Early on, authors like Donald Goines and Iceberg Slim captured hip-hop’s street sensibilities scribing books that explored the seedier side of urban living in the ’60s and early ’70s. The Life of Goines has be resurrected this year for a new generation of hip-hop fans that have really been consuming the his work for years. A new book, “Low Road: The Life and Legacy of Donald Goines” by Eddie B. Allen Jr., is slated to drop on October 22, 2004. The book will delve into the world of the writer and also offers a number of personal documents, interviews and other personal items. Allen’s book zigzags through Goines’ turbulent life as the son of a middle class family in Detroit to his young death. As a youth the budding author opted to join the U.S. Air Force at the age of 15 instead of joining the family business. While in the armed forces, he became addicted to heroine and eventually became a criminal, with a number of jail bids. Inspired by the aforementioned Iceberg Slim, Goines started writing. His life as a writer is a different story from his rocky life in the system. Some of Goines’ more vivid tales can be found in his books “Dopefiend: The Story of a Black Junkie,” “Whoreson: The Story of a Ghetto Pimp,” “Black Gangster,” “Black Girl Lost” and “White Man’s Justice, Black Man’s Grief.” Earlier this year, DMX starred in and produced the Goines-adopted film, an action thriller, in which the Yonkers-bred rapper played King David, a gangster seeking redemption. "Never Die Alone" is first of Goines 16 books to reach the big screen. The hip-hop community in particular has embraced Goines for his lucid, universal tales of the streets in Detroit. A former convict, pimp and drug addict, Goines wrote all of his books between 1970 and 1974, the year he was fatally shot. A pioneer of street-hop, Kool G Rap considerers himself the “Donald Goines of Rap,” for his own ability to use rap music to weave intricate stories. “Before G Rap, they weren’t talking about selling drugs in the street, murdering; they weren’t doing nothing relating to the streets. They were talking about making new dances,” Kool G Rap told AllHipHop.com. “But with Donald Goines, I took what I was seeing and tried to make it visual like him.” Many concur that rappers like G Rap, Nas and others were directly influenced by what they may have read in the prose of Goines. “Kool G Rap really brought the cinema to hip-hop,” said Grouchy Greg Watkins of AllHipHop.com. “But obviously Goines was crafting book after book that revealed the hood to the reader. After getting out of jail, [Goines] had a work ethic similar to what we saw with Tupac. Goines put you right there in the action.” And interestingly, Goines’ book, “Black Gangster” (1972), had an accompanying soundtrack over 20 years after its release. In 1999, the aforementioned Chaz Williams of Black Hand Entertainment brought together original tracks from hip-hop artists, like Jay-Z, WC, DMX, Mic Geronimo, Ja-Rule and others, to create a backdrop for the book, which originally was meant to be a movie. “I was familiar with [Goines] from back in the day. His books transcended from then to now. I wanted to bring the book up to par,” said Williams, who works with Sony Recording artist Grapf. “Nas, Nore and some of the Wu Tang members had mentioned him in their songs. I got some of the hottest artists to read the [“Black Gangster”] and told them to give me back [songs that expressed] what they were feeling.” “Hip-hop might not be the direct descendants of a writer like Goines, but you can never, ever deny that he didn’t have a profound influence on them. You have rappers like Nas and Royce Da 5’9” who both have songs called “Black Girl Lost” [like the title of Goines’ book],” said Big Ced, the editorial director of TheIndustryCosign.com. “Donald Goines helped create a blueprint that many street-oriented artists today mimic while creating their lyrics. Like many rappers today, Goines lived much of what he wrote about, too.” In a recent interview with Film Monthly, DMX said he related to Goines’ characters, citing his own well-documented legal ordeals. “I had actual events and issues to draw from. I think that is the theme of my life. Right, wrong, good, bad, heaven, hell. I think you have to know both in order to honestly choose one. So I’m familiar with both sides of the fence. That was the character. All right, be a grimy ni**a for a minute, then f**k around and get a conscience.” What was the intent of Fox/Searchlight Films and DMX’s own Bloodline Films in bringing Goines from the cult status to the masses? "Well, you know, we definitely wanted to capture the feeling of a cinematic version of reading a Donald Goines novel," said Director Ernest Dickerson. "If you’ve read any of his novels, sometimes you feel like you have to take a shower after reading one of them.” And even though he died 30 years ago, his legacy thrives. “Donald Goines was for the streets [in the ’70s] what the rappers are today. They speak about what is going on. When there wasn’t rap, he was speaking on what is going on in the hood,” Williams said. “And he spoke in the people’s language. He was in the streets, of the streets and spoke for the streets.”

