Untitled Page We all know that natural disasters are unavoidable; you cannot fire missiles at a tornado and expect it to stop. Armed troops are as useless in a gunfight against an earthquake as they would be marching towards heaven to challenge God. Dropping a nuke on a hurricane would be like pissing in the wind, the radiation alone blown to every part of the nation would poison this country and everything around it. With that said, things that can be done to avert tragedies when they are known to be coming are a completely different story. Cutting the funding for the now imperative job of rebuilding a levee, and the complete disarray of a nation’s forces when the people of America needed them the most is inexcusable. Many comments have been made, both by the left and right. People have acted as if racism has reared its ugly, head. As if its eye had not been watching us from across the perched eagle and gained from our loss over the years. I’m not one for conspiracy theories. I wrote a song called "Bin Laden" and Green Lantern put together a hook to grab people’s attention but the lyrics were focused on what was going on in America, not Bush and the Towers. I wrote in "The Cause of Death" that Bush was not responsible directly, that he didn’t plan 9/11. Still, he and his administration have definitely benefited from the end result of all those people dying. Like it or not no matter what your political views are – realize that. And then remember how in a murder case, a simple one that a local sheriff’s department. may get, we always examine those who stand to benefit from the death of that individual. Why did we never ask ourselves the same of 9/11? Well, now with the Katrina disaster we have another opportunity, to ask ourselves: Who benefits from the tragedy that has befallen the people of New Orleans? Who will have that land? Who will buy it out? Will the Federal government assume more control of the nation because of this pressure that it acted to late? And now that we know racism is still an issue because of the media’s portrayal. Can we actually sit down with the Right wing and ask them why they think that Blacks are not victims, but rather the recipients of their just due in America? Why Latinos and Blacks are graceful when we swallow racism and hatred and belligerent disregard for our people? But to them we become racist ourselves, spiteful and ‘radical’ for simply pointing out what everyone else, even other white people see as truth. America is seen as brave and resilient for striking back at its enemies but when we even criticize the system that enslaved us, stole our religion, raped our women, our land and our spirit we are not brave, we are traitors and ungrateful for the place we were brought to. We are lucky to work here so we cannot complain about picking strawberries or making up the jail populations since it’s probably better than whatever we got in Latin America right? I don’t believe in justice in the hereafter I believe in having it now… Then there are the people who are wearing the Emperors clothes for him, talking as if Bush was some rock of Gibraltar. As if he had led us like Ulysses Grant thru a Civil War instead of running this country thru the mud. This man is a complete failure as a president and this has finally awoken some people to it. Sept. 11 was a cover up of mistakes, dark alliances and economic power moves. The campaign to remove the Taliban should have never been conducted after 9/11/2001, but rather in 1998 when they started ethnically cleansing their own people the Asiatic so-called "Hazara." We have always put corporate profits before the living standard of people in American foreign policy and now that echoes in our own nation. That is the very nature of Capitalism. But nothing in the form of corrupted Russian Communism offers a viable alternative, only an unmasked totalitarian rule without the details that we have and the choice between Pepsi and Coke. I’m not a Marxist, a Communist or an anarchist I am just a Peruvian/Black muthaf**ka from Harlem but I could see this truth if I were blind. Bush ruined his invasion of Afghanistan by not capturing Bin Laden and leaving that country in ruins while being run by Dick Cheney’s b***h Hamid Karzai. The closing in on Al-Quaeda was interrupted and we only sent in a few thousand troops whereas we sent in more but not enough in Iraq now it seems. Iraq…Another blunder, a place we should have never gone. And since Saddam’s guards were not trained by the SOA (Check out www.soaw.org) like most of Latin America’s puppet presidents, he had to be removed by invasion instead of assassination. Fighting the “idea of terrorism” is like boxing the waves the ocean sends at you at the beach. An idea cannot be killed, good or bad it has to be found at the root and explained, then and only then can we understand how to resolve issues. This president hasn’t resolved any issues or finished one thing he started since he was doing lines in college. No Child Left Behind is a disgrace and a secret draft, this economy is crap, gas is damn near $5 in some places in the South and its still $3.40 up here. This president hasn’t resolved anything by flying by the city of New Orleans or taking photo opps in deserted parts of town. Hold on, now that this mess is unfolding and you’re distracted, John G. Roberts will be Supreme Court Chief Justice and another conservative will join in the fray. But the public will not care, they will be split. Blacks and Latinos and poor/conscious whites shaking their heads at the way the people […]

As the infrastructure of New Orleans washed away, and the social contract collapsed, one American institution withstood the forces of flooding, death, and violence: the taboo of race. Even as numerous reporters from CNN’s Anderson Cooper to Fox’s Geraldo Rivera broke down on television and refused to put a positive spin on the abandonment of New Orleans’ residents—and even as images of black people stranded, starving, and dying dominated news coverage—the American media could not bring itself to acknowledge the fact that the profound suffering of Hurricane Katrina was meted out unequally. And it certainly could not bring itself to ask if there was any connection between the race of the victims and the incredible lag time in federal response. Not until Kanye West, that is. On Friday night during a live NBC broadcast of A Concert for Hurricane Relief, West deviated from the teleprompter script and challenged America. ”I hate the way they portray us in the media,” he began. ”You see a black family, it says they’re looting. You see a white family, it says they’re looking for food.” This comment references photos that surfaced on Yahoo News late last week and promptly set the blogshpere on fire. One showed a white couple carrying food, and was captioned: " Two residents wade through chest-deep water after finding bread and soda from a local grocery store." The second showed a black man lugging a case of soda and a bag. The caption read: "A young man walks through chest deep flood water after looting a grocery store." West noted that "many people who could have helped are fighting a war." He also said that "they have been given permission to go down there and shoot us," apparently referring to the shoot-to-kill orders that had been given to the National Guard. The rapper went on to charge that America is set up to help poor people and black people last, and then stated: "George Bush doesn’t care about black people." West has a point. As the world watched horrified, poverty-stricken black residents unable to evacuate were stranded in attics and on roofs and highways without food, water, or security. They were left to fend for themselves against the sweltering heat, the rising floodwaters rank with corpses and human waste, the rats and alligators, and the roving bands of armed men that had lost their minds. Women were raped. Babies died from dehydration. Elderly people perished without essential medicine. The Superdome descended into hell. A major metropolis in the United States of America looked worse than any Third World country. And how did Washington respond? Day after day, the Bush administration did nothing. They claimed that New Orleans was unreachable. But, as the New Orleans Times Picayune pointed out in an open letter to Bush, journalists were able to get in and out of the city, as was celebrity Harry Connick Jr., who delivered aid on Thursday morning, and was televised doing so. Wal-Mart was able to get 13 of its trucks to the city to deliver relief supplies. Now the line from Homeland Security Secretary Michael Chertoff is that he and Federal Emergency Management Agency chief Michael Brown were not kept informed by local officials. Perhaps they missed Mayor Ray Nagin’s WWL-AM radio appearance, during which he cursed and yelled, begging for help. The mayor noted he had approached the governor, Homeland Security, and FEMA, and expressed outrage that help hadn’t arrived. Kanye West said what nobody else in the news media had been willing to say: that this disaster was all about race and class. That New Orleans was an abandoned city well before Katrina hit. That the disaster could have been averted if the government had focused on its domestic duties—i.e. maintaining levees—as opposed to fighting foreign wars. That the hundreds of thousands of people that did not evacuate didn’t have the financial means to do so. And that African-Americans, one more time, were forced to suffer inhumane conditions at the hands of their government. West shattered a profound silence in the American mainstream, forcing both the media and the public to examine the role that race has played in this tragedy. His comments pushed Larry King and others to ask, "! is West right?" Not surprisingly, the backlash against West has already begun. NBC distanced itself from the controversy immediately, stating that " it would be most unfortunate if the efforts of the artists who participated and the millions of Americans who are helping those in need are overshadowed by one person’s personal opinion." The Associated Press reminded readers that West had previously had an "emotional outburst at the American Music Awards after he was snubbed for an award." Fox News’ Saturday morning show slammed West for inappropriate timing. On-line, things were much worse. Posters on www.redstate.org called West "deranged," a "racist," and "an ignorant young man," and opined that he was "probably high." Conservative op-ed columnist Sher Zieve wrote on her website that West’s comments prove that "le! ftists have raised a generation of ignorant, malicious and increasingly incompetent-to-comment-on-virtually-anything ‘adults’." People will likely call West many more things in the ensuing weeks. But nobody will call him a coward. Tara Henley is a music journalist with The Georgia Straight, Canada’s largest urban weekly. Learn more about her, and contact her at www.TaraHenley.com

