but I knew I wasn’t crazy. I read that Questlove of The Roots also really liked Diddy’s Press Play and I knew then that my sanity was intact. Diddy – despite his limited writing – put together one of the year’s best CD’s. It embodied all that Hip-Hop should be, personal, fun and true to the artist. Busta Rhymes: How Busta Rhymes didn’t sell multi-platinum is beyond belief to me. His album, The Big Bang, was nothing short of his best album. Dre, Nas, Q-Tip, Raekwon and others all joined in to make this the best CD of my year, until that fourth quarter crept in with more competitors. Still it pains me to know that the family of Israel Ramirez have yet to find justice for the death of their loved one. Remy Ma: There is something about Remy. Ah, I just love her like a fiend adores crack. I know her CD wasn’t at the top of most people’s lists, but she was always a topic of discussion. Ultimately that’s why she is going to go far in the game, people subscribe to her as a person as much as her music. And as for There’s Something About Remy – baby, that album was banging. In an era when femcees are like dinosaurs, Rem refuses to go extinct. Bill Cosby: Cos and Nas bookmark the contenders for Illseed’s Person of the Year, because they both forced us to take a hard look at ourselves (or another class of people). The only issue I take with Bill is he didn’t actually talk to the people he was talking about. He was preaching to the choir and the real audience was outside of the church. I agreed with much of what he said, but it was viewed as an attack on poor people – those people. We can do so much better and listening to Cos is a start. Actually, doing better is the desired end. Perhaps in 2007, I will find something that allows me to appoint the Illseed Person of the year! PS: Peace to Spike Lee and Dave Chappelle. You both deserved a mention, but everybody knows what it is! Eat your heart out Time. Send your feedback and to illseed at ahhrumors@gmail.com.

Hip-Hop and Martin Luther King, Jr.

Hip-Hop consciousness brings a new, fresh meaning to historical moments and events of the past. As millions of people in America and throughout the world prepare to recognize and celebrate the 78th birthday of The Reverend Dr. Martin Luther King, Jr., it is important to take note of the relevance of Hip-Hop culture today to the teachings and legacy of Dr. King. Martin Luther King, Jr. was an articulate, charismatic and fearless leader who believed in standing up and speaking out against injustice. Over the last 30 years, Hip-Hop has emerged on the global stage as the cultural manifestation of a generation of fearless youth who are eloquently self-determined through their music, poetry, art, dance, film, and other multimedia formats to articulate both the positive aspirations and negative contradictions of a world that still needs to be rid of poverty, ignorance and injustice. If you ever had the opportunity to witness Dr. King speak from a civil rights movement podium, you would hear the strong beat and cadence of truth in his delivery that always ended in a motivating crescendo calling for the establishment of “the beloved community.” Likewise if you were ever blessed to hear TuPac in person, you always felt the staccato rhythm of his unique poetic expression with the passionate truth of a post-modern satire set to a heart-throbbing musical beat that made you want to stick your clenched-fist straight up in the air. Like Pac prophetically said, “And even though you’re fed up… Huh, ya got to keep your head up.” Hip-Hop is about transformation, both personal and societal. It is about speaking the truth and having the courage in one’s life journey and career development to always aspire to have a better quality of life for your family and community. Giving back to the community is a central ethos of contemporary Hip-Hop. This is right on point to Dr. King’s teachings concerning the importance of contributing to the redemption of people who are less fortunate. The Hip-Hop movement today demands empowerment, in particular economic empowerment. Dr. King’s civil rights movement demanded freedom, justice and equality for all. The effectiveness of both of these movements for change required and requires the involvement and the mass participation of youth. Everyone has heard of King’s famous “I Have A Dream” speech. But one of his most penetrating writings was his “Letter from a Birmingham Jail.” Dr. King was responding to criticism he was receiving from other preachers who were oppose to the tactics of direct action and public demonstrations that involved mainly young people who stood up to protest injustice in the face of police dog bites, water hoses, and beatings. Dr. King challenged all those who had become comfortable with the status quo of poverty and inequality. He was proud to see thousands of Black people stand up to the forced segregation of the South. He concluded his letter saying, “Let us all hope that the dark clouds of racial prejudice will soon pass away and the deep fog of misunderstanding will be lifted from our fear-drenched communities, and in some not too distant tomorrow the radiant stars of love and brotherhood will shine over our great nation with all their scintillating beauty.” Many of the great lyrics and poems of Hip-Hop today were also conceived in jails and prisons across America. Every time I hear Cassidy, The Game, Beanie Sigel, Lil Kim, Foxy Brown, Nas, TI or Jim Jones, I know that the culture is producing stronger and greater lyrical expressions of the triumph over the pains and difficulties of the current struggle for a better life. It is interesting that King’s vision is coming closer to reality. For sure, however, there are still many serious problems today concerning racial prejudice. But there also has been real progress. In truth, Hip-Hop is evolving to transcend race and class barriers. From Eminem to 50 Cent, Hip-Hop today expresses the challenges of the need to keep fighting for empowerment and equality. Run DMC said it best: “You just goin through life without a trace….when the answers you seek are in front of your face.” Hip-Hop is God’s answer to the prayers of our people who prayed for a young generation to come up strong and fearless with the courage to rise to the occasion of the next stage of the struggle for liberation. God bless Dr. King’s memory and God bless Hip-Hop’s continued global evolution.

I Loved Hating James Brown: A Hip-Hop Editorial

Growing up, I loved to hate James Brown. Those were the good ol’ days. See, back then, my father was a James Brown fanatic for all the right reasons. The dark-skinned entertainer was so cool, charismatic, commanding and inspirational to his generation – you know, the olden days. To my fresh, new Hip-Hop generation, he was tremendously inspirational as well – for different reasons. During that time in the 80’s, it seemed like every single rapper on Earth sampled The Godfather of Soul and it gave way to some of the greatest rap songs during the illustrious Golden Era of Hip-Hop. Like most progressive people of the time, I indulged in the sounds and my home was a full homogenization of my music as well as my Dad’s. This lead to the jokes. My Dad would repeatedly refer to James Brown as the “Godfather of Soul and Hip-Hop. “And Hip-Hop?” Pops heard the sounds coming out of my Sanyo boombox and he knew James Brown was a part of that glorious urban movement, albeit an unwilling Godfather in some ways. Much of my disdain for Mr. Brown was rooted in his beef with Hip-Hop at the time. I recall James talking bad about my s**t, that which I loved! Even Public Enemy’s Chuck D had a subliminal lyric that seemed to call James Brown “an addict fiendin’ for static.” Looking back, I don’t know if Chuck D was actually dissing James Brown in “Don’t Believe The Hype.” Nevertheless, I penned by own little, fun diss raps for “The Hardest Working Man In Show Business” and my Dad, because I was going to defend Hip-Hop to the end. But, I was never quite clear on why James Brown had “static” with Hip-Hop so I talked to Bow-Legged Lou of Full Force. Full Force, the hit-making team, produced one of The Godfather’s biggest albums I’m Real [1988], which yielded the massive song “Static.” Of Mr. Brown and Hip-Hop’s relationship, Bow-Legged Lou kept it real. There was static: “Yes. he sure did have issues with Hip-Hop,” Lou told me frankly. “In the beginning, he was getting sampled left and right like crazy – his music and his vocals. He was p##### from the beginning. His screams, his yells, his drum loops, his music portions. When we worked with him in 87-88, that was when it was in the height of a lot of his music being sampled with no money going back to Mr. Brown. It was unauthorized thievery.” [Click here to read Bow-Legged Lou’s entire explanation.] I don’t know that my Dad considered it outright theft, because he loved Hip-Hop too. He paid for my brother and my first demo tape and the three of us had matching Adidas jackets. But he wouldn’t let up over the James Brown issue and I really didn’t have a defense other than Hip-Hop was winning and James Brown was just outright hating. Fast forward to the present time. James Brown is dead and I’m staring at the Apollo Theater, which has a pair of thick, long lines coming out of it. The lines are so long that they extend up to a rumored 15 blocks from the theater’s 125th Street location. Never in my life have I witnessed such respect for an entertainer. There’s another mass of people on the streets singing James Brown’s#### songs and his not-so-familiar tunes. All colors, all creeds and all ages are in the streets dancing, reflecting, remembering a man so special to all of us. The commerce on the block was serious. There are people selling everything from “I was there” certificates to t-shirts to the bootlegger’s mixtapes. I bet James was in heaven shaking his head at that. Or maybe not. James Brown, like my Dad, had no true qualms with Hip-Hop. Like Hip-Hop, he wanted his props, his recognition and, most of all, his money from all those samples. And, truth is, he was right. In his passing, Hip-Hop has given him all that he asked for, down to an amicable legal resolution. In the streets of Harlem, I saw a number of rap artists from upstarts on up to the creator Kool Herc paying their respects. Artist upon artist has given our Soul King his just due (in the physical, the musical and in written statements) as a one of the most – if not the most – influential source of inspiration we have seen. James Brown embodied the swagger of Hip-Hop, the attitude, the rebellious and outspoken voice of Hip-Hop. He was the soul of Hip-Hop…before it existed in the South Bronx. Nowadays, I – with my bad self – can fully love, appreciate and pay homage to James Brown’s music and overall contribution to history without any rappers involved. Let me amend that, I can rock out to Mr. James Brown! As for my father, he was right too. James Brown truly is Godfather of Soul and Hip-Hop. “Static – don’t start none won’t be none.” No more static, no more static… R.I.P. TO THE GODFATHER!