In a time when DJs are receiving nearly the same levels of acclaim that MCs are garnering, the hard work and keen business mind of Clinton Sparks are welcome with open arms. Hailing from Boston, the DJ and producer double threat is making a big name for himself these days, dropping unique mixtapes on the streets while touching other areas of the hip-hop scene. While most DJs clutter their latest collections with freestyles and exclusives heard on every other tape out, Clinton Sparks injects refreshing doses of creativity into his releases. Producing many of the beats himself, Sparks has mastered the art of blending and recruiting artists such as Mobb Deep and Joe Budden to record exclusive tracks only heard on his tapes. On top of flooding the mixtape market, he oversees two popular websites, www.mixunit.com and www.smashwax.com, is grooming upstart Beantown group XL, and is prepping his own solo album. Staying hungry is a key factor to longevity in the rap game, a point that ensures a bright future for Sparks. With his business sense steadily growing, his name should soon be mentioned alongside DJ Kay Slay, DJ Clue, and Big Mike without hesitation. AllHipHop.com: For those who aren’t aware, let them know who you are and what it is that you do? Clinton Sparks: I’m a DJ and a producer. I’m the first DJ to be on three stations in three states, live every week. I do Hot 97 in Boston, Hot 93.7 in Connecticut, and I do 92 Q. I put out mixtapes, and do production. AllHipHop: Are you producing for any artists that people can check for? Clinton: Right now, I’m actually working on my album. I’m gonna be the first DJ to produce his whole own album. There’s been a lot of DJ albums, but with those albums, the DJs just solicit the artists for records. I’m producing my whole album, and I got CNN, Joe Budden, Mobb Deep, Kardinal Offishal, and a lot of other heavyweights that are being confirmed. AllHipHop: Is this album coming out independently, or on a major label? Clinton: Well, this is how it started off. On my mixtapes, I produce a lot of the exclusives. Being on the radio, a lot of cats will come to my markets and we’ll either go in the production studio at the station where they can put verses to my beats, or they’ll do a freestyle, and I’ll end up making a beat to that verse. I started wondering how it make it bigger than just having exclusives on my mix CDs. Then I had the idea to have a whole mixtape that I would produce. That was the original idea, doing a self-produced mixtape just for the streets. I began promoting it, and artists started hitting me up. A dude like Joe Budden was like, “Yo, you better not put out an album and not have me on it!” AllHipHop: So how long have you been involved in the mixtape game? Clinton: I’ve been doing it for about four years I think. I first started off in my basement, as a ten-year old kid. Nobody around me was doing music, so I don’t even know what made me pick up music. But I used to try to remix Prince songs, and stuff like that in like the late 1980s, on my mom’s little stereo. As the years went by, I honed my skills and bought better equipment and started remixing popular songs. I got friendly with the DJs on major radio stations. They started hearing my remixes, and wanted to play them on their shows. So I asked myself, “How could I make myself hot enough where people hear my name and think hot music?” That’s when I decided to get my own radio show. My first radio show ever was a 20-city syndicated radio show in 1998. From there, I eventually got into making mixtapes. AllHipHop: New tapes are being put out in the streets almost on a daily basis, so what separates a Clinton Sparks mixtape from the rest out there? Clinton: Mine have a lot of creativity, a lot of self-produced music. Today, the mixtape game is almost getting ruined. It’s so oversaturated. Everywhere I go, and I’m in three different states so imagine how much I see it, everybody is a DJ or a rapper. Everybody has their own label or production company. That’s the same thing with mixtapes, and its like there are so many dudes doing mixtapes that aren’t hot. You already have your Kay Slays and your Big Mikes. They play the exclusive new s**t and pop their s**t over the music. We already have that. That’s them, so let them do them. To me, what makes a new mixtape DJ hot is when they find a niche, and do something different that nobody else has done. The difference between me and other people is also my intros. I’m known for my intros. The first person I ever heard do a hot intro was Juice, so I want to give respect to him. My intros always a message in them, if you pay attention. All these DJs can say what they wanna say, and pop s**t on their CDs, but if you just play three minutes of my intro then it’s a wrap. AllHipHop: How do you go about deciding what theme each new mixtape is going to have? Clinton: Sometimes people come to me, or sometimes my partner Daouda will come up with some ideas. Having a tight team around you and just brainstorming. Coming up with ideas, and know the market and what movies and albums are about to come out. For instance, there are two other major movie stars that I’m about to do mixtapes with. They have movies coming out around October, and when people hear them they will go crazy. Like the next mixtape I’m about to drop, I’m gonna have a first ever, Britney Spears rapping freestyle. She did […]

It’s easy for LL Cool J and Ice Cube to have released so many albums. At least, it’s easier when you’re backed by a major label. What about the others though? Who are the veteran’s of Hip-Hop? Who’s managed to make the most records, and still get up in the morning to rap? MC Eiht deserves your respect, and as you’ll see, he commands it. While Lloyd Banks’ line about Eiht may’ve been a playful poke, it serves as an eerie reminder to the lack of respect new artists are paying the greats. In his sixteenth year, with almost as many albums, Eiht is a living legend. And if your experience with Eiht’s music has been limited to admiring his defiantly gangsta album covers, or Eiht’s a figment of your youth, now’s time to make the sale and reunite. On the verge of releasing, Veterans Day, Eiht and AllHipHop shoot the breeze about Lloyd Banks’ line, New York gangstas, Tupac’s adoration of Eiht’s music, Mack 10’s credibility, and more. Lace up your Chuck’s, and