As journalists, the number one dictum is to be unbiased, objective and accurate. It is with a heavy heart that I watch TV as the nation is in turmoil as a result of the devastation of Hurricane Katrina. What is becoming increasingly frustrating and infuriating is the biased coverage that news organizations, including the Associated Presss (AP) are presenting to the world. It is irresponsible and incorrigible to characterize the behavior of people desperately trying to survive in unimaginable circumstances to be labeled as "looters." If you have a photograph or footage of people with TV’s on their backs crossing through neck high water, then it is fair to call them looters. But to say that people with bags of food, water or clothes are looters is ridiculous. It seems to me that nuances and word choices are being used to characterize an entire race. Additionally it seems that once again, black people who are the majority of the Americans suffering in New Orleans are automatically being characterized as criminals and thugs. Yes, there are a small percentage of people who are misbehaving. But the majority of people down there stuck with no resources are law-abiding, family-oriented, hard-working Americans in a dire situation–with no help in sight. Instead of focusing on looting, why not have use some courage and journalistic integrity and focus on your journalistic duty–which is investigating and reporting the real story–the American government has failed it’s citizens. Why? Is it because the majority of the people are of low-income and of color? Is there a feeling somewhere deep in the subconcious of the powers that be, that because of this, their lives are worth less? Why after four days hasn’t more transportation from all over the country been sent to evacuate these citizens? To feed them? To save them? Why are people only being sent to Houston when there are 49 other states and millions of people willing to physically help? Why won’t they let private citizens in to help if they’re not going to? By tomorrow–I fear that thousands of people will be dead of hunger and dehydration. Then America will truly have a riot on their hands. Why not use your power as media to initiate change instead of denigrating a people that are already down? (Think Woodward & Bernstein) You can help change things before it’s too late. I’m tired of this–and so are the American people. We deserve answers, we deserve journalists that fairly cover our community instead of constantly labeling them. In the 1970s, my mother was at the AP as a reporter and was discriminated against and vilified because she was black. She sued the AP and won–opening the door for intern and editorial programs specifically for minorities and women! As a trained journalist I too have experienced bias in the newsroom–the double standard that black journalists can’t cover objectively because we are biased, or simply that we’re not cut out to be journalists. And most of you guys think you’re liberals–but the reality is that even in 2005 the same bias continue to frame your work. It is simply disgusting. Don’t pretend to be an objective and unbiased news providing organization if you can’t really achieve that. MSNBC seems to be the only news organization that is covering this from an honest point of view–from a human point of view. This is not about race, except for the human race, and it is heartbreaking, disappointing and utterly disheartening to think that this is how America treats its own citizens. It is not about why people didn’t leave–at this point it’s about how do we get them out. That should be the number one priority of the government and THEN they can focus on the pipelines and the flooding. So now I say, if there was anytime to be SUBJECTIVE and emotional as reporters–the time is now. You should be angry as U.S. citizens that our country and our leaders–who have put so much money into the military and into protecting America and the world is behaving like the Keystone cops, unable to properly organize the rescue of thousands of people in their own country. This is the essence of what Homeland security should be–and yet you tip toe around the issues when this comes up. If you don’t do your jobs, the American people are going to. We are going to march and protest until somebody saves those people. Even if we have to march in front of the White House or down to New Orleans ourselves. I implore you to skip the melodrama and the hype, to put aside whatever prejudices you may have–to even acknowledge that you may be slanting stories because of bias you may not even be aware you have– and report the real story. Take these officials to task, don’t let them off the hook in the interviews until you have real answers about a plan of action—make them accountable, and use your power to help evoke immediate change. This could happen to any of us, put yourselves in the survivor’s shoes–you wouldn’t want to be in them, and they shouldn’t be in that situation now. Signed sincerely, Morenike Efuntade An Activist and concerned & p##### off U.S. citizen

Rappers today have achieved levels of success that the pioneers of this generational phenomenon could once only dream of. What we are witnessing now is progressive prosperity: the seeds sown by Hip-Hop’s ancestors are being reaped by their present day offspring. Only now, the harvest isn’t as natural as it used to be – it’s a hopped up and recycled product, a shallow shadow of the precedence that once set this art form apart from anything anyone had ever heard before. In short, some rappers today have managed to emulate the very words that they create in that they all sound the same. Granted, there is still much originality to be appreciated in what is now a global industry; however, we must remain mindful of what is being created in a process that is no longer an expression of individuality as much as it is a generation of corporate cash. And for record companies, the best way to maintain ‘money in the bank’ is to repackage and mass produce what has already been proven as successful. “Sessions of Self-Destruction” a.k.a. “Rap Attack of the Clones” We now live in a climate Where lyrics are criminally minded. We’ve been mentally blinded by ‘Thug Life’ tattoos and attitudes. It’s one thing to call attention to city limits – It’s entirely another when it’s mimicked as a gimmick… It’s an extrinsic epidemic of facts misconstrued on wax tunes. I’d rather see emcees lyrically finesse with good hooks Over emcees interiorly recessed in hood nooks. God forbid them coming spiritually correct from the Good Book – pigs would fly first. Instead, most choose validation By corroding their talents wasted Into a pool of miscalculations that drowns and hides their worth. What’s embraced now in raps and flows Is a blatant take on the files found in Attack of the Clones. Rabid tones are etched in stones around the necks of folks with a new noose. If we could replace half of the status quo and flash that’s shone With immaculate quotes filled with facts for the dome… We’d be masters of our souls – yet instead, we disappoint like Episode II. Caught in the middle of rap’s battle zone, Hip-Hop’s new followers need chaperons – Many have attached to roles where crack is sold not in vials, but images vile. No one hardly references the tracks of old When veterans still had their souls… If they’re not reppin’ capital, their style’s not worth mentionin’ now. New jack rappers seek the easy way out in formulas That have been easily laid out for the consortia. Don’t consort with them, I’m warnin’ ya’ – their deeds mislead and strip the people. Today’s rappers have stolen harmonies in their criminal records – They all commit bold larceny with pitiful gestures… When lines are contrived with minimal effort – I just say no to the track and skip the needle. I’m worn out by tired flows and unoriginal ledgers. I’m pullin’ horns out to blow whistles on these whimsical jesters. They’re timid little hecklers – too afraid to stir still waters without stolen thunder. They’d rather whine about windin’ waistlines And invade minds with tales of sellin’ base and dimes… They’re all wastes of space and time – collabos implode whenever these clones lumber. If you didn’t get it, study physics – the latter line’s at its baseline. Like matter can’t occupy the same space at the same time. When we feel quakes, it isn’t the bass line – it’s the ripple effect of self-destruction. The way it reverberates effects the system And sternly shakes the vertebrates of these mechanisms… When words are fake, they wreck and wizen the special wisdom once held in the subject. This epidemic’s especially wicked in the midst of cloning threats. What once served as shock value now controls the set. Biggie Smalls was the older Fett – clones of the vet know success by emulating his role. Rap’s overrun with so many random Boba Fetts Carrying theoretical handguns and supposed threats That the tones they’ve clepted now slowly beget a single note that’s taken its toll. Equal pitch and frequency repeated causes resonation. When left untreated, the damage extends beyond reparations. The aftermath’s a disastrous path set in the wake’s run – forget a takeover, take cover. Like Todd after Diff’rent Strokes or Like Nas when he rekindled his folklore… The bridge will be over – as chasms between Blacks and Rap will crack from blasts of fake thunder.

So, AllHipHop.com wants to do another annual “week,” eh? Well I am going to offer the real deal on the so-called AHH Week for all the people that might want to attend (and those that might not want to come through.” THE ANNUAL BBQ I don’t know who thought it was a good idea to offer free food to Hip-Hop heads, but these people did it. Notice, I didn’t include myself? I wanted to charge people about $10 a head to eat, but I was promptly overruled. Anyway, AllHipHop will offer free food from Mona Scott’s (of Violator Management) restaurant (Soul Food, y’all!) And, it should be dope with DJ Aqua on the wheels. He did an excellent job on the wheels of steel last year even though he made me carry the crates. Now, I have to lay some laws down. Gentlemen, please don’t come to Brooklyn’s famed Prospect Park with sandals on. Nobody wants to see your ashy, Flintstone feet sticking out of some shoes. Ladies, most of you look good, but please don’t bring your message board squabbles to the BBQ. Last year, I heard a pair of nice, young ladies got into a disagreement on the net and found out they were kind of cool in person. (It helped that one of them was like 6’2” – Whoa!) Security is serious, but we don’t even think they will be needed. We all come in peace, right? Yes! GAMERS UNITE FOR MADDEN ‘06 I admit, I haven’t played video games since the days of Atari, but everybody from grown a** men to kids love this Madden game. Therefore, they decided to host a tournament on SundayAug 21st. The first ever AllHipHop Madden 2006 Tournament! Now, I’m cool with this game, because my man Donovan McNabb of The Philadelphia Eagles is on the cover (what curse!?!) This competition is cool too and prizes will be awarded. Anybody that plays me will be guaranteed to win the tourney, because I suck. I will rock cats on pong though! By the way, I heard the T.O. on Madden 2006 is holding out for more gigabytes (OK, corny!). THE FIGHT KLUB! You know all about the Fight Klub rap battles right? If not, I’m here to educate and pull you from under that rock. It’s the rawest, most brutal battle ever known to Hip-Hop. With respect to BET and the ol’ Blaze battle—this ain’t that. Anyway, I’m hearing there is money in the pot, which will be given to the winner. Of course, we have been besieged with inquiries from every rapper on Earth, but this one is invite only. In fact, to attend you have to be invited by the AHH staff or the creators of the Fight Klub. Nevertheless, I don’t envy anybody that’s judging this contest (DJ Envy, Just Blaze and others)! The dudes are brutal on the mic, but I’m sure they are scouting talent as well. Check this out, “I’m so ill, I will punch a whole in you the same size as a steering wheel.” OK, this is why I write. THE BREEDING GROUND… This is the event that I want to see most – The Breeding Ground! Yes, AllHipHop’s infamous unsigned talent showcase comes to life. If you remember last year, you know that Saigon got the whole thing crunk with his expertise in hosting the event. But, this year Just Blaze’s flagship artist be performing with cats like Maino (Universal), also we have former Breeding Ground group from Chicago now signed Qualo (Universal), Da Backwudz (Rowdy/Universal), and SunNY (Virgin)! Wait, you say – they are signed, illseed. The performing acts that have been featured on AHH are P-Wonda (North Carolina), Merc & Main (Virginia), Reef The Lost Cauze (Philadelphia), Curtains (Brooklyn), Scrooge (Bronx). All of them have been featured on AllHipHop.com! Now, this is being held at the Canal Room, not SOB’s like last year. First 50 babes, I mean ladies, get in free! Now, there are a lot of cats trying to do this, but if you were there last year, you know BR is not to be missed, my peoples. Hell, I might bust a move like Young MC. THE SOCIAL LOUNGE… This is actually my favorite event! Where else can you get rappers to actually sit and talk? The Social Lounge is the place to get it crunk without throwing a single ‘bow. This installment brings out Jim Jones, David Banner, Remy Martin, and Minister Kevin Muhammad of the Nation of Islam. A variety of topics will be discussed at SOB’s, but I’m not going to let the cat out of the bag. Actually, I should rethink that, because I don’t want PETA after me. Just when you think Hip-Hop has no brain, common sense, hope or compassion for anything living, AllHipHop engages the intellect. Oh yeah – IT’S FREE! AHHHHH…THE GROWN & SEXY FINALE… Now, this event is for people with class, elegance and have a flair for fashion. That means if you are young, old, fly and flashy…the Celebrity Urban Fashion Show is for you! Now, the hosts are two of the finest ladies to walk on the face of Mother Earth – Toccara (“America’s Next Top Model” & “Celebrity Fit Club”) and Egypt of Power 105.1 and “Home Delivery.” Now, I have to say I love the way Egypt can help a person with no ears or no hair on “Home Delivery.” And Toccara, you don’t need to lose no weight, homegirl. That’s right I said no weight, improper English and all that. Moving on, some of the best and brightest talents will be gracing our runway. This includes Ron Artest (NBA All-Star and Knock-out Artist), Anson Carter (Black NHL All-Star), Jae Millz (the New New Yawker), Grafh (The Black Eminem), Denim (an amazing singer), Mad Linx (Why is B2K on “106”and not you?), Maya Azucena (another fly singing sis), Sickamore (America’s Next Top Mogul), Babs (Bad Boy’s Bad Girl) many more to be announced! There are […]