The Life And Grind of ESSO #4

Whatup? Had to double back and let you know what I been up to. I just had one of the best weeks of my life, so without any further ado I’m just gonna get into it. Monday December 4th might go down as one of the days that really changed the course of my career. My homie Cipha Sounds invited me up to MTV for Sucker Free: Straight from the Streets. Basically what they do is take one or two artists every week who are makin’ real major noise on the streets with their music/mixtapes. I had been on Cipha’s show on SHADE45 (Sirius Satellite Radio) back in September and after being on his show he hit me and invited me to do MTV. I ain’t gonna lie, watching myself on MTV was kinda crazy…that’s an almost immediate jump from being local to being known on a national level. I was gettin’ love from everywhere off of that, people hittin’ me up from Cali, Florida, New York and everywhere in between. You can find the footage on my YouTube channel ESSOtv (www.youtube.com/essotv) along with a couple other videos. Sucker Free Video Footage Tuesday I had a photoshoot for the Azzure Denim Spring 2007 ad campaign that’s gonna be running in magazines like XXL, Vibe, King, Complex, Dub, and Rides, that was a real crazy look and I’m extremely thankful for the opportunity. A huge thanks goes out to Shelly Castro as well as the Azzure staff. Make sure you look out for the ad I’m in, the concept is “Men of the Year.” That same day I also found out that the new issue of The Source was gonna be coming out with me as Unsigned Hype in it. That’s a crazy look to now be able to mention my name among the likes of BIG, Eminem, DMX, CNN, Mobb Deep and some of the other notable Unsigned Hype alumni. I gotta shout Fahiym Ratcliffe (Editor In Chief), Julie Als, Conan Milne who wrote the article, Bum, Camille, Nida and the rest of The Source staff for the honor. (Check page 114 in the December issue of The Source) Wednesday I picked up the new Scratch magazine and checked the mixtape reviews, and saw they had reviewed ESSOcentric. Now Scratch is notoriously tough on their mixtape reviews, so I wouldn’t have been surprised if I got a lukewarm review as a new artist. Shouts to Omar Mazariego who wrote the review, I’m not even gonna paraphrase the review, I’ll just let you read it yourself. Thursday night was the 10th annual Justo Mixtape Awards at the Apollo Theater in Harlem. I was excited to be able to hit the awards and have a chance to network with some of the biggest DJs in the industry. Unfortunately some of the people in attendance didn’t see things the same way that I did, and the awards were cut short. I do gotta shout a couple of the people I did have a chance to talk to though (Chuck T what’s good? Chela, I need to be on that next CD don’t forget about me! Wiz Hoffa congrats on Noizemob’s wins big homie). I thought it was pretty disrespectful that we couldn’t get a moment of silence in memory of Justo (Justo Faison the creator of the Mixtape Awards who passed in a car accident in 2005) once that happened I knew it was anything goes in there. That same night we had a party in Lower Manhattan to celebrate the “Unsigned Hype”, thanks to everyone that came through it really felt like family in there. Let’s just say my family made sure I went home twiiiiiisted. Hahahahaha! Saturday I was on Kitty Radio (an internet radio show on 1.fm JAMZ) with Maya the Brasilianaire and Jen The Pen who some of you might remember from Dame Dash’s “Ultimate Hustler” show on BET. I got some video from the interview if you want to check it out on the YouTube channel. Oh, and just in case any of you think I might be sittin’ on my ass feelin’ myself because of some of the things that are goin on’, let me be the first to tell you to think again. I’m already in the process of putting together ESSOcentric Volume II as well as another project that I can’t really speak on yet but trust me when you see it you’re gonna know what it is. Last but not least…Here’s an exclusive I didn’t want to give away too early, but f**k it now, its already out there… “The New Government” featuring Nina B and Remo Da Rapstar

The Living Legacy of James Brown

The Living Legacy of James Brown: A Hip-Hop Tribute Christmas Day 2006 began early with the news of the passing of James Brown, at the age of 73, in Atlanta, Georgia. As the undisputed “Godfather of Soul,” James Brown was a long distance, marathon runner who always led the race in not only being one of the greatest innovators in R&B and soul music, song and dance, but also James Brown used his remarkable genius and indefatigable energy as a “freedom fighter” in the struggles of Black Americans and others throughout the world for justice and equality. The soul music explosion of the 1950’s and the 1960’s was led by James Brown as a music writer, producer, band director, and most of all as a tireless stage performer. Long before rap music and rappers became popular, James Brown was one of the most successful forerunners who rapped using repetitive word phrases and lyrics in the 1960’s over the music of the pulsating beats of a bass guitar and drums with the rhythmic horn sounds of a full big band. While there will be many well-deserved salutes to the memory of James Brown, I know that it is also important to put on the public record a tribute to the living legacy of James Brown from a Hip-Hop perspective because of his defining influence on the evolution of hip-hop culture. Over 35 years ago when Hip-Hop began to emerge on a national level, amidst a chorus of player haters and media owners who opposed giving rap music and hip-hop any air time on radio or television, James Brown was very vocal and forthright in his support of rappers and rap music. in 1984, he and Afrika Bambaataa “Unity” as a showing of solidarity with Hip-Hop. In fact James Brown had no problem in advocating the complimentary connection between R&B and Hip-Hop music. Little Richard, who is one of the icons of R&B and a lifelong friend of James Brown, put it bluntly to MSNBC, “He was an innovator, he was an emancipator, he was an originator. Rap music, all that stuff came from James Brown.” Chuck D of the legendary Public Enemy emphasized, “James Brown was the funkiest! To this day, there has been no one near as funky. No one has even come close.” It was the funky beat with a funky message underscored by an irrepressible funky spirit of triumph over social, racial and personal adversities that made James Brown forcefully unique and effective. I can still hear the reverberations of Afika Bambaataa and James Brown in a 1984 studio performing together “Unity, Peace, Love and Having Fun.” The reciprocity between R&B and hip-hop reached a new plateau in the revolutionary life journey and music of James Brown. During the last three decades, numerous Hip-Hop artists have sampled Brown’s up-tempo music. For millions of African American youth back in the late 1960’sand early 1970’s, nothing was more fulfilling in terms of self-identity and pride than to hear James Brown shout, “Say It Loud: I am Black and I am Proud!” When that song first broke in 1968, many radio stations refuse to play it, but James Brown still managed to get to the top of the R&B charts with that hit song. As a result, many young African Americans and Latinos were able to culturally reclaim their African ancestry because of the contributions of artist-visionaries like James Brown. The Hip-Hop generation today is still “Saying It Loud” in recognition of the power of songs whose texts, time and responsibilities continue to evolve by daring to spit the simple truth in the face of injustice and poverty. The living legacy of James Brown today serves as a vivid and vibrant reminder what it means to speak out, act out, perform out, and to do whatever is culturally necessary to reawaken people to push forward for self-empowerment and economic development. Brown was born into poverty, but he refused to allow the rough edges of poverty to reduce or confine his determination to make a positive difference through his creativity in lives of millions. That is still today one of the goals of Hip-Hop: to inspire and motivate the next level of the movement for social and economic transformation. James Brown had ups and downs in his career and in his personal life. Yet he did permit jail, prison, or other hardships to keep him down. His first hit in 1956 “Please, Please, Please” dramatically portrayed his love for life. Fifty years later, we all can say we have been blessed by the resilient contributions of James Brown who gave greatly to a world that remains in need of the freedom, rhythm, and soul that was so generously exemplified throughout his life. Peace Unity Love – James Brown & Afrika Bambattaa