park your Regal to the left, we gotsta give it up to a true Hip-Hop hero. Don’t get gaffled. AllHipHop.com: The records I’m hearing lately are monotonous. Veteran’s Day is the best Eiht record I’ve heard in ten years. The obvious thing, without pulling punches, is Lloyd. Why does that bother you, what he rhymed? MC Eiht: I took it as him, trying to reference himself to me. It’s a little ludicrous to me. I respect Young Buck. I did a song with him a couple years ago. I know him. I don’t know Lloyd, I don’t know 50. I know Game a bit. When I first heard it, everybody was trying to approach me as, “Is he dissing you?” I feel like this: it’s a positive and negative. My first reaction is, why’s a n*gga talkin’ ‘bout me? My second reaction is, maybe he just swingin’ on my nuts. Maybe he wants to be an east coast version of me. But I been around for fifteen years…that’d be me trying to compare myself to a Tupac or Biggie. AllHipHop.com: It reminded me if Nelly saying he’s number one, and KRS got heated. MC Eiht: Right, right. Definitely. To say you number one, I give you props for sellin’ ten million on the albums. But still, lotta records today sell off of gimmicks. They don’t sell off of quality lyrics and beats no more. It burned me a little. But the cat’s not me. He’s done one record – good, but I’ve done twelve, thirteen albums. AllHipHop.com: Plus, the night Eminem was discovered at the Rap Olympics, you performed. You brought out the crowd, and thus the Interscope execs. By chance, Em gets a deal. Without Em, would 50 be as large? Without 50, is Lloyd as big? You see where I’m going here. MC Eiht: A lot of people have told me about that. Even Wendy Day mentioned that. I performed the night Em got discovered. I waited til’ all these lewd, up and comers get they shine on. I sat there, three, four hours, listenin’, watchin’. My pops had just [died]. But as a true professional, I had to perform. AllHipHop.com: But I know you’re deeply rooted with true gangsters out in New York. It’s not coast hating. MC Eiht: No doubt. It’s funny, because there’s real n*ggas who don’t have to symbolize themselves by doing what we do. Fat Joe. When I started going to New York in ’90-’91, I used to be real cool with Premier. Premier used to pick me up at the airport. Busta Rhymes, Red and Meth, there are true gritty n*ggas in New York that I have way mad love and respect. A n*gga can’t respect Eiht if Eiht put on some pink jerseys, bandannas, and Timberlands. That’s not my trademark. Stick to what you stick to. Don’t confuse the public. Don’t step in my arena. It makes a n*gga who knows what real is, come at you. AllHipHop.com: You said fourteen albums. The only people close to that in my mind are LL and KRS, Too Short. Especially in the last ten years, I think it’s great that you can sell a record a year. But the acclaim went down. We Come Strapped was a classic. Aren’t you worried that you’re over saturating? Can a Section 8 or Th8t’s Gangsta mean anything in ten years? MC Eiht: I don’t look at it like that. I look at it like it keeps me fresh. When you older, you gotta exercise. Somebody might not get this, or that. But the more I do, the more variety I’m giving a person to choose from. I put a record out every year. Some of ‘em sell, some of ‘em don’t, but I don’t care. But as long as that muthaf***a’s in the store. As long as a fan can say, “Damn, Eiht’s still doing records!” I can make money off of other s###, but I wanna do that record. Because, this one might be the one to reach the people! Last one didn’t work? Okay. I got more tricks in my bag. AllHipHop.com: You got the classic loop on “Streets Don’t Love You,” Barry White was a gangsta, what did somebody like that mean to you physically and musically? MC Eiht: Definitely. He was an O.G. Blood from L.A. That’s what made his music so street. He came from South Central. Barry White had perfect s**t for me. I been using Barry White since I started rappin’. Barry White or Issac Hayes. They just had that depression, that struggle music. It was a perfect marriage. AllHipHop.com: You said depression. How much in making the albums, is it difficult? MC Eiht: Really, every time I write a rap, when I’m writing on some real s**t, I don’t worry. I just want somebody in my neighborhood, or in some neighborhood to be going through what I’m going through. N*ggas who don’t have Bentleys, […]

The way that Little Brother’s Phonte met producer Nicolay is not that unique, after all people who meet in chat rooms are marrying each other these days. However, how Phonte and Nicolay, together known as Foreign Exchange, completed their first LP is not only unique, but has become Hip Hop folklore. When you listen to Connected, you hear beats from the soul and lyrics from the heart. The integrity and consistency that can be found on Connected are merely examples of a philosophy that Phonte lives by. It is a philosophy that Phonte feels requires him to take responsibility for his existence in Hip Hop, and he is doing so by making dope music. Phonte and AllHipHop have been fam since day one, so we wanted to explore the upgraded Little Brother, and get a chance to explore the Foreign Exchange album. AllHipHop.com: For those who aren’t familiar with the Foreign Exchange story, how did the group come about? Phonte: One day I was on Okayplayer.com and I saw a post from some cat trying to get people to listen to his tracks. So I downloaded some of his tracks and I thought the s**t was incredible. I reached out to him and we started emailing back and forth. He would email me a song on the computer and I would take it into the studio, record my vocals, and then send it back to him. AllHipHop.com: Okay, so you heard some of his tracks, but at what point did you actual realize you could complete a whole album this way? Phonte: It was when I saw Nicolay’s consistency. I get a lot of beats from cats, and every n*gga can come with some heat every once and a while, but it’s only a few cats that can consistently knock it out of the park. So once I saw the consistency in his tracks that’s when I knew he was for real and that’s when I knew we could do a full length together. AllHipHop.com: So this has been a two-year process? Phonte: Yeah. AHH: So you and Nicolay linked up before The Listening came out? Phonte: Yeah, we had finished The Listening, but it wasn’t out yet. We