As impressive as it may be to keep your circle of friends close by you when you become a ‘celebrity’, it is also foolish if they are ignorant and from the block. It is commendable that most rappers, athletes and actors bring their ‘friends’ along for the ride, but it is also stupid to allow their behavior to affect potential income. We have been reading and/or watching reports in the media about ‘so and so’, who is connected to ‘what’s his face,’ being involved in some type of criminal activity or a random act of ignorance or stupidity. This doesn’t cause the actual culprits to be publicly shamed like the ‘celebrity’ they hang with. In actuality, no one seems to care who they are – the people only care who the culprits are connected with. It is totally unfair and it sickens me to read a story about somebody who happened to live next door to the rapper in the projects. The burden of making a non-story a story blinds the minds and eyes of the media reporting such incidents. So if I have a platinum CD in stores and I am starring in two movies, keeping my nose clean, it all goes down the drain if my boy who sat next to me in junior high school, who has his own life, just happens to be seen with me at a party, if he happens to smack his girlfriend in the mouth, it’s linked back to me simply because we are friends. Mind you, I am nowhere near him when he commits such an act, but the media HAS to mention my name in the headline based on my association with him. Now how ignorant is that? But on the other hand, these ‘artists’ know which of their friends are the knuckleheads, yet allow them to ruin whatever they’ve worked for, all in the name of ‘keeping it real’ with their peoples, not realizing or even if they do recognize, not caring that in the end, it hurts their profit margin in the long run! Instead of looking out for their boy, the fools simply don’t care because they know their ‘mans and them’ will get them out of any trouble they cause. All in the name of not looking bad in front of their ‘peoples’ despite the fact that they lose money because of the ignorance of their ‘boys’ and only when it’s to late, are they willing to make a change to stay a money maker. Or how about these fools that keep the rowdy factors around them to help legitimize their claim to being gangsta? Or the ever-present muscle that let people know that they have a crew that can’t be f##### with. As I have already stated, ignorance rules the minds of these ‘celebrities’ to the point where you anticipate stupid s### happening! I just hope that whatever artists that are coming up or are currently out, have enough sense to allow their boys to come along for the ride, but also have enough control to let them know that the ride will be short if they act up. Entourages- Who really needs them when they take away from the very reason you make money!

I implore the powers that be to implement some type of governing body that can approve, disapprove, reject or accept what comes and goes through our culture Hip-Hop. Said authoritative group would consist of Hip-Hop’s elite and influential players like Chuck D of Public Enemy, founding father Kool Herc, mogul Russell Simmons, rap god Melle Mel and even newer cats like “cult leader” Cam’Ron. This utopian government would also include political power players like Davey D, the Nation of Islam, NAACP and other grassroots organizations. In my fantasy, the first order of business for such a Hip-Hop regime would be to issue out some type of warning as we draw closer to drama, disaster and quite possibly death. Death, disaster, drama and Hip-Hop have become like roommates that get along quite well. Remember the incident at Hot 97 when one of Game’s men was allegedly shot by one of 50 Cent’s men? My system could have prevented that quickly and quelled the beef before that mess got to that level. Perhaps foolishly, my system is loosely based on the flawed Homeland Security color code system, which was like a sick, manic inside joke by the government. I just can envision that some administrative fear-monger is behind the scenes like, “Watch this: I’m going to raise the terror warning all the way to red and watch them cower in fear of another September 11.” My system isn’t that. It’s more of a theory for conflict resolution in Hip-Hop. Illseed presents the “AllHipHop Security Advisory System”: LOW: This is when Hip-Hop is at its most peaceful. I would say that we achieved this after the Million Man March in 1995, but Hip-Hop has never truly had a period where there was a complete lull in the drama. (This excludes the Sugar Hill Gang era. All I know is people were hip-hoppin’ to the boogie to be.) Clearly, this level of serenity is an impossible dream that would only occur if Jesus Christ himself were to return to mankind as the host of the 2007 Source Awards. Even then, people would be looking to wild-out, getting J.Khrist (his rap handle) to verify his identity. Nevertheless, like New York with armed soldiers roaming the streets with machine guns – this state of serenity is never to be. GUARDED: This level is like an immense calm prior to dark cloud formation. You know some rain is about to fall. See, after Tupac and Biggie died within six months of each other, Hip-Hop was in shock even though the streets were still wilding. Here is when we start to look for patterns that will reveal future beef. For example, when 50 Cent recorded “How To Rob,” I could see that somebody was going to strike at him. And, I could see that he was going to return with bloody vengeance in his eyes. Obviously, that lust for paper and reprisal fueled 50 and gave us a classic album in Get Rich or Die Tryin,’ but at what costs? My system would detect and pinpoint potential problems with our people. It would also identify trends like the parallels between Biggie & Pac and 50 Cent & The Game. ELEVATED: Now, the “Elevated” stage of Hip-Hop terror is the most common, tragic and the most comedic. This is the phase where people get caught with guns on top of the dashboard. “Yo, son I’m around heat so much, son, that I didn’t even notice that the gun was on the dash,” says MC Rapper of the arrest by NYPD. Other rappers may commit minor crimes like beating up a handicapped midget in order to catch a minor case that will go away without much punishment. This “elevated” state is the promotional phase, where somebody needs a headline as his or her album release date comes forward. Clearly, we evil media outlets will run with this titillating news every time, because that is what slimy reporters do. However, this is the phase where disaster festers and breeds. AW NAW! The midget was trained in torture tactics while in Tibet for seven years and decides to practice on you. S**T! The arresting cop is a racist that seeks to be promoted into the Hip-Hop Police Department. This is where intervention is needed most, between “Guarded” and “Elevated.” HIGH: However, we must move on. By this “High” point beef has already busted loose and you need to bring in Min. Louis Farrakhan. I’m sorry, but no substitute will do. Now, I can assure you that if Farrakhan administered these “rap truces,” we wouldn’t be having this hot bed of heat we are having now. Whether you love him or not, Farrakhan is one of the most sturdy figures in our community and he’s regularly intervened into Hip-Hop beefs to put out fires that are turning into infernos. Remember Common and Ice Cube’s beef? If not, that’s partially because of The Minister. So, MC Rapper give The Nation a call and meet the Honorable Min. Farrakhan – you won’t be the same. SEVERE: I’m not sure if Hip-Hop has seen the severe stage yet. The closest would be the Bad Boy/ Death Row situation, which did spin wildly out of anybody’s control. After the horrific deaths of B.I.G. and ‘Pac, Farrakhan did meet with Diddy and Snoop – a few months too late. The Shyne situation is an example of when the “Severe” phase just explodes out of nowhere and innocent people are injured as bystanders in a heated exchange. At that point, you say, "S**t happens." Sadly, at this stage, most of us unrelated people have to sort of protest the problems from the sidelines. Jumping in is like volunteering for the military during wartime. Still, the public outcry is such that we often return to the “Low” phase – after some type of peace proclamation. CONCLUSION: If Hip-Hop is that “crack” as so many of the rappers say it might be time for a new drug as rock legend Huey […]

Is it me or has this been a lean year for ‘over-the top, gotta have it-dope ass albums? I mean right now I’m thumbing to my collection and the only thing that strikes me as being really good was Game’s LP- The Documentary. I can listen to 5 or 6 songs off that joint and be cool. I’m also really feeling Common’s album Be, although I have to be honest as good as it is, it’s not his absolute best. I’m just happy to be hearing the mainstream say the words Common and ‘great’ in the same sentence. It’s been a long time coming. I think the only other album I’ve been looking forward to peeping is Kanye West’s Late Registration which has been moved back. Also I did get a chance to peep out some of the material from the Paris produced Public Enemy album Rebirth of a Nation . From what I heard it looked like PE would be back in a major way, but like Kanye, that LP has been pushed back till January. As for everyone else, after hearing couple of songs I’m ghost. I’m not quite sure what it is… I’m not sure if it’s a simple case of hearing and not being happy with what appears to be mediocre efforts, or if I have become socialized like the majority of music lovers in this country-and become impatient and not willing to listen and fully appreciating the full body of an artist’s work. In other words I find myself asking, ‘Do I really wanna listen to Fat Joe, Lil Jon, Jadakiss or 50 Cent for 12-14 straight songs’? I have to be honest and say ‘not really’. But things haven’t always been that way. There used to be a time not too long ago when I would grab a Jungle Brothers, KRS or a 2Pac CD and listen from start to finish. I would never grow tired of hearing the songs. In fact to this day, I still listen to some of those albums all the way through. Heck, just the other day I was bumping Snoop’s Doggystyle LP and remembering how good it was… As much as I like Snoop, I simply can’t hang with his Rhythm and Gangsta LP from front to back. I find myself wanting to pop in another CD midway through. I can only take Snoop in small doses. And it’s not just him. At the end of the day I come away feeling I listened to a few good songs, but I never really engaged the artist. When I go back and listen to classic albums like Fear of a Black Planet by Public Enemy or X-Clan’s To the East Blackwards , Dr Dre’s The Chronic or Ice Cube’s Death Certificate I feel like I went on some sort of musical journey in which I really got to ‘know’ that artist. I don’t get that sense anymore. Even sadder is I don’t feel like a lot of artists are even trying to put forth a sincere effort to make me know them. Like I said I caught glimpses of that with Game and the Documentary LP. He painted some vivid pictures about his life, his hood and his struggles and aspirations. I got the same vibe with Common. He wasn’t as descriptive as Game but he kept me engaged in the conversation. The other thing that stands out which I think has been lost on a lot of artists is the willingness to be vulnerable and really let me as the listener into his or her world. This I think was the strength of Common’s album. I definitely felt that with Outkast’s last LP Love Below and Speakerboxx , those guys open themselves up both via their lyrics and music. A lot of the other albums I have peeped over the past few months, I’ve come away feeling tired and a bit overwhelmed. I felt like cats were either running around just throwing things together or that they were trying to satisfy a lot of politics when making their offering. In other words, I might hear a song with Mariah Carey and Jadakiss and wonder if the pairing was the result of long term strategic marketing versus Jada really feeling Mariah to the point he had to have her on his album Long Kiss Goodnight . Think about it for a minute…If Game was to put singer Mya on his album, I think most of us could totally buy into the concept even if the song wasn’t that good, because we learned from Game’s brutal honesty that he has a crush on her…In other words I feel Game’s passion. When he teamed up with Timbaland to do the song ‘Let Me Put You on the Game’, you come away feeling like the pair vibed for a bit. Heck, Game even makes reference to it in the song. There’s an old saying I like to use when describing the direction we as a society are headed: ‘Mediocrity is only realized in the presence of excellence’. Due to a lot of folks in the industry cutting corners and a concerted push to brand companies, producers and executive producers versus the artist themselves, we have a scenario where cookie cutter albums and templated music formulas are the order of the day. What’s ultimately produced and released to the public oftentimes seems to be based upon economic projections designed to raise stock prices for the label as opposed to moving the crowd. Last week I had two experiences that shook me up. First, while visiting Scotland for the G8 Summit, I had a chance to see James Brown perform in front of 60 thousand people. At 72 years old, he rocked the house and had the crowd going absolutely nuts. As James went effortlessly from one song to the next, I kept saying to myself, ‘Now this is how music is supposed to be played.’ James brown’s 30 minute performance showed me just […]