Get Serius: The “Battle” of the Sexes

The Game Unfolds: Since the beginning of time mankind has been faced with one common element that extends into all walks of life. It takes on countless forms and is applicable in any and every facet of our existence. It is the foundation for civilization itself. We find entertainment in it. We develop strategies and signature moves to aid us in succeeding in it. We essentially learn the most valuable lessons in life from it.. What is this it?? The most basic component of life. It stands between success and failure, winning and losing. It is the battle. The struggle of two sides. Life vs. Death. Good vs. Evil. Weak vs. Strong etc… It’s the battle of two sides that defines struggle and tests our will to survive. It was “battling” that took me from a local emcee on the street corners of Jersey and New York to worldwide exposure through mainstream medie. But there is one battle that will never be won or lost. The one battle that will remain constant until the end of time. The battle of the sexes. Ok now I know that first paragraph was sounding like a science textbook or some s**t right? Ok well let’s get to the meat of the sandwich (pause). We all hear and see the way man and woman go at it with each other.. We make songs like “B**** es ain’t s**t” women go to the club substitute the b***hes for n***as and sing the song louder than we do. Brothers and have their little female bonding groups and feminist movement where they empowering themselves and convince themselves that all men “ain’t s**t”. Me personally I’ve seen both sides of the coin and genuinely agree with both perspectives. Most men ain’t s**t and neither are most b***hes. Period. What is the point of arguing over who is more not s**t and trying to win some battle when we are supposed to be trying to get on the same page. Now normally I just piff up (elevate) and let my thoughts run on the page. But I’m going to take this subject “seriously” and give y’all MY OPINION. Ladies, I LOVE YOU ALL so don’t get offended by my commentary, but real is real. I’m not a pimp, gigolo or captain-save-a-nothing but in the spirit of universal oneness, I am going to unveil some revelation to assist those of you dudes who may be slightly losing your own individual battles with the opposite sex.. Approach: When attempting to “bag” a female, most men don’t have slightest idea as to how. Many resort to cheap and overused complements, annoying stalker like antics and flat out aggressive “get over here” grabbing moves. Sometimes they may work but most of the time the result is unsuccessful and does nothing but make more work for the next dude that comes along. Maturity and experience sharpens this tool that we call “game.” Now does that word suggest that were trying to play women as if they are a game? Not necessarily. What game does is make smoother the “battle” so that instead of having to fight through the obstacle courses that many women set up to make us “work for it.” Now the tables are turned and she is essentially working harder to please you. Now you may be reading this and feeling like, “Who does this n***a think he is a pimp?” Well the truth of the matter is, I really never had the urge to pimpsmack a chick (well once but that’s a long story), bail a girl out of jail or be paying for clinic visits. I’m just a normal man who happened to stumble upon my own philosophy through my experience in winning with the opposite sex. Because of entertainment world the idea of a “pimp” is now very overrated and glamorized but if you love beautiful women, given their powerful and manipulative abilities you MUST stay in control or be controlled. That’s Hardbody! Understanding: The first step to success in any battle is to understand the dynamics of what you are up against. I must admit that since the inception of this thing we know as life, the woman has been walking us through hand and hand. The warmth and nurturing nature of a breast was just as relaxing as an infant as it is as a grown man if not more. This is ultimately the greatest power on earth.(Not the breast but the woman.) Whole countries have been built and destroyed through the power of the p-u-s-s… but why? It’s the most powerful drug in circulation. All you ladies reading this have at least one n***a you can call and ask him to do anything for you and he will be doing the hundred yard dash through traffic to make it happen. See most men go for women’s bodies, but most women go for our minds. Think about it…. deep Women need to feel attractive and enticing. Has a woman ever asked you “How do I look?” You think she wants you to say, “Well honestly baby your ass is a little flatter than it looked when I met u and I wish you could lose that extra lil rib fat, and you shouldn’t have cut your hair cause your head looks too big now, but I still wanna hit it.” Hell no! She knows all of this but what she needs you to do is reassure her that she is still sexy and help her to look past her reflection in the mirror to her own inner beauty. But In the immortal words of Katt Williams self-esteem is the steem of your f**king self!! Women need to feel sexy because they derive a sense of power from knowing their influence on not only men but other women as well so often times if a woman has a feeling of insecurity and low-self esteem that usually gives her motivation to go the “extra mile”. Even the ugliest women […]

Joe Clair’s N***afied

<font size="2" face="Verdana, Arial, Helvetica, sans-serif" “I come from N***a culture. I say that because every hero I have ever had was called a n***a at some point in their lives!” My father, the other day. I have a comedian friend named James Hannah who has a line of jokes that center on the fact that there are way more n***as than black folks in America today. He points out that we should recognize we are in a state of crisis when we openly and knowingly hail and accept a pimp named Bishop and a pastor named Dollar. Now although that is Creflo’s real last name isn’t it ironic that he sits in the middle of an empire built on the idea that GOD wants us prosperous. Isn’t it also ironic that Don Juan, once the scourge of America, has turned himself into a business, pimped himself if you will, and has reached television, music, videos and even ringtones. My editorial is not about this directly but it relates in a round-a-bout way. As I sit at my computer and add my two cents to all the blah, blah, blah about this and that in black America, I can’t help but wonder when we became so n***afied. As a child I was taught by most adults to be a proud upstanding African American and to do away with my ‘lil n***a ways, which I took to mean that I was already n***afied. That’s a term I picked up somewhere that I love to use daily, because it seems to sum up what is going on in popular black culture. N***afied. Feels accurate doesn’t it. Feels like the term that describes “those” people. You know “those” people that you weren’t encouraged to hang around with when you were a kid but became friends with when you were a teenager. “Those” people that gave you a starting point for all the things deemed bad by African Americans. “Those” people who cursed all the time and came from broken households and had sex at a young age and sold drugs and who were on their way to becoming nothing more than criminals and low wage earners for the rest of their lives. “Those” people from the projects, or section eight housing that you thought were different until you went to their homes and found that the difference was minimal at best. “Those” people that black America fought so hard to abolish during the civil rights era in the sixties, that white America caricatured with “What’s Happenin’” and “Good Times” in the seventies and that the buppy movement of the eighties shoved and hid in a back closet. The N***as. Yeah, ‘dem people. ‘Member ‘dem? Ha ha, jokes on you Jack, we are dem! Always have been and always will be. N***as. Follow me for a second. I grew up in a single parent household headed by my college educated mother. My college educated father lived across town. They were divorced. My family was the blueprint for the Cosby’s. In the early seventies we moved into one of the thousands of soon-to-be-all-black suburbs that sprung up just outside of every major city around the country. We had a Benz and a Vega out front. We dressed nice. Had African statues and art in the house. Spoke and behaved properly. All that. But, when I was about six or seven my mother asked my father to leave for what he would later tell me was “some n***a s###.” For all of the education and posturing we were in a real n***afied situation. After the divorce we went from being the Cosby’s to being the Evans’. The Benz sat out front and decayed, the Vega got ran down. Me and my siblings picked up slang, hood swagger and attitude. My mom struggled to make ends meet. We even went on food stamps for a hot minute to help get s### together. N***afied. Now, while all of us went on to college and my mother went on to become a professor and accomplished author, we recognize that to some degree we was n***as. We embraced it as much as we could and made our lives better by accepting what was and not what should be. While I’ll never say it in front of my mother, real n***as never disrespect they moms like that, if it wasn’t for being n***as we couldn’t have become black folk. HMMMM. So as I watch the Sunday morning black talk shows and catch the latest blurb about how we shouldn’t use the “N” word I laugh my n***a ass off. As do many of the educated n***as I know. While black folks are caught up in how they are perceived, the n***as are out getting theirs……. or not. N***as don’t care that they are being called n***as or if they do care they go and change their status to fit in with the black folks all the while holding onto their n***a roots. You don’t know they are n***as until you go to their houses for a barbeque or something and meet the rest of their n***afied clan. LOL. My family is a nice mixture of n***as and black folks. But just like the saying that if a black person and a white person have a baby the baby is black, if you have n***as and black folks together the n***as will always dominate. OK maybe I’m stretchin’ here, but you get my point. I say all of this to say that n***as have been and will always be around in some way, shape or form. And to say that if you shun n***as enough they will make themselves heard. Thus, we have the Don Juans and Flavor Flavs of the world. I’d also like to point out; as I’m sure some theoretical analytical n***a will do in response to this article, that there is a sort of catch twenty-two to all of this n***a/black business. Some days it’s good to be […]