finished The Listening in like March of 2002 and we started working on Connected a month or so later. AllHipHop.com: To your knowledge, have Nicolay’s opportunities changed since the album surfaced? Phonte: I’m sure they will. When we were in New York, he was meeting a lot of music makers like Ali Shaheed Mohamed and they were fans of his stuff. So I definitely think doors will open for him. Right now, the main thing we’re working on is this singer Darien Brockington, he’s the cat that’s singing on “Come Around.” AllHipHop.com: Yeah man, that’s an ill cut. Phonte: Yeah, me and Nic are overseeing his project. Nic is doing a lot of the tracks and I’m helping Darien with some song writing and vocal arrangements. AllHipHop.com: So will you have the title of Executive Producer on his album? Phonte: Yeah. AllHipHop.com: With 9th’s sudden and immense popularity, did there bloom any resentment in you or Pooh? Phonte: No. We don’t have a problem with it all. It’s all about consistency, if 9th was a producer that every twenty beats he only had one or two hot ones, then I might take issue with it (laughs). But he makes beats everyday and he makes hot s**t everyday. We encourage his popularity cause we all knew that we wanted to use Little Brother as a springboard for other things. We allow each other our creative space and when it’s time to do Little Brother we just come together and we’re that much stronger cause we’ve sharpened our individual talents. AllHipHop.com: Does the invaluable behind the scenes experiences you and your Little Brother brethren have been able to gain in the last three years give you more creative leverage as you move into your new situation with Atlantic Records? Phonte: I look at the whole major situation as us upgrading to a better car. I also see it like, “Look man, we’ve always been driving this car and now that we’re on a major ya’ll can be in the driver seat, but we’re gona be in the passenger seat telling ya’ll were to go.” One thing that I hope Atlantic realizes, is that singles do not sell albums any more. People buy into movements now, you need a movement behind you. The reason people got into Little Brother was not because we had videos and because radio was blowing our s**t up everyday, people got into us at a real grass roots level. We weren’t manufactured, our s**t is organic. So if we can get Atlantic to understand that we just need to keep feeding this grass roots movement, then we’ll be successful. We don’t need to get Scott Storch on a record, we don’t need a Neptunes beat, I love Scott Storch and The Neptunes, but that’s not Little Brother. AllHipHop.com: How much of the next Little Brother album, The Minstrel Show, is done? Phonte: Except for like three or four songs, the record is pretty much done. AllHipHip.com: Do you have a release quarter in mind? Phonte: They’re talking summer of next year, that’s cool. I was hoping it would be a little earlier like in the spring. Because I was hoping we could get the record out while school is in, cause we really got to hit them colleges hard. AllHipHop.com: I interpreted The Listening as the culmination of three cats passion for music, what’s the thesis of The Minstrel Show? Phonte: As you know, minstrel shows were shows with white actors in black face performing these grossly exaggerated images of black people and really stereotypical images of black culture. So we’re just using the Minstrel Show as a metaphor for Hip Hop, cause you have a lot of these rappers that are out here performing these exaggerated images of […]

Who: Dave Chappelle, The Roots, Kanye West, Kool G Rap, Jill Scott, Freeway, Fred Hampton Jr., dead prez, Erykah Badu, Mos Def, Talib Kweli, Common, The Fugees and others. Where: Brooklyn, NY When: September 18, 2004 The Report: For years, critics and die-hard fans alike have proclaimed that hip-hop is dead, but Dave Chappelle’s Block Party in Brooklyn helped put that fatal notion to sleep. Because after the show the comic organized, one thing is glaringly obvious- Hip-Hop is alive and well. On the stormy Saturday September 18 on a Brooklyn side street, some of hip-hop’s most relevant and profound performers and its greatest supporters gathered for one of the most historic shows to date. The show was bestowed with the energy of legendary shows like Watts Stax and Woodstock, as fans and artists braved ominous weather that resembled the hurricanes that have recently ravaged the Caribbean and the South. The revealers withstood in the rain, rocking ponchos with flyness to bear witness to Dave Chappelle’s vision: a present day block party, to be documented and put on DVD with his favorite acts in hip-hop. A highly confidential event, Chappelle reportedly put up $3 million of his own bread make the show happen. A live band, headed up by ?uestlove of the Roots who also served as Musical Director for the show, served as the accompaniment to the All-Star roster which was sparked off with the “Louis Vuiton Don” Kanye West who managed to job get the party started along with Freeway, despite the unfavorable weather. Hip-Hop revolutionaries dead prez followed, cranking up the energy levels with joints like “Turn Off the Radio” and “Hip-Hop.” The group ended their set on a high point by bringing out Black Panther Fred Hampton Jr., who spoke some words of insurrection and upliftment to the diverse crowd of hundreds that listened intently. Changing up the pace of the show, adding in a little R&B styling, Erykah Badu took the stage in a huge afro wig that crowned her face. By the end of her first song, the wind blew fierce enough to move the DJ’s needles and shift Miss Badu’s hair-piece. Suddenly, without warning she had snatched it off revealing a semi locked, semi natural, semi knotted head of hair. Nevertheless, he performed “On and On” and a rousing rendition of “Other Side of the Game” with just as much poise as she possessed when she first stepped on stage. She capped her set off with “Love of My Life” and ex-fiance Common joined her on stage to say his verse on the track. The appearance deaded any perception that there was conflict between the former couple. Between each set, Dave Chappelle addressed the audience, making jokes and keeping the mood fun and beef free. The weather conditions improved as Jill Scott took the stage, starting with a rock-n-roll rendition of “The Way” and performing