The guys from Purple City wanted us to better understand that piff – with a look inside the deeper meanings, the discovery, and the purple assets of Agallah and Shiest Bub. Purple City got a Purple Reign! AllHipHop.com: Why do you think purple has become this year’s pink for all of Dipset? Agallah: Well, you know, we was basically…the pink thing was just a gas! It was just Cam putting that out there to get a response on a fashion level, and it wound up blowing him right up. They was like, “Yo, what the f**k Cam doing wearing pink? N***as don’t wear pink!’ That’s a forbidden color. That’s some s**t for b*tches. So he took that s**t and made it flamboyant and flipped it on some, ‘Yeah, I’m rockin’. I’m that pink flamingo now!’” That’s what I caught from it. It was stylists, man. You know styled on them with that. Now with purple, purple is definitely a stylish color but it got to be that piff! Shiest Bub: That was Cam’ron’s color. Dipset was red, white, you know what I mean? American flag type s**t. But, you know, it’s time for a change. Something that’s real ‘hood, and purple symbolizes a lot of things. It symbolizes a lot of things that people in the ‘hood live by, like loyalty, exclusiveness. Purple is exclusive. It symbolizes a lot of things. It’s countries, nations, the color alone. It symbolizes f**kin’ sex. AllHipHop.com: For real? Shiest Bub: Word, yo! To be honest, why there’s such a cult following with the color purple is because it’s a sinful color. Even though it’s royalty, it’s still sinful. It was the color of Babylon. So, of course people who live by those underworld standards of living – sex, money, women, drugs, all that s**t – they gonna love Purple City. They gonna love that, because that’s what it represents at the end of the day when you really do the homework behind it. AllHipHop.com: So you think purple kind of does the same thing as pink? Agallah: Nah, purple is more of a color that has meaning behind it. It ain’t a color to go out there and be like, “Oh, that’s pretty.” It’s to look at it and be like, “Yeah, I got respect and loyalty when I see that color…everytime!” What purple means is…it comes from amethyst, which is a royal gem, a royal stone. That’s how we got on it with that. AllHipHop.com: So talking about cars, if you had to take any car and make that purple, what type of car would we be looking at? Shiest Bub: Purple Maserati! Doesn’t that sound good? Yeah! Purple Maserati! Ayyy! Agallah: Oh, word. The motherf**kin’ purple lavender 600 [Mercedes]! Like my man Un [Kasa] said! [laughs] You come through in that, you looking crazy. AllHipHop.com: And how we pimpin’ the inside Purple City-style? Agallah: Like, I’d make the lavender 600 with basically rims and it’d be all purple with white interior. Those white cocaine seats! AllHipHop.com: What entertainment industry female should be wearing more purple? Anybody, man! Actress, singer, whoever… Shiest Bub: Tough question…Well, I like Amerie, so she could wear purple all day with me. AllHipHop.com: Why her? Shiest Bub: She’s a sexy little thing! Even though she’s a little on the slim side, she’s just exotic. She’s like purple haze. She’s like the weed. She’s exclusive! Agallah: Damn, that’s a hard one. Who out there right now? Who should wear more of that piff? Definitely Faith [Evans] should wear more purple. AllHipHop.com: Faith? Agallah: Yeah, Faith, man. She’s Purple City all the way, man. You know, man, she’s one of the only females back in the day that I ever really smoked a blunt with in this industry. Shout much love to her, too, and good luck on her new project. I’m glad she’s back. AllHipHop: How about in your house? Anything in there that’s purple? Agallah: Anything in my crib? Well actually, except for clothes and, you know, I got like…what I got in the crib that I could say that’s purple right now? Really? Nothing! Just that piff, man! That piff I be smoking wherever I’m at, man – that haaaze. That purple piff, that morpheus, that’s the only thing that’s purple. That, and a whole bunch of Purple City CD’s, too. Shiest Bub: About 65-70%. F**kin’ couch, curtains, room is half painted purple, sheets, dinner plates, bathroom toilet seat, bathroom curtains… AllHipHop.com: Alright, you’re a rapper, straight out of Webster’s dictionary, can you think of any words that rhyme with purple? Agallah: Purple…virtue, commercial [laughs]…work you… AllHipHop.com: What’s your favorite purple outfit? Shiest Bub: My favorite purple outfit? The velvet purple smoking jacket. Jesus Christ, I love that jacket! Agallah: My favorite is the…who got the purple s**ts that’s crazy? Well, right now, that I know of, Enyce got some good purple tops out there. Everybody jumping on the color – all these fashion companies, but wait until you see my boy right now come out with that PCBG, that Purple City Byrd Gang clothing. That PCBG hitting your stores real soon! That’s what it is. AllHipHop.com: When you guys started rocking purple, did a lot of people ask you why you did it? Agallah: Yeah, they was wondering why n***as was rocking purple like we was a gang or something. Everybody ain’t on that s**t. AllHipHop.com: What about girls? Were they feeling the purple? Agallah: Girls feel the color. They like it. They love it. AllHipHop.com: Did any dudes ever step to you and use your purple clothes against you? I know plenty of dudes got stepped to for wearing the pink and not being in Dipset. Shiest Bub: Hell no! Nobody can’t say nothing to me. To be honest, on a light-skinned individual, purple is a fruity color. On a dark skin person like myself, purple is almost black. It changes with the person who’s wearing it. On a White person, it’s like, “Oh wow, […]

When Ludacris insisted that he had "hoes in different area codes," the country didn’t take it too well. Bill O’Reilly blasted him. Pepsi fired him. Women’s groups all over the country called for a boycott against him. The objection to Luda’s lyrics was widespread and long-lasting. But on the other side, no biggie. O’Reilly alluded to a desire to kill Al Franken on his radio show last year by saying that had he and Franken endured their now-legendary conflict in the Old West, O’Reilly would have settled things by shooting Franken "between his head." Public response to this was minimal and people mostly only made fun of O’Reilly for the wording of his statements instead of criticizing O’Reilly for the message he was conveying. Back in the Fall of 2000, then-Gov. George W. Bush was caught calling journalist Adam Clymer a "major league a–hole." Again, no big deal. There was about a week’s worth of fallout from the public and seemingly no objection from the Bush-backing Religious Right. And now, just last Tuesday, CNN News reports that Vice-President Dick Cheney used the f-word in response to statements by Vermont senator Patrick Leahy after Leahy reminded the vice-president that he had once called Leahy a bad catholic [In an exchange on the Senate floor with Leahy, the vice president told the Senator to f**k himself]. Again, limited public objection and barely any mention of this incident from America’s conservative moral police. Is there a double standard at play when Americans crucify rappers for profanity and negative messages but let politicians off the hook? Some seem to believe the answer is no. The reason why many Americans hold rappers up to higher standards of decency than even they themselves live is supposedly because rappers reach children with their messages and no one wants the children to be corrupted. Because rap is marketed to kids, America wants rappers to keep it clean. And I guess since kids don’t follow politics, journalists and politicians can say whatever they want. Wrong. Politicians should be held to the same decency standards that rappers and other entertainers are being held to. The rappers may be the ones who the kids are listening to in their free time, but when the kids are in school, they are learning about and discussing the actions of our elected officials. Some kids may feel that rappers are telling the stories that they can relate to, but it is actually the job of the politician to represent and make decisions for his constituents and their families, including the child who has not yet reached voting age. And yes, most kids are imitating rappers, not politicians. But the behavior of a politician should never be so unbecoming that children would be prohibited from talking or behaving the same way. The argument that the children probably aren’t watching should be no excuse; anything a politician does should be subject to observation and scrutiny from any American that his actions are affecting or will affect in the future, regardless of how old that American is. The politicians should be the people that we want our kids to emulate, but this won’t be the case as long as politicians are name-calling, cursing people down, and behaving like foulmouthed seventh-graders. And O’Reilly? His show is watched by children believe it or not. He has even considered writing a book geared toward his younger fans and he was once e-mailed by a young girl who complimented him for being able to withstand such mean comments from other viewers. By his own admission, O’Reilly is reaching a young audience, so his messages shouldn’t include the same thuggery that he so vehemently opposes from rappers. Expressing a desire to shoot a man for dissing him? You’ll find the exact same type of talk in the 50 Cent vs. Ja Rule rap feud. That said, O’Reilly is a hypocrite and is no better than the rappers that he criticizes. Politicians and journalists are servants of the public and children are included in this entity we call "the public." Members of these professions therefore should not be let off the hook for making any statement that we would find objectionable if made by a rapper or anyone else who influences children. The writer can be reached at jalston@hendersondispatch.com. The original article can be viewed at: http://www.hendersondispatch.com/articles/2004/07/03/news/youth/youth01.txt