The Life And Grind of ESSO #3

You know I had to hit u wit an exclusive right? Ha Ha! Check out my freestyle from DJ Dub Floyd’s CD "Nightmare On Your Street." Shouts to Dub, I’m gonna be hosting one of the upcoming volumes so when that time comes I’ll definitely let y’all know. ESSO – 4th Quarter Freestyle While I was in the studio I was also workin’ on a couple other tracks wit my homie Buda from PlatinumBoy Entertainment (Amadeus’ production company). All I gotta say is that boy Buda is making the album. The s### we worked on is sounding like it might end up being the intro. I might leak a piece of it in an upcoming entry…we’ll see. On the mixtape side of things I hit up MixUnit about gettin my mixtape up on their site, so for those of you who may have been hitting the websites up trying 2 find ESSOcentric, its now available through MixUnit. You can also cop directly off my Myspace (www.myspace.com/esso). Now that that’s out the way… Halloween…I never really been a big fan of Halloween…might be because that used to be Razor Tag night uptown, but the week of Halloween is always interesting. This year it started with the Epydemik DVD release (shouts to SynCity, Kat, Esteban and the rest of the Epydemik staff) the party was crazy…(Shouts to Jigsaw, Raze, Dynasty and Odeisel who were there also) I’ll be honest I aint want to leave. We went from there to Little X’s birthday party…yea Little X, the video director….CRAZY me, my cousin, Sickamore and my dude Tory from Atlantic were buggin’ at the table we had. Sick and Tory made sure my glass wasn’t empty which was a good look, and the rest of the night took care of itself. What’s even crazier is Like Dat from Flavor of Love was there and she was kickin it wit us too…BANANAS. Thanksgiving I took some time to just chill with my family and kinda fell back from going out. On December 4, I was on MTV’s Sucker Free with Cipha Sounds. -E ESSO on Myspace (www.myspace.com/esso) ESSOmusic.com (www.essomusic.com) **BONUS FOOTAGE: ESSO @ FACES IN THE CROWD SHOWCASE**

9/11 is a Joke?!!

“9/11 is a Joke?!!” With the political climate rising in response to the voice of the people during the mid-term elections, a last minute debacle from John Kerry threatened to potentially thwart voting outcomes with more of his ‘Kerry-smatic’ gift/curse of public speaking. This time though, it wasn’t overwhelming dissertations that Bush exploited as much as it was Kerry’s over-simplified banter. In an attempt to slam Bush, Kerry fumbled a botched joke on the 1-yard line. Pouncing on an ill-thought out turn of events, the GOP ran the length of the field towards their own red zone; spinning the comment of a man who served in the Vietnam War into a slight against our troops in Iraq. But where were Bush and his cronies’ concern for disparaging comments against our soldiers back in 2004 when Bush delivered a deliberate joke about our inability to find Saddam’s weapons of mass destruction? Is that what the catalyst for a three-year war warrants: opportunities to make cheap jokes?!! It’s hardly a joke and it has definitely proven itself to be anything but cheap. Let’s put this into perspective, though. If this war is, in fact, in response to the Twin Towers attack and the presence of WMDs, why would Bush make light of it? Are the American and Iraqi people on the outside of some elaborate joke? If so, is it one with a punchline which, much like Dave Chappelle’s stand-up, is killin’ us softly? More to the point: Is 9/11 a joke?!! It brings to mind the AHH editorial written last month that so accurately juxtaposed the frivolity of Hip Hop’s current minstrel ‘Flava of the month’ to the significance of his past as Public Enemy’s hype man. Thanks to such gesturing jesters, a stain’s been placed on the meaning of a movement within Hip Hop and the relevance of a moment in American history. Fifteen minutes of fame and a few obligatory chuckles for such low brow foolishness? Pardon me for not laughing, but I’d rather savor a moment of silence and dignity. “The Flavor of Love and War: An Upstanding Stand-up to Low Brow Comedy” Like the plague that is Flava Flav I’m sick of this war waged in Abu Ghraib patriot games. It’s a paper chase that plays with the stakes of pride and prejudice. From the haze of blatant mistakes To the graves of a faceless race… The warfront’s an abhorred front – a heinous charade of timeless decadence. This war’s left a stain on a history of substance Like Flav’s done with the Enemy of the Public. It’s created a commiserate misery for those who love its testament. To harness the memory of a beloved subject And maraud its energy simply corrupts its cov’nant… It’s a dishonest injustice – what type of clown plunders such relevance? What type of minstrel pixie Whistles Dixie so simple and crisply While pilferin’ strictly to gratify self-indulgence? Such bittersweet flavors of governing Quite literally favors the shrubbery That savors the flavor of lovely themes ratified by wealth in oilrigs. As the oil on the canvas runs amok, it piles on drums of treachery That smack of s### and muck that sullies the 9-1-1 legacy. Political pythons numb us as they test and squeeze the faith of man. Bush and his delegation of lames on Air Force One Are the snakes on a plane full of airborne stunts… Their war tour’s a front – full of fake revelry like ‘snake in a can.’ If a snake in a handbag’s worth two in a bush And this bad gag near Baghdad’s an intuitive push, Then this intuition’s an initiative of Bush – it’s his 2-4-1 special on piracy. 1 strike for a feud between two asinine rulers. 1 price for fuel taxed with lies – that’s a twofer… All to pacify fascist-minded looters full of festival irony. Padded high with false facts of life, Their tactics devised bastardize Bush’s family ties. What a crafty line! – that joke just primes and sells itself? You can’t craft a grander design That demands outlandish laughter in the wry… It’s like pantomime – the punchline fails to be felt. Though not at odds with the paramedics, What I’ve catalogued bears its essence. The heir’s barometric – the tension’s too thick to be satirized. Thanks to an arrogant president, Terror’s a permanent fixture of American vestige That grants fear an apparent residence to be naturalized. Such a monstrous auspices Is a fraudulent sponsorship. Yet it’s flossed and flaunted with gaudiness to resurrect and disrespect it. They’ve corrupted an iconic mantra That embodied the resolve of The Contras… As idiotic calls paused the shot clock with nine-elevenths seconds left in it. All that for a few extra seconds of limelight. All that for extra concessions of high crimes. Refreshment, in hindsight, only awakens what’s dead. Why dredge up sacred memories Just to pledge us safer misery?!!… They’ve bled us for the sake of liberties that they’ve taken instead. But like any great delivery premise, We won’t get it ‘til the liberty’s finished. ‘Til then, we’ll vividly grimace at pitiful wit. In fact, just for the hell of it, Bush laughed at his negligence… For his lack of intelligence, I’m takin’ stabs at the President to tickle his ribs. I’m Curious how George tactlessly peddles. It’s a furious forge of laughably retractable mettle. He’s not a tactical fellow – he’s practically a barrel of breeding monkeys: When it comes to cheap laughs, he’s actually a credible performer. As a fear monger, he conjures African peril and paranoia… Heralding sordid propaganda like feral green monkeys. If this rant can’t sink in or goes over your head, It links to a joke that Jeb’s older bro said. Kerry’s joke poked at that Bonehead – dissin’ troops wasn’t his true intention. But as often as GWB messes up elocution, He’s made jokes about WMDs with perfect execution… He’s a reckless nuisance – fueled with rude perdition. From inappropriate jokes of a dolt […]

Thanks to Kramer: America Needs Him!!