new material from her latest album. While she started heavy, Jill eventually provided a level of mellowness to the show, a needed breather. But, before the extravaganza caught its second wind, The Roots astonished the crowd. Black Thought and company broke into “Boom!,” a joint on The Tipping Point on which he impersonates the Golden Era icons Big Daddy Kane and Kool G Rap. Unexpectedly, Kane and G Rap marched on stage to a burst of screams and “Oh S***s!” The 80’s idols spit their verses from the track and also laced the crowd with hits like “Poison,” “Warm It Up Kane,” and “Raw.” As if a pair of legends wasn’t sufficient, the Roots finalized their set with “You Got Me,” but flipped it by having Jill Scott sing the lush hook she originally wrote. However, the tune climaxed with Badu, the original song’s singer, joining her on stage and two soul divas belted the lyrics. As nightfall came, the show was far from over. The crowd remained thick and showed no signs of weariness even though the concert had already carried on for close to 6 hours. The audience was greeted by Mos Def, Talib Kweli and Common who took the stage and traded off with tracks from the respective catalogues. Common ranged from Resurrection’s “I Used to Love H.E.R.” to Like Water for Chocolate’s “The Light,” where he was joined onstage by Badu and crooner Bilal. Mos Def and Talib Kweli then spun back into their BlackStar efforts like “Definition” and “Respiration.” Kweli performed his new single “I Try” from his upcoming album “Beautiful Struggle.” Talib’s voice appeared to fade due to hoarseness and fatigue. That was no longer evident when the bass line for “Get By” began to thump. With an apparent shot of adrenaline, spit the entire joint with the crowd with him quoting every adlib and singing every note of the hook. Mos Def, another Brooklyn rep, got into the groove of is his set, with new joints off his upcoming album, but also took his career way back to his days with The Lyricist Lounge via “Ultra Magnetic.” With the crowd’s fists in the air, the set ended with Mos’ “Umi Says” with the closing lines, “I want Black People to be Free, to be Free, to be Free…” After another thirty minutes of waiting, Dave Chappell announced what will truly make history. Chappelle came on stage and said, “Originally the final act was going to be Lauryn Hill, but unfortunately Columbia would not clear her songs. Luckily she came up with an alternative. Ladies and Gentleman, The Fugees.” The surprise shot across the crowd like rounds from an AK as Wyclef, Pras, and L Boogie took the stage together for the first time in over 5 years. The performance was stunning and appeared that they never separated, as if they never spit bars against each other, or spoke nasty towards each other in magazines. The Nappy Heads held down the stage like the great music they have come to exemplify. They careened through hits like “Fu Gee La,” “Killing Me Softly,” […]

Some Hip-Hoppers never heard of The Relativez. But they’re probably in your album collection. Still, this act has been largely responsible for the way gangs have been represented on wax. While signed to Death Row Records in the early and mid-nineties, Big Wy and Suga Booga were the leaders of the Young Soldierz, who hit it big with, “Eastside Westside” on the Murder Was the Case album. While they didn’t release any of their three albums on Suge Knight’s label, the duo was also key organizers in the Bangin’ on Wax series that followed. Since then, the group worked with 2Pac, Snoop Dogg, and Timbaland to craft the West Coast equivalent to Queen’s Screwball – street respected, and Hip-Hop protected. The only thing missing is the sales. On the verge of their Ballr Records debut, Money Respect Money, Big Wy and Suga Booga speak on the West, Game’s legitimacy, and even just how two of Inglewood’s most notorious feel about Shaq’s departure from the Lakers. When this thing is over, The Relatives are likely to be your favorite new gangsters. AllHipHop.com: You’ve got this track, “The Way We Do,” where you talk about everybody, even the Hilton sisters. What prompted this? Wy: I came up with that concept. Because everybody in the game is mimicking what was hot at the time. My main thing was just to stay us. I think in trying to bring the West Coast back, it’s gonna have to be authentic. People gonna hate. They gonna say what they say. But nobody gonna do it like we do it. AllHipHop.com: I think there’s this misconstrued perception that West Coast gangstas don’t really appreciate Hip-Hop. I know that’s not right. Tell ‘em. Wy: S**t man. This is all about Hip-Hop! My major influence out here was King Tee. He reminded me of myself – a street dude, bangin’ and all that, but also in the lyrics and wordplay of rappin’, not just rhetoric. I wanted it to be tight. AllHipHop.com: And you got to work with him recently too. Wy: Man, soon as I got the chance – soon as I got the budget, I went and got him and we did, “Played Like a Piano 2003.” It came out hot! AllHipHop.com: That whole album was interesting. It had one of the finest guest lists I’ve ever seen on a record. Here you are two years before that, and you take pokes at Mack 10 and Dr. Dre, and then… you working with Aftermath and Mack 10 on this. How is that? Wy: Out here, when you say something about somebody, people take it in a literal sense. Rap was built on controversy and battle and takin’ shots at people. The shots that we took at Mack 10 and Dre, that was just, “Yo, there’s some young dudes behind you that’s fittin’ to come up and take your spot. We want it.” Respect it or move out the way. If everybody wanna do some good business, everything is negotiable. We cool now, we squashed the beef. AllHipHop.com: People apply “terrorism” to street gangs. As a true gangster, how do you take that? Suga: I’ve always been a Democrat. So I’m with Kerry. [Democrats and Republicans are] a big ole’ gang too. We like Indians. They cowboys. Somebody here get killed at the liquor store, we go to jail and do life. He bombing churches. Wy: Any group of individuals that’s against the norm, if they appear to be slightly violent, they’re considered to be terrorists. [In Inglewood], they put an injunction out on us. [We’re] one of the most notorious street gangs in Los Angeles, and called us terrorists. Every time the spotlight is not on Bush, all of a