Most times, if the news fails to cover a compelling minority story, we as a people are the first, if not the only, to call much needed attention to events that seem to conveniently fall through the cracks. What incenses us as African-Americans is seeing one story from our community ignored for a similar story that plays out in other, shall we say, more ‘gated’ communities. But rest assured, if it involves us stealing, killing, cheating or just plain n*ggerish thuggery (especially when acted out against ourselves) – we’re sure to get top billing. In particular, over the past few months we’ve seen the media frenzy covering the hoaxed abduction of a runaway bride and the puzzling disappearance of a young Alabama woman in Aruba. Yet for all the attention that these potentially non-threatening situations have attracted, there are countless REAL missing persons files that should warrant equal, if not more, media coverage regarding our sisters, wives and mothers. While I’m no conspiracy theorist, I am ready to balance the lopsided racial scales with my overweighed-in outlook. In that light, a present for your reading experience, a lyrical theory that delves into this all too real predicament. “Just Another Black Girl Lost” Though they may owe Nas for ice, At least he acknowledged them with some nods and advice. Each Black girl lost is an awesome price that’s depreciated our value. So please pardon my resolve to start a reprisal That promptly hearkens the galled arrival Of the startlin’ fall and demise of her vitals – abbreviated and left out of the news. For all the strides that America’s made, Their lives are still ignored by America’s ways – In the home of the brave, White America saves its own first. The instant one of their damsels goes missin’, The media reports the scandal exposed in printin’… Yet it’s handled so different if her skin’s the tone of earth. If Ms. Runaway Bride hadn’t been a White princess, That hunt would’ve fazed out into slighted indifference. Imagine the months she could’ve stayed quiet and hidden if she was Black! All that for a stunt played from a white lie extended, And yet the grudge was still waived for her wide-eyed dementia… A sista’s agenda would’ve ended in prison for pullin’ a trick like that!! As long as they look like Julia Roberts, America’s sweethearts are protected like jewels from robbers – Secure duties will always guard her with the watchful eyes of Big Brother. And though I know he watches after my wife and her sister, It’s only to keep them locked outside their perimeter… One could be murdered by a senator – and still, no publisher would cover her. If it’s just another girl on the I.R.T., She’ll be overlooked by the missing person’s hierarchy. Only Barbie’s high on the marquise – our fine women are left to die in fine print. So if she’s too old to send out Amber alerts, Search parties and patrols will scam on her worth… Where were the expanded searches when a raped slave died in a ditch? To me, that question is timeless. Why weren’t slave rapists caught if they were so reckless and mindless? This is the southern mindset – nothing’s more expendable than virgin slaves. Back then, White hands were purposely jaded to discover That White hands were in the dirt raping slave mothers… Why search if there was no great wonder – the communities knew where the verdicts laid. Besides, if the man’s worth was too great, There’s no way he could get burned at the stake. It’s the dirt on his name not the worth of the slave that was most important. Such principle tendencies grandfathered in, Are quintessentially harbored in White men… Haunted by darker skin – their fathers’ ghosts won’t let them report it. Furthermore, the karma is fright’nin’ – That’s why nothing’s more guarded by White men. Since their daughters are primed for lightnin’ – they watch for rolls and spikes of thunder. That’s why the second Becky misses curfew, They start second-guessing the risk of her dues… As the sins of the father return full circle – with her role so ripe to be plundered. So you’d best believe if Becky’s bereaved, They’re gonna catch the thief the second he flees. There’ll be no rest or reprieve – they’ll comb the land in dire straits. While only a few miles away, If one of our ladies has been bound and raped… She won’t be found ‘til she’s been drowned in a lake – as she’s left to roam entire states. It seems they won’t find who beat and stalked MIA If she celebrates Christmas with Kujichagalia. Who piques the watch of the media blends in with the light of their cameras. Trust me on this one, if that chick in Aruba Had been missin’ from Cuba… She’d be strictly a rumor – as only the right likeness gets Whites standin’ up. Though many may reprimand my stanzas, I hope they spread like secondhand cancer. I’m the second chance that answers when her calls fall on Tone Deaf ears. I’m merely a reporter for my daughter’s culture Set to record whomever dishonors or insults her… So though ignored by news sponsors and vultures – please know that I definitely hear. © Reggie Legend 2005

Who: Common, Mos Def, Talib Kweli & Other Guests Where SOB’s Club, New York City When: May 24, 2005 Today’s big budget concerts are like legalized assault on the senses with a penchant for elaborate lighting, fierce pyrotechnics, jumbotrons, dancers and the loudest sounds. It’s kind of hard to remember the simplicity of a performer and their band. Accompanied by a keyboardist, DJ, and drummer, a rejuvenated Common, took the stage at New York’s SOB’s on May 24 in celebration of his new album BE. Though the album has received much praise from the media, Common fans eagerly awaited to see if the Chi-Town native had completely abandoned the “electric circus” and his live performance would answer the key query: “Does he still got it?” “I’ve been partying for 13 years now. A lotta people had a lot to say over Electric Circus …I don’t give a f**k what they say,” the eccentric worth smith barked, simultaneously dropping the John Legend-assisted “They Say.” With the crowd in the hollow of his cowry shell bracelet, Common personally invited fans, friends, industry brass into his Basement Experience. Dapper as usual, he was draped in sweater vest, tie, and newsboy cap, he took the stage with a bop in his step that never left from start to finish. The speakers erupted in the basement party. Settling into a stream of records off the BE album, he kept the momentum going with “Chi-City”, Like Water for Chocolate’s “Nag Champa” Com flaunted his dominance of the crowd one minute by having them rock to old school chants, next flailing their arms from side to side and finally brought them to a collective whisper before continuing with BE’s “Go,” “Faithful,” and “Testify.” Though his G.O.O.D. Music cohorts John Legend and Kanye West weren’t in the building, Common did allow a few notable guests slide through to help enhance his sublime, heartfelt experience. Appearing from shadows of stage right, Mos Def manned a pair of congo drums, shocking the crowd. After getting his Tito Puente on, the rapper/actor finally made his way to the mic, where his former partner-in-rhyme Talib Kweli shortly joined him. Throwing back to their backpacker days, in true fashion the trio dipped into some classics performing “Respiration” from the Black Star days and “Put Your Hands Up” off of West’s The College Dropout. Doing some of their own solo hits, the crowd was then treated to a fist-pumping rendition of Kweli’s “Get By”. Next, Mos tapped into the room’s collective soul with the words and melodies of “Umi Says,” which was remixed for political prisoner Assata Shakur. Redirecting the focus, Common re-assumed spotlight and requested that a woman assist him on stage. Showing the side of him that probably wooed Erykah, he charmed the crowd and his female guest with a medley of classic R&B hits from Prince’s “Adore” to fellow Chicagoan R. Kelly’s “Bump and Grind.” All sensuality eventually led to “Come Close.” A true b-boy at heart, Common can only keep it smooth for so long before kicking a freestyle. Calling Mos from the side of the stage, the lyricists rhymed over old and new lacing Tribe’s “Electric Relaxation,” and even The Ying Yang Twins’ “Wait (The Whisper Song).” Getting ill, Com spat, “I aint 50 cent/ but b***h its ya birthday.” After letting DJ Dummy slice up Rob Base and DJ EZ Rock’s “It takes Two,” Common presented Umar Bin Hassen of the last poets, who stood wise and stoically as the beat of “Corners” began to play. With arms pumping and heads nodding, the audience roared and recited the lyrics and echoed Umar’s poetic interludes. After Musiq Soulchild stepped in for “The Light,” the lights came on in SOB’s as if mom dukes flipped on the switch to say the party is over. May 24 was a chilly, windy night, but friends, industry found that one man can heat up an unseasonably cold New York City with a magnificent evening of good old fashioned Hip-Hop. Common answered the question the multitudes have asked since he sported those knit pants and sleeveless sweater hoodies. Not only does he still have it, but he never lost it in the first place.

Labels don’t care about Hip-Hop culture no more, they care about success and dollars, so everyone’s following a formula rather than being original. First everybody started wearing suits and making those R&B friendly songs. Now people are going too far to the left with it. It’s played out. The producers started using the sped up vocals on their production and MCs even started singing. If that’s the case, we may as well be R&B singers with it. What happened to the knocking bass and the 808’s? And really, what happened to the DJ with scratches and stuff like that? Mike Tyson used to come out to Public Enemy. The s**t that’s out right now don’t get you hyped like how that Boom Bap s**t did back in the day. People play Rap for their kids now. There was a time when songs used to come on in the club, and you would just want to fight. It was adrenaline filled. People are scared to make those kinds of records. That Boom Bap was an era of greatness. It was like watching an NBA All-Star Game. Gilbert Arenus made the team this year. Let’s just say you take it back to when Jordan and Bird and Barkley, certain people couldn’t be an All-Star during those eras. Jay-Z is able to shine during this age because he has flow. Rap is all about who has the dopest flow right now. Rakim and Kane are from the era when it was about what you were saying. You f**kin’ with a Hip-Hop historian. That’s where the term “wack MC” comes from. You can’t say “wack MC” today, because it’s all about flow. If you look at flow, Vanilla Ice had a dope f**kin’ flow. The record that Pharell produced with Fabolous rappin’ on it, he used Vanilla Ice’s flow. I know this for a fact because Pharell told me himself. Mase had a dope ass flow. But “The Message” by Melle-Mel isn’t the record it is because of the flow, it is the record it is because of what he was saying. Nas is one of the last rappers from the say-something era. If I was A&R a Kane or a G Rap, I’d say, “don’t follow the formulas of these rappers today, because you’re downsizing yourself. These guys are more accomplished financially. But as far as great artists, they’ve yet to catch up to you guys.” When KRS-One did Return of the Boom Bap, I think he was just trying to bring it back and step it up. At that time, a lot of rappers on the East Coast was going into the Jazz sound. There was a lot of experimentation going on. That smooth G-Funk was dominating too. Also around that time was Black Moon. That is Boom-Bap too! If you look at it nowadays, all the artists that were trying to represent Hip-Hop as an art form aren’t getting the love they deserve. Of course it’s the MC’s responsibility to keep it Boom-Bap too. A lot of MC’s don’t have balls. Everybody wants to accommodate the radio. Everybody’s running out to get a Kanye West beat or a Lil’ Jon beat because they’re the hot producer right now rather than using a new producers whose beats are crazy or working producers like DJ Premier and Large Professor whose sound is why we fell in love with Hip-Hop in the first place and now we treat them like they’re less of a priority. On every album, I show love to a new producer. So far I introduced Sha Money XL, J Love, and Emile to the industry and now they’re big producers in the Hip-Hop. I didn’t chose them because they had a name, but because their s**t was hot. Right now, we’re extracting all the juice out of Rap. It’s getting to the point where it’s so wack, so boring, so predictable that people tend to forget what made Rap what it was. The sped R&B vocals tracks producers are using is played out. When I did that on The Testament, it was the early 90’s. Now I’m trying to get away from all that because it’s overused. I’m trying to make music that’s timeless, classic Hip-Hop. That’s one of the reasons why people are still able to listen to my album The Testament which we just put out in February. It was recorded nearly a decade but it doesn’t sound like the typical record you hear today. They all have the same formula. I don’t ride with what everyone else is doing. Rap has been very abusive to its pioneers. I told Large Professor, he’s dope – I’m definitely going to put him on the album. He’ll look at me like, “word word?” So many people tell him that, but don’t do it. Take MC Shan. When we did the QB’s Finest album, I told him, “Don’t try to do what we do. Do what you did. Because what you did, made us want to do what we doing. The way you rapped is timeless. It’s not played out.” That’s one of the reasons why I like Soul music because it’s classic. Marvin Gaye’s album, What’s Going On, is a classic that you can listen to even a hundred years from now and it still has relevance and meaning. In a way, when they first introduced the term “old school,” it was cute. It was a fun term. It was a piece of slang that some of the older people used to use. It was actually a term of endearment. But now, it’s almost a term of ridicule. You’ll hear a younger dude say, “Oh, he old school.” If a throwback jersey comes out, they don’t call it an old jersey. It’s vintage, or it’s retro. When the old Jordan’s come out, they don’t look down on those. When I made The Testament and The True Meaning, it was a debatable topic as to which is better. To have that […]