In the early 90’s there was a female rapper/spoken word poet/Black activist named Sister Souljah. Most people know her for the song she did with Terminator X and Chuck D from Public Enemy called “Buck Whylin’”. WATCH IT: www.youtube.com/watch?v=VMbD_dFe0aA She made an album many people laughed off, but I thought it was amazing. It was called “The Hate That Hate Produced”. Her first single was called “Slavery is Back in Effect”. The video was off the hook. In enacted a scenario where Black people were put back to work in plantations and moved to mass concentration camps. She was hated by almost all the mainstream press. Only Phil Donahue gave her a fair platform to speak. Even Bill Clinton hated her. She is a hero of mine on many levels, though I never agreed with everything she always said. You thought this was about Kramer though? It is. I saw her do lectures several times. She was and is an amazing, intelligent Black woman. One time when asked about the word @#%$, she said something profound. Basically, she said it did not matter if White people stopped calling Blacks ******s, because WE (Black people) would never stop using it. This, she asserted, was due to centuries of miseducation and lack of cultural clarity. I grew up in the Bay Area suburbs. I got into a fair share of fights over the “n word”. That’s how my dad raised me and that’s how I raise my son and my daughter- to defend their racial and cultural dignity. But most people who have called me @#%$ are Black. I don’t care if they meant it in love, or hate…More Black people have called me @#%$ than anybody else. That is an actual fact. In fact, if I go to any ghetto in the Bay…I’ll get called a @#%$ more times TODAY, by Blacks, than I did in my entire life by Whites. But you thought this was about Kramer? It is. Since Kramers obvious mental breakdown/rant, Black people from all over the country are banning together to “Stop the N Word”. Good luck with that. Even Paul Mooney, the KING of using the word in comedy decided that he was going to stop. He claimed to be so shocked and upset. I respectfully suggest Mr. Mooney shut his mouth. I believe he is a liar. A LIAR. He made millions using the word. So the real question is, how much money does it take to make Mooney stop using the n word. Who paid him to do it and why did they? You see, Mr. Mooney comes from a generation where Black men were still hung, beaten, murdered, and lynched….He comes from an era where Black women were spat on and called that word just for trying to get a drink of water…Just to eat a sandwich…Just to read a BOOK- they were called that word, humiliated, and attacked. But he claims now that it’s because of Michael Richards he had an epiphany!!! Get the f**k out of here. I ain’t buying it. Just like I am not buying all these so-called Civil Rights leaders shucking and dancing to meet with Michael Richards. Meanwhile, over in NY, Black men are getting killed by cops on their wedding day. Meanwhile, Black men in the Bay are frying their brains on mushrooms and E pills. Meanwhile, I just walked out of DVI penitentiary and SAW with my own eyes the overcrowded jails with men of all races (but mostly Black and Brown)….But Kramer is where these so-called leaders run to???? The rise of N.W.A. wasn’t enough? All the decades of everybody from Master P, 50 Cent, Fat Joe, Kid Rock, Non-Phixion, Necro and even Jennifer Lopez using the word gave nobody a clue about how rampant this word was being used??? Public Enemy addressed the issue with their LP in 1991. The Coup addressed it years before that. Tons of rappers and social activists have spoken out against it. But the media ignored them. I’ll tell you a story. A long time ago I interviewed pro-Black rap group X-Clan. They rapped about self empowerment and respect for women and promoted a lot of Kemetis (aka Egyptian) spirituality. They also use the N word all the time on their albums and in interviews. I asked them why. I was told by Brother J and Professor X that the word would always be around. That you could never get rid of the word. What puzzled me at the time was, how could they ask young Black people to call to new Gods, if they still called themselves n*****s? How could you call them to a new spiritual plane, but still encourage them to use a term Black people never KNEW, until they were enslaved on the shores of North America? Sister Souljah knew the answer…She was right. Najee Ali of Project Islamic H.O.P.E. is the only man who kept a steady pressure on the media and entertainment companies for their constant abuse and use of the word. A lot of people who laughed at him then, should align with him now. Michael Richards is a red herring for these so-called Civil Rights leaders. He is the red herring reason people like Paul Mooney say despite the Watts Riots, the LA riots after OJ’s acquittal, the centuries of Black men and women being killed in America etc., MICHAEL RICHARDS is the cancer we must rally against???? I don’t think so. These times are filled with such fakes. Black America is in shambles and attacking Michael Richards won’t fix it. Neither will any new rap songs. Sister Souljah was right in 1990 and she is right now. The masses of Black people still use it, and still love the word. What Marcus Garvey, Macolm X, Eliah Muhammad, Martin Luther King and many others said still rings true today. It does not matter what ANYBODY thinks of you. It only matters what you think of yourself. I just wanted […]

Hip-Hop Is A B***h

Let me first preface this work by saying that in every industry there are women out there who have experienced sexism and people have turned a deaf ear. In addition, there are women out there who truly do feel that they must use their sexuality to get ahead, because this society is still a sexist society. And just like the hammer of racism, when a group is oppressed after so long, that group typically has low self esteem, and you exhibit other mental ailments that you would otherwise not exhibit if you lived in a loving and egalitarian society. I use the analogy of the elephant in a circus(trapped) who has a small wire on his leg and can’t go anywhere as an infant, becomes larger than the small wire and still believes that he can’t go anywhere even though he is much more powerful. But only in Hip-Hop is sexism acceptable and applauded – rewarded. In other corporate cultures, sexism exists but it is hidden. There is shame attached to it. Hip-Hop has become a woman-hating bigot that has taken 10 steps back in progress. Do you think I am lying? In Hip-Hop a man can call Black women “b****es”, “hoes,” “tricks,” “s####,” and whatever other degrading word that come to mind. In the lyrics and the life rappers parade these women around in front of the masses on a stripper’s pole with pride and no shame. Just check out the most recent BET awards show if you think I am exaggerating. In Hip-Hop, pimps are celebrated, just ask Katt Williams; and w##### are vindicated. Unlike everyone else who is so happy that the South now has a turn in Hip-Hop, I am trying to figure out when did strippers become more regarded than women like Coretta Scott King. What the hell happened? Hip-Hop has truly went South. Turn on the television and you have Flavor Flav, a man that was in one of the most socially conscious rap groups of all times, Public Enemy. He now flaunts Black women as if they were pieces of meat to fight over his affection. After two more shows of ridiculous betrayal to Black women, he picked Deelishis who is the poster girl for every Black woman that has a backside. But I am not sure if she has any intelligence to go along with that beautiful face and smile. In fact she isn’t the only one that rolled her dice in order to hit a Lucky 7, seven figures that is. At least I am hoping that a large sum of money is the real reason why she is embarrassing the Black community like she is. I have had plenty of experiences to show me that Black women and women of color are suffering from low self esteem across the board and believe that celebrity status can become their ticket of freedom even at the expense of pride. I can give plenty of examples of more Deelishises. One incident in particular is a female that used sex as a means to levy power against other men in the music industry. She slept with different men to get various positions in the industry. It was sad, people talked about her, but she didn’t really think anything was wrong with it. She slept with friends and so forth. I found it crazy. I couldn’t believe how she felt this was normal behavior. But this type of thing has been happening for years. However in the Hip-Hop industry it is unfortunately the norm. Another incident I recall regards a woman who stepped on a video set half-naked and, after she was called a b***h and a hoe by an A-list rapper, laughed as if it was the normal course of action. Those two incidents were probably the most disheartening. So when I hear about Kim Osorio being sexually harassed at The Source Magazine, I tend to believe her as opposed to the other parties. I believe her because this environment has made this an acceptable part of their culture. Rappers believe that because they can call Black women b****es and hoes on their song, and we’ve allowed it, that we can then allow them to call us that in “real life.” And unfortunately, executives support this type of blatant disrespect. And if you scanned the BET Hip-Hop Awards the stripper and hoe was outwardly celebrated. Yes, Snoop Dogg can walk us around like dogs on leashes on MTV. Flavor Flav can parade us around like cheap buffoons on VH-1. Young Jeezy can have us on stripper poles on BET. And Kanye West can state that biracial “mutts” are the most beautiful women he has seen in comparison to full-blooded Black women. Rappers can call Black women awful names in every lyric that they create. Men associate being a woman with being weak. This I guess happens in all industries. But in Hip-Hop, no one bats an eye. In fact, no one even says a word. Shemia Miller is the author of The First Ladies Club series. This series has been called a powerful book for Black women all around the globe. This series explores Black women and their potential power in the music industry. Ms. Miller holds a M.B.A. in global management and her interests lies in community and economic development for urban populations.