sudden it’s all bad, they’re gonna kill us, blow buildings up again. I think the real terrorist is mothaf***in’ Bush. Because he’s doing all this stuff for his own personal gain. It’s like a smokescreen. I can’t vote anyway, because I’m a federal felon, but I really don’t give a f*** about the election. I support the Democratic party ‘cause [they] for poor people. But guess what, at the end of the day, if gas is three dollars a gallon, you gotta buy it. AllHipHop.com: That felony vote removal thing has made California Republican. Wy: If I finished my debt to society, you still punishing me. ‘Cause my voice means nothing. I think it’s racism and classicm. AllHipHop.com: Those Crips and Bloods records are kind of forgotten about. But ten years ago, we used to play those til’ the tapes broke. What did those records do for the actual gang community? Wy: It really showed that at the end of the day, that money and success stops violence. It eases the pain. It’s that way in the street. This dude’s a Crip and [I’m a Blood], but his price is better, so I’m gonna go buy from him. Even though we was dissin’ each other, it was always together. We were always on tour, in interviews, we were together. It gave dudes an opportunity. Battlecat, Domino, and we came off of it. Those that didn’t, they did things inside the music industry. AllHipHop.com: Snoop and Jayo did their thing a few years ago. But you really don’t hear “Blood” called out on a record much anymore. Why is that? Wy: Nobody really was sayin’ Blood or Cuzz til’ we did it in a song. People was scared to do that. They shied away from it. When it came out, the only people making noise was the Crips. Now, it’s like Crippin’ is mainstream. It’s a known thing. Now, all of a sudden, the spotlight is on the Bloods now. AllHipHop.com: A huge part of that is The Game. What are your thoughts on him? Wy: Aw yeah, that’s my little homeboy. Game was hosted my mixtape, he on my album. He has a respect for me because me and his brother are from the same neighborhood. Game […]

If you aren’t a fan of crunk music, you may fall out of love with Hip-Hop. Even the most proven artists in rap are dabbling with that derrty mash out sound. Even though the south is getting a new appeal, lots of yesterday’s stars are dealing with antiquation and conformation. Many of the people who dominated the airwaves five years ago, suddenly sound as awkward as Bow Wow going through a public puberty. One artist who hasn’t compromised himself through the years is Devin the Dude. The always humble, unabashedly laid back, comedic rapper from Houston just dropped his fourth solo album. With less than a week into the release of To The X-Treme, AllHipHop chilled out with the Texan who has found pockets of cult followers in Brooklyn, Compton, and Corona, Queens by way of his outstanding collaborations, and censor-testing style of telling it like it is. Lean back and roll with the man who penned some of the most beloved booty songs and odes to la la. AllHipHop.com: We ran a review of your record this week. We gave it a three out of five. What’s your own reaction to the initial response of the record? Devin: I been gettin’ pretty good responses. You know, it’s kinda laid back, slower tempo than usual. AllHipHop.com: It’s weird too. Because on the album inserts, you’re breakin’ and cuttin’ records. I’ve always heard how much you love the real Hip-Hop, so to see that out there was cool. Devin: I kinda had to bring back the essence. I kinda grew up on that. We was breakdancin’ back in the day up in the south man. I just kinda used that to make some extra change [then]. It’s always been a big part of what we was doing. AllHipHop.com: Did you go this route on account of feeling an absense of it in Rap? Devin: Yeah, somewhat. There’s a lot of beef and stuff happenin’, man – which is a part of Hip-Hop though. That’s been goin’ on since way back, but that’s not totally it. AllHipHop.com: You’ve worked with De La, you’ve worked with G. Rap, as you drop your forth album, do you see successful numbers sold to the New York community? Devin: Not really, but that just gives me room for improvement. I want acceptance. I got some work to do. I’ve only been there a few times. I don’t go there a lot. When I do go, lotta people tell me I get mad love out there. It kinda surprises me. I just gotta find a right channel. AllHipHop.com: I was asking Akinyele about his female response. Like him, you don’t hesitate to stick with sexual subject matter. What do females tell you about your records? Devin: Actually, it’s surprising man! When I do shows, the females who listen to me, they really enjoy it! Especially the freaky stuff. I wanna stray away from it just a little, to make most people feel that there’s more to me than just that. But they always bring up the parts on the songs where I [say] the freakiest stuff. “I wanna hear some more of that. You just so crazy, so freaky,” these be the classy ones! It’s kinda hard for me not to say certain things in a rap which is about sex or whatever. AllHipHop.com: I know Cee-Lo did it. But what made you really start singing in a lot of places on this record? Devin: There’s a lot of up-tempo songs out there, a lot of club, crunk songs which are fast moving. I’m sorta laid back anyway. So I just kinda dedicated this album to that side of me. To just chill, and listen to music, and unwind ‘cause I like to do that when I listen to other music. I felt that the public might wanna do that with this. AllHipHop.com: A lot of laid back groups been copying into crunk. Do you think there’s still a place for traditional southern Rap? Devin: Yeah, of course. We got a lot of talent out here. From open mics [on]. When people say, “The south,” I want them to gather up other things than just the crunk style, the gritty. But don’t get me wrong, I’m a fan of it too. I enjoy all of it. AllHipHop.com: The single, “Anythang” jumps off the record. You use a Rick James bassline. From one freaky musician looking to another, how’d you take the news? Devin: I was kinda hurt, man. I felt kinda relieved for him, too. Because at the last minute, he got a chance to come back and let the world see him and know that he was still around, he was still in it. And his spirit was there. The world got a chance to embrace him [again]. If he left without [that], that would have hurt me even