Just ask any street corner of Hip-Hoppers what their favorite Hip-Hop drinking song is. 2Pac, Nas, DJ Quik, Three-6-Mafia, and of course The Liks come to mind. For me, it’s always a toss up between “King Tee’s Beerstand” and KMD’s “Sweet Premium Wine.” But there is no toss-up in saying that live Hip-Hop and libations go together like Ashford and Simpson. But for real, how often does this blend do so much good for so many people? The Brooklyn Hip-Hop Festival this Saturday is expected to satisfy well over 2,000 fans in dire need of some serious neck protection. But while the event is housed at the Hip-Hop historic [word to 3rd Bass] Brooklyn Brewery in Williamsburg, you need not be of drinking age or a drinker to get in and enjoy yourself. Just ask one of the show headliners, Rhymefest: “I don’t drink at all. I have a natural high.” The sober, but never docile Rhymefest joins legendary crew, Brand Nubian, as well as the epitome of success stories, Little Brother in a show that’s free for all who wish to attend. The event was the brainchild of Wes Jackson, and has been organized by Alma Geddy-Romero, both known for their visions behind 7Heads/Room Service, a Brooklyn-based Hip-Hop label and marketing firm, among other ventures. Having attended school with Brewery sales manager, Robin Ottaway, the duo dreamed of a Hip-Hop event in their backyard in the vein of The Newport Jazz Festival. As it would seem, the opportunity presented itself. In addition to the three major acts, underground mainstays like Medina Green, Kon & Amir, and Geology are set to perform as well. Naturally, as people swig the quality swill of Brooklyn Brewery, they’ll be listening to artists who have crossed paths with the 7Heads/Room Service team over the years. In true Hip-Hop tradition, the response is up to the artists – who are performing on the strength of love for the event, and the crowd. New Yorkers haven’t been treated to a free “rile up” this big since John Rocker opened his mouth five years ago. Brand Nubian is thrilled to be providing some highlights, and according to Lord Jamar, they see it as a responsibility. “We gonna do the songs you came to hear, the ones you know and love. We gonna do it in such a way that it’s gonna have some entertainment to it,” said the legendary MC. Fans can expect to see not only the seminal early work, but material from the underrated Fire In The Hole album released last year. The group will be in full tact, minus DJ Alamo, who will be replaced by Jamar’s brother, DJ Reality. Rhymefest, an artist likely to blow to massive heights in the mainstream consciousness this year, will also be with his producer/DJ, Mark Ronson. Early in the week, some Brooklyn officials were “less than pleased” to learn that they were zoning for a Hip-Hop event. Despite his Chicago nativity, Rhymefest took offense and responded to the skepticism, “When they think about Hip-Hop, they think about 50 Cent or Mike Jones. Sometimes for people to have to understand how non-threatening something is, they just have to see.” And if those furrowed brows enter the event, Rhymefest has something for them and their archaic thinking: “Rap music is the new leadership. The old guards at the gate don’t feel comfortable sometimes, passing the torch. Sometimes the torch has to be taken from them.” In legendary tradition, the eyes are on Hip-Hop to show, no matter how small the scale, that it’s not all chain-snatchery and rat mascots. Many fans are likely to flock to see a true New York performance by a group whose producer has almost single-handedly given metro luminaries like Buckshot, Jean Grae, and Memphis Bleek some of their best work to date. Little Brother will be in the house with fried up Soul samples underneath memorable Pooh and Phonte verses from 2003’s The Listening as well as perhaps some sneaks towards their Atlantic debut, The Minstrel Show. As KRS-One says, “bring your tape recorders!” For dessert, only possibilities remain. On a summer weekend, many in attendance may not be New Yorkers. This is an event that can bring neighborhoods and businesses plenty of outside commerce from traffic. It can also bring dozens of local Hip-Hoppers in to see their friends, greet their fans, and get up. That being said, fans not familiar with the history of New York event may want to expect some added fanfare. At least two Juice Crew alums are said to be in attendance, and ready to rip. The Native Tongues is equally likely to be in the house. With Rhymefest in New York, is it unreasonable to wonder if fans may even get treated to a popped-collar Polo performance? The possibilities are as endless as the lineup of acts rocking in the name of Hip-Hop. So get there early [once you leave, reentry is questionable], save room for that Pale Ale, bring your tape recorders and camera phones to capture the festivities, and in between seeing your favorite artist and discovering your next, stop by the AllHipHop.com table and holler! [unless you lookin’ for that money Illseed owes, then… go thaaaat way!]

“This kid has sold nearly 50 million copies. This kid has no business not having his money. This child has absolutely no business not having his paper and he has no business not being happy” – Bizzy Bone, May 3rd 2005. Now imagine if every rapper had to hand in a resume before releasing an album. Picture being an executive at a record label and having these credentials come across your desk: 12 years experience Grammy Award Winner American Music Award Winner Sold over 30 million records Recorded with the Notorious B.I.G, Tupac Shakur, and Eazy E. Logic tells you that any record label exec would love to have the chance to have a commodity like this under their imprint, but in the case of Bryon “Bizzy Bone” McCane, for some reason logic doesn’t apply. As a part of Bone Thugs N Harmony Bizzy contributed to the creation a style that has helped transcend hip hop. Bone brought singing and harmony to the forefront and since then you can’t turn on a radio without hearing a rapper do their best to add that flavor to their raps. So why is it that in 2005 Bizzy Bone finds himself without a record label? The 29 year rapper has been in the game for 12 years. He should be sitting poolside at his mansion sipping on a beer and enjoying life. Instead the Columbus born rapper is going city to city and living in hotel rooms. Doesn’t seem fair, does it? Well in my eyes its not. I refuse to fall into the trap of just throwing this into the large pile of stories involving multi-platinum rappers that haven’t been compensated and taken care of. When writing this piece I wanted to be real careful with the way I told Bizzy’s story. I didn’t want him to come across as some poor lonely rapper who is lost with nowhere to go. Nothing could be further from the truth. Despite what people have written and said, he is not crazy, he is not on crack and he is not an alcoholic. Bizzy has a firm grip on reality. He refuses to keep dwelling on the past and is adamant about moving forward. “What’s done is done, what’s known is known and this is the way it is” said Bizzy last month. When talking to the former Bone Thugs N Harmony member, I was amazed at how a man who has gone through so much could have such a calm and rational outlook on life in general. Make no mistake, although he was calm and rational I don’t think he was content. I think its time somebody lent a helping hand to someone who has given to so many people and gotten so little in return. If you turn on BET or any Hip-Hop radio station its obvious that Bizzy has the talent to hang with anyone on top right now. He has a fan base that most rappers only dream of but he still finds himself without a label. Once again logic doesn’t apply when you examine the situation. The only thing that comes to mind is that these labels are scared of what they think Bizzy is all about. They don’t want to go against the grain when trying to put out their next platinum record. The song, “Hip-Hop Baby” has been on Power 106’s Top 4 at 4 and top 7 at 7 count down for months but nobody seems to want to recognize the success of the track. Instead Bizzy has been featured in the news for a radio interview in Houston. Instead of focusing on the positives with Bizzy, everyone seemed to want to go back and focus on the negatives. When the discussing the interview the same stereotypes that have plagued Bizzy his whole career came roaring back. “He’s a crack head, he’s a drunk, and he’s crazy.” It seems like people keep saying the same thing when trying to characterize Bizzy and what’s even worse is that it seems record labels are listening rather then making their own educated conclusions. It’s time for people like Jermaine Dupri, Master P, Jay Z and Dr. Dre to start getting back to what Hip-Hop is all about, risk taking and going against the grain. Could you imagine what hip hop would be like if people didn’t take a chance on N.W.A? Picture what rap would be like if Jimmy Iovine believed everything he heard about Dr. Dre and didn’t give him a chance with Aftermath? At the current time Bizzy is walking on a journey all by himself. After the separation from Bone Thugs it seems that the industry has figured that as a solo artist the risk isn’t worth the potential reward. Bizzy has managed to survive being kidnapped and abused. He’s managed to overcome the murder of his younger brother. He’s endured the stress of being trapped in possibly one of the worst record deals in Hip-Hop history. The one thing Bizzy can’t seem to shake is his reputation. He has been painted with a certain brush and it seems nobody wants to give him a chance to tell his story the way it’s supposed to be told. Although I can’t see into the future, something tells me that if someone gives Bizzy a chance to tell his story they might have their next multi-platinum project on their hands. His resume speaks for itself; all he needs is a chance. “I would really, really love to just lean back and just relax and do music. Music is my joy, that’s me being able to release and let that other stuff go.” – Bizzy Bone Agree? Disagree? This writer can be reached at georgeskoutakis@hotmail.com or editorials@allhiphop.com