The Life and Grind of ESSO #2

What’s poppin,’ people? It’s been pretty crazy since the last time we talked. It started off on Monday October 16th at Diddy’s Black Party (the Press Play release party). Puff is legendary for throwing the meanest parties goin’ back to his days in DC at Howard University, so it felt good to know that I was gonna be able to say that I was at one of his events. The party definitely lived up to all the hype and I gotta say that’s the most fun I’ve ever had at an industry party. Usually industry parties are only about networking and being seen, but the dance floor at Crobar was packed all night. As an unsigned artist, bein’ seen at events like that is a good look, especially when I know how many people outside didn’t make it in. But what really made it crazy was realizing how many people were there that I knew, and actually feeling like I belonged there. Its one thing to be there. Its another thing to be there and feel like you’re supposed to be there. S**t was kinda crazy Tuesday morning when the pictures went up on AllHipHop and random people started hittin’ me on my MySpace tellin me they saw my picture up…hahaha (Good Lookin AHH!) Thursday night I went to a John Legend listening party that Sony put together. It was also the release party for Shade 45 on air personality DJ Wonder’s "School Daze" mixtape. Wonder is a DJ on “The Cipha Sounds Effect,” so I met him a few times back in September when I was doin’ the "Don’t Quit Ya Day Job" rap competition on Cipha’s show. Cipha’s other co-host Angela Yee was there also, and I was around them for most of the night. I also had a chance to talk to two of the original producers from the Bad Boy 90’s, Easy Mo Bee and D Dot. Mo Bee is a legend in the game (produced half of Biggie’s Ready To Die) and D Dot’s track record speaks for itself. I also met Eddie Blackmon (G.O.O.D. Music) and Devo Springsteen (who produced “Diamonds” for Kanye). I guess right here would be a good place to stop and break down why I’m always out and why I’m always at these different parties and events. It’s not because these parties are all that much fun, or because the liquor is free (because most of the time it isn’t) or because there are groupies there… Regardless of whatever industry you’re in, NETWORKING is something that you HAVE to do if you want to advance. The strength of your network is what’s gonna determine how far you go in whatever game it is that you’re involved in. If its the streets, and you’re network is all the connects wit the best prices, you’re gonna make the most money…if your hustle is Corporate America and your network is full of your peers and people who are willing to mentor you, then you’re gonna advance because people take an interest in your career. If its the music business and you have people that you can call on at certain times when you need to get something done and they know they can expect the same from you. Your chances of getting a real shot are that much stronger with the right network. Some people get it confused and think networking is all about who you know or how many numbers you have in your phone book or Sidekick or blackberry. Think about it like this…say you bag a bad chick on Friday night, if you don’t call her that whole next week, what’s the chances of her really remembering you when you call? Now what about two weeks later? Now a month? The strength of your network isn’t about how many people you know, its about how many people know you, and what they’re willing to do for you based on that relationship. It’s also about knowing when to use your relationships to your advantage. Sunday October 22, I went to a showcase competition in Midtown. My homie Sickamore was judging, along with Amadeus (producer), J Mazur (TVT Records) and Curtis Dixon (J Records). I ended up sitting in the judge’s booth all night with Sick which was real interesting. Seeing how the judges were responding to the acts gave me a kinda different perspective. This time last year I was on those same stages and some of those same A&R’s were probably looking at me the same way. Being there and not having to compete really let me know that I’ve made a lot of progress in the last year. For those of you in the NYC area, you can come check me on stage at T-NY on Nov 8. I’m out! By the way thanks to all the people that have been adding me on MySpace, keep the adds, messages and comments coming! GONE.

The Flavor Flav Editorial: A Teacher’s View

"Yo baby, can’t you see that’s nonsense you watchin’? Look, don’t nobody look like that, nobody even live that, you know what I’m sayin’? You watchin’ garbage, nothin’ but garbage. Straight up garbage. Yo, why don’t you just back up from the TV, read a book or something. Read about yourself, learn your culture, you know what I’m sayin’?" -Flavor Flav on Public Enemy’s "She Watch Channel Zero" (1988) As I entered my 6th grade classroom a couple of weeks ago, I asked the students "What did you do this weekend?"   Initially, I got the usual bland answers about movies, basketball practices, cheerleading activities, or just loafing around the house.   The day following the finale of season 2 of "Flavor of Love" I got a rousing response from one kid.  "Deelishis won the ‘Flavor of Love’ and New York was cussing Flavor Flav out and crying!" he exclaimed joyously.  After that response, most students turned to each other and started discussing the graphic details of the show that has captivated the country.    Initially, I prepared to shut the conversation down because it was inappropriate for class, but I was curious to see where this was heading. More importantly, I wanted to see what my students actually knew about Flavor Flav.  I’m completely familiar with Flav, from his musical genius to his Public Enemy days in the 80’s with Yo! Bumrush The Show! to even his storied legal problems. So I asked who Flav was, and my students replied with answers such as, "He’s a pimp" and "He be doing these shows about love and trying to find different girls."    Not one mention of the Flav that I grew up on.  “Flavor of Love” is not the first time my impression of Flav was crushed.   I remembered “Only Out For One Thing” on Ice Cube’s Amerikkka’s Most Wanted.  That was the first time I heard a member of Public Enemy rap in a more vulgar sexually explicit manner.   I can remember thinking as a young teenager, "Why is Flav saying this?  He’s in Public Enemy."   In hindsight, that song was a premonition of things to come in the career of William Drayton.    These days, Flav has reinvented himself and has become arguably the king of Reality Television.  This time the audience is morality-starved, rebellious teens and an attentive Middle America. His last three TV ventures ("The Surreal Life," "Strange Love" and "Flavor of Love" Season 1) have been without Public Enemy’s Chuck D, the militaristic S1Ws, or Professor Griff. All eyes on Flav,  and the flavor that he promotes is not so sweet to those of us that recall the Golden Era. The messages are void of revolution, social consciousness or intelligent thought, coming from the greatest hype man in the history of Hip-Hop. This is a mutation in my eyes.   Flavor has willingly allowed himself to be a part of the new minstrel show, as if Hip-Hop was short on sellouts.  Most middle school children don’t even know what a minstrel show is, but Drayton gives them a firm lesson and vivid examples with no assist from Miriam Webster’s dictionary.    Weekly, Flav managed to buck his eyes out, hunger for sexual attention, chase down big booties and buckets of chicken like wild jungle animals in pursuit of fresh prey. The toothy, ear-to-ear gold grin elicits more coonery than revolutionary free spirit.  The females on the show are reduced to bickering over this 47-year-old man, flaunting around in bathing suits, shaking their assets, pandering for attention, and seemingly pretending to love him for him.  [Oh, and most of them don’t know his legacy either.] Flavor’s antics are endless, and seemingly without a lowest common denominator. "You’re blind, baby, you’re blind from the facts on who you are ’cause you’re watchin’ that garbage." -Flavor Flav on Public Enemy’s "She Watch Channel Zero" (1988) Is Flavor Flav a coon?  A sellout?  A corporate puppet, as New York’s mother bluntly put it. That’s not for me to say – this is Flavor Flav we are talking about.   What I do know is that his audience scarcely recalls Public Enemy, a group that he was once such an important part of history.  Our children, the future of Hip-Hop and Black America, only know Flav as a guy who stands for nothing; a buffoon that VH1 runs 7 days a week, several times a day.   Flavor Flav’s clock once meant that he "knew the time" about the plight of African Americans, knowledge of underground schemes and genocidal initiatives. Now, in mainstream history, that clock will be primarily associated with the dismissal of 20 women in a 8 week span – all in the quest for "true love." The odd thing is that most of the women on his show are strippers, clear-cut hoes, wiggers, alcoholics, aspiring p### stars, deviants and other "appealing" characters. Good girls need not apply, but unsupervised children [and some supervised] have something to aspire to be. The Black fist has been replaced by a hand that is an equal opportunity groper. I think its safe to place Flavor Flav in one of two categories:  1) Fun loving guy with a gigantic heart, great hype man for a revolutionary Hip-Hop group. 2) A jester exploiting the very people he attempted to uplift in the 80’s and 90’s. Putting Flav in just one of those categories may be difficult and perhaps a gross oversimplification, but he’s not presented in any other way in media, interviews, television or otherwise.  There is no voice of reason, as seen in spurts on “The Surreal Life.” We can only form opinions about what we see. At one point, Flav provided the perfect balance to Public Enemy – a group that epitomized a revolutionary moment in time.  Chuck D’s was never a very successful solo artist and Flav was necessary. Despite his comical antics, he was the bridge that connected the less conscious with thought provoking messages.  "9/11 Is A Joke" was an example of how everything fits together […]