more. AllHipHop.com: Did you ever get a chance to meet him? Devin: No, I haven’t, man. I came close when I went to work with Dr. Dre. But I never did get that chance. AllHipHop.com: Ever since “F**k You,” you been recruited by everybody to do guest verses. Do you find most people encourage you to be yourself, or do they want something specific? Devin: Yeah, for the most part. There are some who have something specific they want me to do – whether it’s words already written or a hook already established, or subject matter already together, which is cool. But I really enjoy when they say, “Man, it’s up to you. Whatever you feel. Just go ‘head.” AllHipHop.com: You work with so many different people. I just heard you on a J-Zone record. Do you ever get distracted by the artists your working with, and influence what you’re doing? Devin: I feel you. That happens sometimes. Especially when I worked with Rapheal Saadiq. That’s a good scenario. I’m wondering, “What am I gonna do? He’s so different. I gotta find something that’s gonna coincide with […]

Philly rap staple Beanie Sigel is mere days away from one of the biggest turning points in his life. Beanie’s fighting for his freedom, his family, and his future all at once. As the numbered days grow closer, the deadlines get tighter and he’s about to bless the public with what might be his best work to date- The B-Coming. In no laughing matter, AllHipHop wanted to delve deep into Beans’ brain with reckless abandon. And, the the analysis and candor herein is so uncharacteristic of Philly’s sacred son, we printed the full interview. AllHipHop.com: Where were you five day ago, five moths ago and five years ago? Beans: Five years ago I was on the Hard Knock life Tour, just got signed to Roc-a-Fella, five months ago I was in Federal Detention center, five days ago I was either in the studio or in the State Property office going to meetings making things happen. AllHipHop.com: Tell me about your new album, how long did it take to record? Beans: I took a little while, due to my legal situation. Before I was incarcerated I had seven songs that I was going to keep for my album. I have been out on house arrest for eight months and recently was able to come up to New York for two months; I recently just sent a letter to the judge to get my house arrest in New York. AllHipHop.com: Due to your incarceration what is your position on projects you have been working on such as the cartoon? Beans: My cartoon was intact two or three years ago. No one was thinking about a cartoon until I brought it to 106& Park. The cartoon is still in effect we are just shopping for a network the cast will be State Property. AllHipHop.com: So you can really draw? Beans: Yeah, I have been trying to do a cartoon forever. That would have been my profession if I weren’t into music. AllHipHop.com: Would you want to be in the drawing process? Beans: I probably lost my hand but that was something I was into. AllHipHop.com: So what’s up with the Pro-Keds? Beans: The Pro-Keds came about because they were throwbacks and that is how Philly do; we put that back on the map we are known for throwbacks and vintage. I use to rock them so much; there were a couple stores in Philly that had the Pro-Keds that weren’t really selling. Pro-Keds wasn’t selling in the United States for like ten years and there was only a couple of stores selling them like Sneaker Viller and City Blue who us to get the Pro-keds and I use to order a lot of them. They showed me a catalog book they ordered stuff from and in order for me to order the sneakers I liked I had to order twenty pairs. I was ordering damn near 200 pairs to get the kind I of flavor they had and when the State property clothing line launched off we went to the Magic show and a lot of root sellers that was buying from Pro-Keds they wanted to introduce me to them. When they introduced me to them they told them I was buying a lot of pro-keds and they were coming up in Philly and they wanted to know who was responsible for that so they brought me to them. They wanted me to endorse them and just wear the Pro-keds but I thought why just rock the sneakers and they pay me? Instead of me looking at the small check I looked at the bigger picture like how about we do a cross market thing and I got a percentage of Pro-Keds. Instead of me taking that up-front money, I got fifty percent of everything they sold with the State Property logo on it. That launched off, and Dame ended up buying the whole Pro-keds company. AllHipHop.com: So you also have a lot of cases? You said you like to look at the bigger picture so have you taken any precautions in case of the worst? Beans: I am trying to do two more albums within two months or a three-month period. AllHipHop.com: With all that over your head, you got your children the companies. Beans: I don’t think that will put debt on any of my other ventures except for music. Because I won’t be there for people to see me. But the clothes are gone sell whether I am around or not. AllHipHop.com: so what is your biggest concern if you do go in? Beans: My family. It is the time away from my kids, that is my biggest concern. [I] got a strong team, I am not sitting there designing everything and stitching myself. The clothes will get sent out. I can go over it like how I do now, I don’t have time to do everything and be everywhere it is just so much that I am doing and be an artist at the same time. Everything will keep on moving. It might slow down, but say it was going a 100 mph, we might have to bring it down to 95, 80 that will still be good. AllHipHop.com: There was a hung jury. Why? Beans: I think whoever was strong about saying I am guilty, had their mind made up before they got into the courtroom. Due to the negative press they were giving me, nothing but negative press like, they don’t like Rappers and entertainers, period. They feel the system is lenient with entertainers and already had there mind made up. That is how I feel. Because, if you would have listened to the case and followed along with it, you would have said there is no way you can convict this man. You got two witnesses, one victim, and both of there stories are conflicting and both are saying each other are lying, the victim saying he got shot some where else, and the witness saying […]