raze – v.t. to level to the ground; to tear down The growing appreciation and recognition of Hip-Hop’s conscience rappers culminates in the much anticipated release of Common Sense’s sixth album, Be. With added attention given recently to such stars as Mos Def, Talib Kweli (collectively known and slept on as Black Star) the Roots, and K-Os; it seems as though a much needed lyrical cleansing is in the making. With the enemas that these emcees are capable of administering to the industry, perhaps finally we can begin to see the Black light at the end of the proverbial tunnel. Perhaps now the light that these powerhouse emcees and groups possess can begin to raze the bars that have engulfed "the game." Perhaps now we can begin to hold more rappers accountable for their material and ‘raise the bar’ in the caliber of music that they’ve catered to record label executives and crossover hip-pop fans. Or perhaps they’ve merely stirred a deeper awakening that will either galvanize Hip-Hop in years to come or merely fade to black in a last ditch effort to preserve the purest form of this art. “Black Star Power” a.k.a. “The Black Light at the End of the Tunnel” There are a few emcees with true Black star power That snack on bars as their immaculate jaws devour – The fact is, chaos forms in the darkest hour behind their steel mandibles. And while they may not get showers of applause, They can rip through any coward with their jaws As they fearlessly tap into a power so raw, it’s concealed and flammable. The light they’ve reflected has shone eternal. To slight their effect is our own burial. They collectively write poems and murals that unite this race. To raze the bars prompted in wretched journals, We need the blazing art of Dante’s blessed inferno… Else this tainted art operate like a self-ingested wormhole where no light escapes. Their skills possessed begets souls filled with Black pride That many folks from the ghetto lack inside. Though Black on Both Sides, their ticket out has been maimed and bought. Thanks to images of misogyny and constant chain smokers, Hip Hop’s promising profits are liens for means of hostile rape overs… Such prodigies portrayed are play soldiers that wreck our Train of Thought. Yet as our intellectual property lays smoldered – Slain by the ways of an accosted takeover, It’s awakened a corona of refreshing vigor and apt respite. Like the rising Phoenix from the westward sun, The time of a new zenith has just begun… A fuse has been heated that will bring death to sum with added life. So trust, this element’s on a drastic rise – Too much now is irrelevant in this pastime! On the eve of a crucial event, we’re at the grass high Roots of this epidemic predicament. With the grass grown high to keep the snakes’ shield, The best thing to do to is to raze the field… To save and rebuild, new seeds must be sown deep in lyrical strength. To spare us the change of common cents That’s been left in this game of consequence – There’s an ironic glimpse of a change of command that’s in the making. To turn around the dark events Of Hip Hop’s intolerance… Conscience rappers have gained new confidence that’s ripe for the taking. They’ve let their humanized words take form While U N I versed at war – Fluently rhyming with worth and torque – their brain cells remain swelled like main cells in hurricanes. So imagine what dominant prominence could happen When Common Sense is infused in the consciousness of rappin’… Such awesomeness can’t be captioned – that’s why only slim doses of symbiosis are in Hip-Hop’s current veins. When censors move to cover their mouths, they get handfuls. With kufis coverin’ their brows, brainstorms swell on the annual – They quell and channel fumes with empowered enrichment. With their atmospheres absorbed in cavities of Black Thought, That pulls us in like gravity amassed in vacuum vaults… Each rhyme is a force massively brought with towering vision. To refine and define the pride that’s yours and mine, We’ve got to search the fine design formed in their lines. Our course is divine – The True Source is inclined to agree! And though my own skills hardly compare to Kweli or Mos Def’s, I will hone them ‘til they’ve harnessed philosophies of Imhotep That once rapped, can keep a man’s soul kept with an assortment of rhyme degrees. I’m inclined to do this because I believe my people lack sight. They’re in dire need of guiding Black Lights. Following trends blindly like tracked mice – they’re dying from elapsed vision. Without the Resurrection of Beautiful Struggles, What’s been manifested is due to construct our rubble… As our substance huddled stays stuck in bubbles like light in static prisms.

A couple of years ago I heard a song from Mystik Journeymen of Living Legends where Sunspot Jones was rapping about the underground and he referenced a conversation he had with MC Hammer. He noted that Hammer had said the ‘underground’ was the name people that hadn’t made it big used to describe their music. Needless to say Sunspot used the song, which unfortunately escapes me for the moment, to express his disagreement. However, I thought it’s worth looking at this concept of ‘underground’ and trying to figure out is there is a definitive definition and who within Hip Hop can claim it. Nowadays within certain circles, when you hear the term ‘Underground Hip Hop’ it usually gets applied to groups like, Hiero, Aceyalone, Abstract Rude, the Rhymesayers, the Percussionist, Sage Francis, Living Legends and a whole legion of independent artists who we are likely never to ever hear on commercial radio. Along with that label ‘underground hip hop’ comes a whole set of assumptions about the artists including; 1-They are poor independent artists barely making it because no one recognizes or appreciates their artistic expression. 2-They all spit conscious, intelligent lyrics and have no gangsta tendencies 3-They have love and respect for the culture, and 4-They have mastered their rhyme skillz. For the most part the underground for many is where true hip hop heads go to get the real essence the culture. Those artists who dwell in there are the ultimate personification of what Hip Hop is or should be. To be considered ‘underground’ is a step above the mainstream and proof that you did not ‘sell out’. The flipside to all these assumptions is that so called commercial, mainstream or above ground artists are; 1-Not skilled in their craft 2-Are not conscious or espouse intelligence-are all thugged out. 3-They have no love and respect for Hip Hop culture. The fact that we may hear their songs on the radio or peep their videos on MTV or BET suggest to many underground proponents that these artists are all about the money and have very little redeeming artistic qualities or integrity. They are often accused of NOT being true to Hip Hop. Hence for many underground cats, artists like Jay-Z, Outkast, Nelly, Lil Jon and Young Gunz to name a few are not only commercial but the reason why Hip Hop is ‘Not Good’. In fact many often go so far as to insist that the aforementioned artists are not ‘Hip Hop’ but ‘Rap’. Yes, the age old Hip Hop vs. Rap argument rears its head once again. What I find interesting is the fact that oftentimes you will hear fans who identify with the underground dismissing the large followings or fan base of commercial artists, claiming that ‘those people’ really do not understand Hip Hop and need to be taught. With all this in mind, we have a bunch of questions to answer. The first being, ‘when does an artist stop being underground? For example, if an artist like Slug or Eyedea of the Rhymesayers was to suddenly be played on Hot 97 in NY or Power 106 in LA as much as Lil Jon, Ludacris or Ashanti would they cease to be underground? If publications like The Source which was once considered underground but is now seen as mainstream were to suddenly put artists like Sage Francis on the cover would he be viewed as a sellout if he grants them an interview? What if we started seeing Sage Francis videos on one of the MTV channels would he lose his underground status? I recall the days when artists like Eminem were seen as the epitome of the underground. Today in 2005, very few would consider him in that category. When did that change? When he started popping up on MTV? When he got the cover of Rollingstone? When we started hearing his records 6 times a day on commercial radio? Is it the increased exposure or particular changes in style? In other words did Eminem change up once he got put on? Is being underground a state of mind, a set of criteria or a perception or misperception held by fans? Within other music genres we have always had the hipsters and self described trendsetters who would turn up their noses and thumb anything they heard on commercial radio or saw as getting ‘too exposed’. For them, the underground was and continues to be a small exclusive club and as soon as it got too big they were on to the next thing while showing open disdain for the very things they once loved. Some call it trendsetting, I call it being elitist. My question is ‘can Hip Hop afford to adopt the same bad habit? Within Hip Hop circles, we saw this type of elitism coming from many who resided in Hip Hop’s birthplace –New York- the Big Apple. For a long time (80s to early 90s) there seemed to be major resistance to accepting Hip Hop from other places. I vividly recall going to events like the New Music Seminar where you would have high profile industry gate keepers from New York sitting on panels and arrogantly declaring the music offerings of artists from other cities as ‘Not Real Hip Hop’, primarily because they did not fit his particular tastes or appeal to his sense of style. The rationale behind such arrogance often played itself out in strange ways when you pressed people to explain their apprehensions. For example, you would get a guy in NY around that time saying artists like Too Short, Compton’s Most Wanted or even NWA who were all out at that time, were not Hip Hop because they cursed too much and had violent lyrics. ‘Yo, Hip Hop is not about all that gang banging s###’, they would smugly say. But those same critics would be bumping some early Mobb Deep or Schoolly D and holding them up as the personification of real Hip Hop. There was never any […]