Looking for America

“Few of us will have the will to bend history itself, but each of us can work to change a small portion of events, and in the total of all those acts will be written the history of this generation.” ROBERT F. KENNEDY “I have always kept an open mind, which is necessary to the flexibility that must go hand in hand with every form of intelligent search for truth.” MALCOLM X Monday, November 8, 2004 I have sat in my Brooklyn, New York, apartment quietly, for several days now, too perplexed to talk with people, friends or not, about the American presidential election. I have read mainstream and alternative news accounts of the campaign, absorbed statistics and exit polls, sifted through the debates, flipped between CNN and the Fox News Channel, dodged most emails and phone calls coming my way, asking what I thought it meant that President George W. Bush had won, that Senator John Kerry had lost. I have heard the chorus of Bush supporters say it was Mr. Bush’s “faith” that led them to punch the hole, to pull the lever, to touch the screen for the president-elect. And I have heard the chorus of Kerry patrons say they feel robbed, that there must be some vast conservative conspiracy, that they are deeply traumatized, in a state of shock, that they know neither what to do next, nor to whom to turn. I have spoken with my mother, who has voted in every election since she has been able to, since the 1960s and the Civil Rights Movement, and who, with her sharp South Carolina accent and uncomplicated front-porch observations on the world, has always given me something to ponder. My mother, like me, is a lifelong Democrat and her sleepy response was dry, nonchalant, uncharacteristically melancholic: “Boy,” she said, “at least we got the chance to vote.” Indeed, mother, indeed. But has it come to this? To real democracy, real freedom, real self-determination being tied solely to our right to vote? Is the vote it? Twenty years ago, when I was an eighteen-year-old first-year college student at Rutgers University in New Jersey, the vote was the thing. I was stirred by a Southern Baptist preacher named Reverend Jesse Jackson, who, after Congresswoman Shirley Chisholm had run for president in 1972, was the only other serious Black candidate for president my community has ever had. Reverend Jackson encouraged us-young and old alike-to keep hope alive. And told us that we were, in fact, somebody, and we believed him, believed that our vote could, would, matter. President Ronald Reagan was reelected in a landslide that year, but by 1988, when Rev. Jackson ran once more for president and came in second in the Democratic primary to eventual nominee Michael Dukakis, many of us felt that Rev. Jackson, with those millions of Rainbow Coalition votes, had the power, the juice, to represent a new American coalition of progressive people-Blacks, Whites, Latinos, Asians, Native Americans, labor, city and country folks, working class people, middle class people humane enough to care about their neighbors to the left and right, and all those groups that had been marginalized during the Reagan-Bush years. It was, we felt then, an opportunity to win back the soul of the Democratic Party, to have a party, an organization that truly reflected the diversity, the “gorgeous mosaic,” as former New York City mayor David Dinkins was fond of saying, of America. But, alas, and for reasons only Rev. Jackson knows to this day, a great compromise was struck: the Rainbow Coalition was allowed to wither on an ashen vine in exchange for Rev. Jackson’s seemingly cozy relationship with the Democratic Party hierarchy, and many of us young folks became disillusioned with politics for years to come. I was 22, I was one of those people who walked away from politics in 1988, and stayed away right through the Clinton years, in spite of Mr. Clinton’s youthful appeal and Kennedyesque affectations. Yet I never stopped voting. I could not fathom that inaction. My mother chided me, habitually, that there was a time when we, African Americans, could not vote, that I had an obligation to do so for no other reason than that blood, literally, had been spilled, that heads had been smashed, literally, so that I could have a semblance of citizenship in these times. I write all of this to say it hurt me, immensely, to see so many young Americans throughout America registering to vote for the first time, volunteering for Mr. Kerry’s campaign, standing in lines in some areas for up to ten hours to cast their vote, then dealing with the harsh reality that their candidate had lost. It hurt me to see their tears of defeat, to hear the echoes of “Hey, it does not matter what we do, nothing is ever going to change.” There was a sense of confusion, of hopelessness permeating young America, older America, Democratic America, liberal America, progressive America. Many people believed that MTV, BET, Rock the Vote, the NAACP, the League of Women Voters, Russell Simmons, Oprah Winfrey, P. Diddy, Leonardo DiCaprio, Eminem, Michael Moore, and other popular and well-meaning institutions and icons could, and would, make a difference. People believed that because of the Iraqi war, the horrible economy, the outsourcing of American jobs, the ugly partitions that have been erected on our soil during the Bush-Cheney years-Black vs. White, White vs. people of color, Christian vs. Muslim, Americans vs. Arabs, poor vs. rich, straight vs. gay, and so on-that there was no imaginable way that Mr. Bush could get reelected. Many of us assumed, hoped, prayed that John Kerry, though a mediocre candidate at best, would somehow win this election and get America back on the course of figuring itself out, for the good of us all. But perhaps this is where our mistake began. We placed more faith in one person, Senator John Kerry, than we placed in ourselves. When Mr. Bush […]

The Hidden Bruise of Forbidden Fruits

There was a poetitorial written a few months back that addressed the impassive glances of Dick Cheney and John Edwards when they overlooked the impact of AIDS on African-American women. And yet, while this inactive stance deserved to be called out, a few of the more astute AllHipHop patrons noticed another blatant discrepancy: the poem failed to place any accountability in the hands of the Black community. There exists within the Black community, a vow of silence that aids and abets the AIDS threat with deafening volume. It is a silence of shame that has haunted our people through several generations. It’s hard to explain, but when it comes to imperfections within our families, it seems that the quicker and stronger reflex is to cover up and deny before we address and admit to them. OUR sons can’t have AIDS because OUR sons can’t be gay. That’s why we’d rather traipse halfway around the world to address AIDS in the open terrains of Africa rather than confront it in our own backyard. Not to say that the epidemic in Africa is trivial, but how can we fix a problem in another country while our people are dying here – in our displaced, yet native land? Much the way some true Africans will space themselves from their American counterparts, we’ve created a distance large enough to disassociate ourselves from this disease because of how it behaves and the blemish it places on whomever’s connected to it. If our women have AIDS, it’s because they’re either sleeping with men in lapsed or disregarded judgment or because the men have forced themselves deep into the closet for fear of being disowned. It’s a sickled cycle full of skeletons that we need to deal with – lest these ‘dead men walking’ turn our dying livelihood into a thriving necropolis. “Undercover Brother Lovers” Undercover brothers these days Are ripping sons from mothers with diseases like AIDS. It’s no longer a theme plague for gays, hypes, fiends and addicts. Undercover brothers these days Make suckers for love deeply afraid As poisonous covers smother comfort with H-IVy league status. You know the adage that catches ladies up: On average, there’s a famine for lady luck – To safely pluck good men to love is a number’s game. Numb from the vain attempts of layin’ up With these lame exempts from player’s clubs, Their faith’s been slung through the sewers of lovers’ lane. These lovers lay in the bane of awkward spaces From lookin’ for love in all the wrong places. They’ve all but wasted their grown-up intuition. Glued to dudes with something to hide ‘Til they come up with bruises and HIVes… They willingly brood with wool over their eyes to soak up suspicions. With broken senses enhanced, A provoked vixen begets conviction for her man. Though wincin’, she knows her stance – her man is straight! So though crooked as Nixon’s scams And riddled with nicks and scabs, She’ll piddle with this p#### and advance her damage rate. Though B-littled A little by his sexual deviance, She’ll O-mit his sexual malfeasance. She won’t test him even – not with those ABs of steel! Besides, it was only a compliment When those lonely women accosted him… Why admonish him if young blood’s got whip appeal?!! Hidden and concealed beneath such fabric cloaks, Undercover brothers perform magic shows. DL cats are a tragic joke – forget Hughley and Eddie Griffin. These dudes are deadly weapons That are fooled by a deadly obsession… As daily suppression’s fueled hugely by petty traditions. As forbidden fruity pebbles make waves in the pond And shoes get unsettled from the grains they lodge, Society aims at it hard to get it beneath and beyond its insole’s keep. That’s why these cats toss red herrings and cover-ups Like fat capitalist, red-wearing Republicans Making public runs and fronts that stun like Mark Foley. Incensed men with a bone to pick Are the wrong victims to get screwed over with. If bent over in the pen – what man admits to it openly?!! Whether raped or the acting c### provocateur, They lack the prophylactics to block the worm… Talk to the wardens – no condoms transmit like an open feed. This transcends hopes and dreams – if not stockin’ rubbers means no sex is happenin’, Then a lot of pregnant teens have conceived immaculate. That policy’s hardly accurate – ‘don’t ask, don’t tell’ don’t work. Providing jimmies doesn’t advocate sex in jail, But denial’s a river that saturates death in cells That’s swept females into vast swells below the earth. What’s their soul worth if none address this disastrous pandemic? Why travel the whole earth to dress Africa’s appendage? We’ve got a Diaspora of women dying in states of united medleys. Why don’t our reverends preach it to choirs and converts? Why is there hesitance in leaders of tireless concerts?… Why’d they retire like codgers releasin’ silence so deadly?!! Why is it Reggie? – ‘cause we’re all appalled and speechless To find out OUR sons juggle balls and peaches. That’s the image we all speak in – deacons and deviates alike. Judgmental and homophobic, We hush and fuss fickle over the notion… With explosive emotions, blinded bigots can’t see the light. We concede to fright – once tempers flare with night-vision gay-dar equipped, The vision impaired turn blind eyes to distance gays at arms length. Bright as day, such ‘logic’ robs our sensibility. Even those spiritually enlightened Seem empirically frightened… Chastisin’ gay specs with beams in their eyelids that can’t be sensed visibly. Don’t get tense with me – you know our community. We always bomb with scrutiny. Like Islamic mobs of mutiny – our resolve is dutifully rigid. But when I see unlawful unities, Though my remarks disregard its impunity, I can’t launch darts immutably dipped in lunacy’s liquid. Hidden beneath such memorial quilts, These ‘menstresses’ sneak with deplorable skill. They share agendas in horrible guilds of unscreened actors. As unseen factors torridly build From […]

The Life and Grind of ESSO

Untitled Page What’s up, AllHipHop? Allow me to introduce myself and get all the formalities out of the way. I’m ESSO, Harlem’s own Certified Grinder / Breeding Ground Alumni / Unsigned Artist / Mogul in Training / Whatever you feel like calling me today… AllHipHop.com approached me about doing a journal to give you a bird’s eye view of my life and grind, so that’s exactly what I’m going to do. So why me? What have I done to deserve this? Good question. For those of you who check out the Breeding Ground you might recognize me from earlier this month (October 2006)…I just released my first full-length mixtape "ESSOcentric Volume I: History in the Making" hosted by Sickamore (A&R Director at Atlantic Records/80’s Posterboy link), I’ll be in the November issue of The Source magazine as Unsigned Hype (following in the footsteps of B.I.G., Eminem and a few other household names), I was the winner of the "Dont Quit Ya Day Job" Tournament of Champions on The Cipha Sounds Effect on SHADE45 at Sirius Satellite Radio, opened for Howard Homecoming’s Yardfest concert October 13th, and the list goes on, but I’m not really here to brag about what I’ve done. This journal is probably going to be the sort of thing that 10 years from now I can look at and be proud of. Most of the time all you get to see is the finished product, but its not until you get to a "Driven" or "Behind the Music" that you really see what it took for that person to get there. So this is kinda an early version of that, but the difference is, instead of other people looking back, reminiscing about "back then" you get to see it as it happens. You’re gettinfg in on the ground floor, so strap up and get ready for the ride. It’s going to be interesting, that I can promise you. So just to give you a recap of went down in September, I released my mixtape "ESSOcentric" (which by the way is available wherever you cop your mixtapes – SHAMELESS PLUG). The CD has gotten flawless reviews on some mixtape sites and a lot of love in the streets. I treated my first mixtape like my first album because the way this game is right now, there’s no such thing as a "faith" deal. No one is going to take a chance on somebody unproven just because they have talent. So what I did was basically make my version of an album over other people’s beats, and a couple originals…but every song is my own concept and has its own identity separate from the original version. I also got the word in September that I would be featured as Unsigned Hype in the November issue of The Source (whatup Fahyim, Julie and Ced?). I passed Fahyim (Editor-in-Chief) a promotional CD in The Source offices earlier in the year way before my mixtape was done. We ended up running into each other at another event and he told me he really liked my material, but he thought I was already signed. When I told him that I wasn’t and that we hadn’t even started deal shopping yet, he immediately wanted to put me in Unsigned Hype. Unsigned Hype has predicted some of the biggest artists in the game so I’m honored to be a part of that legacy. For the clueless, B.I.G., Eminem, DMX, Mobb Deep, CNN and Common are all Unsigned Hype alumni. Sept 29th I went up to SHADE45 for the last round of the "Dont Quit Ya Day Job" Tournament of Champions on The Cipha Sounds Effect on SHADE45 (shouts to Cipha, Angela, Moti and DJ Wonder). I went up against The Choirboy from NJ, who’s got a pretty big record out right now on the NBA 2K7 soundrack called "Catch My Breath." I played "Creep 2007" from off of my mixtape, which kinda got knocked because it was a remake as opposed to an original song. The audience called in and votes went to ChoirBoy so I had to rock first in the freestyle rounds. Thank Sirius I could curse in the battle, because I went in for blood in the freestyle round. So the judges voted and I won. Now my joint “Bein Me” is in rotation on the show, which is a real good look (BDS…look it up if you don’t know). Shouts to Choir and his team, we going to be getting some work in together real soon. Some of the judges for the entire tournament included Leah Rose (XXL Magazine), Jerry Barrow (Scratch Magazine), Omen (producer), Chris Green (Sony/BMG), Deric "D Dot" Angelittie (producer), and AllHipHop.com’s own Jigsaw (just so you know that there were some heavy hitters involved) One of my favorite weekends of the year has to be Howard’s Homecoming, the college I attended. Seems like the whole world stops and everyone is at Howard. This year was the first time I was back as an artist, definitely a change from being there just to party and catch up with friends. I performed on Friday afternoon at Yardfest, which is a free concert right in the middle of the campus. I left from New York Thursday night so I could get settled before performing on Friday afternoon. Friday morning my homey came down from Detroit to wild out with me for the weekend. He didn’t know he was going to end up being my hype man for the show, but s**t that’s what friends are for, right? The show was crazy, a little bit of administrative drama backstage, but luckily my dude Will from Vibe Magazine held me down and we were headed into the Green Room to get ready to hit the stage. I wanted to bring my girl IB3 out with me so we could perform a track we did together called "Whas Poppin 2nite" that’s been getting a lot of love lately, but it was too last […]