MTV’s prank-based reality show Punk’d is one of the best in the business – its nothing shy of hilarious. For example, I loved when they played the prank on R&B singer Brandy, and her younger brother Ray J. The staged skit had Brandy pleading with an African American police officer who pulled them over. But, suddenly a White officer enters the scene and discovers that Ray J, who is in on the joke, is in possession of presumed “stolen” diamonds. Well, at that point Brandy, ever the actress, starts crying and appeals to the laws for mercy, using every ploy possible. Eventually, the cameras come out of the shadows, and the starlet realizes she is the victim of a now-classic MTV/Aston Kutcher practical joke. However, after the Punk’d episode with Bizarre of D-12, many started to feel differently about Punk’d hoaxes. Although funny, it was becoming sad and not so amusing for those that dug beyond the surface of the show. For those unfamiliar with the situation, Bizarre was set up by his homey Proof [also of D-12] in an apparent scam at an ATM. Suddenly the police swarm. Bizarre, the wild-n-crazy rapper is suddenly caught with his chubby hand in the cookie jar! Soon, he begins to tear up [read:cry]. He explained the total situation to AllHipHop.com for clarity. A friend hits me up and we notice a trend with many of these Punk’d episodes. Rapper Chingy, actor Mekhi Phifer, artist Outkast, Mario, basketball hoop-star Carmelo Anthony, Ciara, Kanye West, and others in the entertainment industry had encounters with 5-0, or some similar sort of faux authority. Not to put total blame on law encounters, because certainly there were episodes such as Jadakiss’ traffic/taxi cab fiasco and Vivica Fox’s pregnancy prank that had absolutely nothing to do with the Po-Po. When researching the majority of African American stars involved in pranks, why are so many “Punk’d” by law-like figures of authority? There are a number of ways of seeing it, but let me speak from my own perspective as a young Black male. As I see it, Punk’d is a show that, despite its seemingly unpredictable nature, is very much controlled by those pulling the strings. When it comes to “punking” Hip-Hop minded African Americans, what’s the best way to control them? COPS! Now, when they pranked UK singer Joss Stone, she agreed to watch another person’s child and the boy broke some pricey vase in a retail store and ran away. Do you think a rapper is going to care about that? Imagine DMX like, “Yo, son…I’m sorry about the vase, dog. Gosh, I could pay for it even though it wasn’t my fault.” A rapper is going to mess up the climate control and leave that stupid vase in a million pieces. At least, that is what one would expect. Like many people, I have had numerous run-ins with the police and I expect to have many more. No, I’ve never been beat down like Rodney King, but I’ve been in situations where I felt that my safety was on the line, should I decide to make a false move. So when I see a fake cop in the Bizarre and Ciara’d Punk’d skits, keep his right hand on his fake gun, I wonder how I would act. Would I cry? Not likely. Would I be fearful? Absolutely! There are only a few ways to intimidate African Americans, because we have been through so much historically and continue to be the subject of assaults by the police. Certainly, we can’t forget the most recent report of 10 Los Angeles County sheriff’s deputies who rained 120 rounds hurricane-style on an unarmed motorist in Compton? Whenever I get pulled over, I am automatically thinking, “Hey, I might die…let me be cool. I’m not quite ready to die at the hands or gun of a cop.” And that seemed to be the approach that Mekhi Phifer adopted as he assumed “the position” so that he could be easily cuffed by the Punk’d cops. The thing is, the issue of these pranks isn’t really a racial statement, but it’s more of an observation. There are often Black fake cops in these practical jokes and plenty non-Black subjects. See, they are as frightened of legal prosecution as we are – it’s just a different type of apprehension. But, then there is that old fear of the wild out. For example one attempt to use officers to “punk” the Black Eyed Peas, regarded widely as a softer rap act, resulted in the group’s entourage actually fighting the cops. They didn’t know that it was a joke. Somehow, there is a certain amount of unpredictability with rappers and those that capture that Hip-Hop ethos. We’ll go to war with each other, but when it comes to the law, it’s a far cry from the echoes of NWA’s “F**k the Police,” or Ice-T’s “Cop Killer.” Both songs cry against police brutality despite propaganda. So, when you see Bizarre drop a tear or two when the police ask him to step slowly out of the car, its not because he’s a punk or been “punk’d”…Its probably that he doesn’t want to be Rodney King’d, Abna Louima’d, or Amadou Diallo’d. Illseed is an AllHipHop.com columnist and writers for the Rumors section. You can reach him at ahhrumors@gmail.com

Snoop Dogg – Apollo Theater, Harlem Monday, May 2, 2005  As light rain trickled down onto the Harlem streets Monday night, another reign was taking place inside the city’s world famous Apollo Theater.  “I feel good being up in Harlem,” yelled Snoop. And Harlem felt the love.  The night was an ode to old school and a declaration of peace in more ways than one. Low rumbling vibrated the smoke-filled room, which felt like a massive earthquake for most of the night due to excessive bass. The show officially jumped off when Snoop’s signature flow emanated from the speakers, alongside a nine-member band called the Snoopadelics. The Doggfather emerged onto the Apollo’s legendary stage, a legend in his own right, Cripped out in a blue handkerchief-pattern suit and a platinum gun pendant chain. The set was a large backdrop of Snoop under the words, “Tales from the Crip,” and, although road dog The Game was at another engagement, Snoop and friends carried the show.  Despite his gangsta persona, Snoop’s definitely got some soul in him. During the unusually long intermission prior to his entrance, oldies like “Express Yourself” and Marvin Gaye’s “What’s Going On” filled the arena, and during his performance, Snoop grooved to several classic jams. Opening the show was the overly hype Tru-Life, rolling about 30 deep and bigging up “Da New New York,” then a stellar but brief showing by newcomer Saigon. The lights dimmed and a racy, roughly 10-minute long movie titled “Corleone’s Revenge” played, featuring Snoop as Corleone. In typical Snoop fashion, the p####-like film was packed with sex scenes, two half-naked ladies (Peaches and Cream), a setup and a shootout.  Focusing more on his early 90’s songs and revisions of classic hits than new cuts from his latest LP, R&G (Rhythm & Gangsta): The Masterpiece, Snoop started the night out with “Murder Was the Case.” Also intriguing were Snoop’s remixes/freestyles over current hits. Instead of Cassidy’s “I’m a Hustla” hook it was “I’m a Gangsta.” Snoop replaced Camron’s lyrics on “Down and Out” with his own, and rapped the sexually explicit version of the Ying Yang Twins “Wait (The Whisper Song).” The room was most animated when Snoop performed his classics, “Gin & Juice” and “Ain’t No Fun (If the Homies Can’t Have None),” prefaced by the rapper’s pronouncement of West Coast loyalty.  In between puffs of weed and shouts of “I’m fu**ed up right now,” Snoop also professed East Coast love while honoring his fellow West MCs. Most notable was his stirring tribute to Hip-Hop’s two kings from opposite coasts, Notorious B.I.G. and Tupac Shakur. “I wanna give the East Coast some love,” Snoop said before displaying a photo of Notorious B.I.G. on two large screens. He let the music play and rhymed with the crowd, miming “Hypnotize” and passing the mic to the ladies for “One More Chance.” Biggie’s tribute was followed by Tupac’s “Hail Mary” and “2 Of Amerikaz Most Wanted.”  Besides neophyte Oowee displaying his rhyme skills mid-show, Snoop’s usual sidekicks were at hand. Daz and Kurupt graced the stage for most of the night, rapping to the Dr. Dre-crafted “Xxplosive” and “The Next Episode” among other joints. And speaking of joints, Snoop took one from an audience member at one point, passed to his homies and proclaimed, “You know you ain’t getting this back.” Naturally, Bishop Don Magic Juan was present with pimp cup in hand, while Snoop’s 64-year-old Uncle Junebug mingled with the crowd and danced about rambunctiously, appearing not a day over 40. John Legend (seated in the audience next to this writer) even got a quick shout-out from Snoop. But it was an appearance by Hip-Hop pioneer Ice T, who sported a white Yankees cap and a few extra pounds, that made the night special for youngsters in the building.  Despite the blatant sexual exploitation and violent lyrics that warrant parental advisory stickers, Snoop’s legendary status cannot be denied. Besides, he has been around in the Rap game for more than a decade. Even as he smoothes out his rough edges with his inventive R&G style, Snoop is still straight gangsta—and he can still Crip-walk his ass off. Outside after the concert, which culminated with “Who Am I? (What’s My Name)” and a fitting shout of “Peace” from the Doggfather himself, the rain had ended. But the reign of the West was to be continued.

May 9, 2005 Mr. Abraham H. Foxman National Director Anti-Defamation League 823 United Nations Plaza New York, NY 10017 Re: Millions More Movement Dear Mr. Foxman: I am writing in response to your latest newswire release dated May 2, 2005 entitled, "ADL Urges Prominent African-American Leaders to Reconsider Their Support of the Millions More Movement." The upcoming commemoration of the10th anniversary of the historic Million Man March in Washington, DC, October 14-16, 2005 deserves the respect and support of all people of goodwill who cherish the universal love of humanity. Very disturbingly and disrespectfully, you are quoted as stating, "When will someone in the African-American community stand up and say the Million Man March had a positive message, but the pied piper is a racist and anti-Semite? We cannot understand why good people continue to tolerate this outrage of anti-Semitic views and behavior. It seems there is a line of denial ­ indeed a blind spot among many ­ within the African-American community when it comes to anti-Semitism." As Chairman of The Foundation for Ethnic Understanding and the Hip-Hop Summit Action Network, I know that your above quoted statements and the urging and pressure of the ADL for African American leaders to reconsider their support of the Millions More Movement and the 10th anniversary of the Million Man March will do nothing more than increase the polarization of relations between millions of African Americans and Jewish Americans. It is a sad commentary that your actions will only help to spread anti-Semitism rather than help to end it. The planned Millions More Movement commemoration this year is about the mutual love and respect of all people and the encouragement of taking personal responsibility to uplift African Americans and others out of the devastation of poverty and ignorance. Over 150 key leaders, including the NAACP, National Urban League and the National Rainbow PUSH Coalition, have signed on to be National Co-Conveners of the Millions More Movement and have all pledged to stay focused on the redemptive message and agenda of the commemoration. Ten years ago, under the leadership of Minister Farrakhan, the Million Man March not only "had a positive message," it also had a positive and profound impact on millions of African Americans and others across America and throughout the world. After the Million Man March there was a dramatic decrease in self-destructive violence among young African American males in the major urban centers and a tremendous increase in youth mentorship, Big Brother, and child adoption programs and projects in every region of the nation. Simply put, you are misguided, arrogant, and very disrespectful of African Americans and most importantly your statements will unintentionally or intentionally lead to a negative impression of Jews in the minds of millions of African Americans. Similar to how you single-handedly caused millions of persons to flock to see the "Passion of Christ" in defiance of your call for non-attendance, you are going to precipitate a tremendous negative defiance of your demands that will again severely hurt and harm relations between Jews and African Americans. You should refrain from pressuring African American leaders to denounce Minister Farrakhan and the Millions More Movement. This commemoration is as a real opportunity for establishing healing, reconciliation and fostering a more effective environment for constructive dialogue between Blacks and Jews. We want a society and world were there is no hatred, anti-Semitism, violence, or poverty. For the record, we do not and would not support or endorse any person’s viewpoint that is anti-Semitic, racist or hateful. You should, therefore, be working with us toward building more compassion and love among and between all people. For over 50 years, Minister Farrakhan has labored to resurrect the downtrodden masses of African Americans up out of poverty and self-destruction. A few days ago I personally witnessed him affirm, "A Muslim can not hate a Jew. We are all members of the family of Abraham and all of us should maintain dialogue and mutual respect." Our work, commitment, and lives are all dedicated to uplifting all people through love, goodwill, equality, peace and justice for all. Sincerely, Russell Simmons