7L & Esoteric may not be known for their political ideologies, but like many Americans, George W. Bush has sparked their interest. With one of the most important elections in US history right around the corner, the Boston duo are adamant about getting President Bush out of office. On their newest album Bars of Death, Eso holds nothing back when discussing Bush or the current state of the US. Eso’s message rings "Loud & Clear" on his fiery politically driven tracks, sending a strong message to the Hip Hop community, get out and vote! 7L & Esoteric recently took some time out to speak with AllHipHop.com about their newest album, and current opinion on what’s really going on. Hey, this election might be the first thing Hip-Hop has unanimously agreed on since the Technics 1200. AllHipHop.com: Let us start by talking about the album, Bars of Death. Have you been pleased with the initial reactions from the fans? 7L: Definitely, just judging from the shows we have been doing out of state. Kids have been running up to us and saying they love it. Even people we known personally, that are friends of ours who heard the record awhile back are saying it’s our best work – which we feel it is too. This one is definitely a more concentrated effort on both of our parts. So we are pleased. AllHipHop.com: Are you happy with what Babygrande has been doing to promote the album? Eso: Yeah, we have definitely been happy with them so far. They got us an ad on MTV2, which was good. Basically, the whole thing has sort of been a rollercoaster ride from the beginning. Because we made a last minute decision to sign with those guys, as Bars of Death was originally supposed to come out on Brick. But Babygrande had been interested in working with us since the first Dangerous Connection, and we made a decision at the last minute. So things have been moving really quickly, and despite the rush to get it out by July, which is something we wanted on our own conditions, everything has been all right. The next album however, will be a more focused attack as far as publicity and all of that. But we were happy with the MTV ad. 7L: Yeah, there was some stuff this time around that we kind of knew going into it that we weren’t going to be able to do. Because Babygrande said they like to have the record for six months, so they can sit with it for a while and come up with a strategy. But with this one, we handed it and next week [they had to] go ahead and get a campaign going. So we kind of knew going in that it wouldn’t be the best it could be promoted wise, but it’s definitely been the best we have had yet. AllHipHop.com: Eso, do you think this album shows your growth over the years? Eso: Definitely, as a whole this album is our most mature release. I feel I am speaking from my own perspective on a lot of the topics. I think the stuff that I touch on may be a little more varied, versus our older stuff. So I think this has a good mix between the battle s### we are known for and the more introspective things. So I feel I keep challenging myself as an emcee, and that is something that lies within me. Its my passion, so I don’t really put it on cruise control. I try and get better with every album. AllHipHop.com: Eso, you really dive into the political scene on this album, so what are your thoughts on the current state of our country? Eso: It’s pretty self explanatory, getting George W. Bush out of office is the main aim. I’m not so much pro Kerry as I am anti Bush. There are only so many options, so you can vote for Ralph Nader, but that is easier to do if you are in Massachusetts than if you are in the Midwest, where every state is a battlefield for votes. So over here you can throw out a vote for Nader as a protest, because Kerry is going to take Massachusetts anyway. But I feel the same way as a lot of people, I would vote for anybody just to get Bush out of office, because he is an incompetent a**hole. AllHipHop.com: Did you watch the Democratic National Convention? Eso: Yeah, I thought John Kerry’s speech was good, and of course, that is who I am voting for. It was a good speech, but if you are going to delve into politics in the first place, you know you are dealing with an a**hole. So some of it was nauseating, but at least he has come from a background where he can talk s**t. He can say this and that because he was in a war. It was good, and it may have swayed some people who were on the fence. After last week, he was ahead in the polls by four or five points, it was like 48 to 43 or some s**t. And now it’s starting to sway again, but its really all a f***ing headache. AllHipHop.com: Are you afraid that Bush is going to pull something again this year and steal the election? Eso: You never know, because you really never know who is in charge. You would have never thought that would have happened last time. It’s just so crazy! I was watching the Democratic National Convention and I was just waiting for Kerry to get f***ing picked off. I was waiting for him to get assassinated, I was like, "I can’t leave, I can’t leave". I know if I was any politician I would be shook of getting shot all the time. I’m not saying he is going to get assassinated or anything like that, but who knows? But what happened in Florida with […]

Let us never forget the Beastie Boys. According to Russell Simmons’ autobiography "Life & Def," without their debut’s residual sales, Def Jam might’ve folded. Without the Beasties’ reaching audiences that Schooly D didn’t, Hip-Hop may’ve never blossomed to such mass appeal. Without the barriers broken by Brooklyn’s finest, would we march to the beat of a Marshall? The Beastie Boys have always been B-Boys at heart, even if they started in punk rock. Yes, they incorporated punk, rock and jazz into the mix, but so did beat maestro Pete Rock. After “Sabotage,” a quick return to their punk roots, many urban markets turned their backs on the pioneers. On a cloudy New York afternoon, MCA, the raspy voiced, Stan Smith wearing, gum chewing, mic rocking one-third of the Beasties, sat down and told us why we’re dope, in between us telling him he’s dope. There was a steady stream of consciousness as we discussed the new record, the old records, Hip-Hop, the lack-there-of, politics and bulls**t. AllHipHop.com: The album’s been working its way to the public. What’ve you been up to? MCA: We’ve been playing at a festival. Definitely by a long shot, the biggest s**t we’ve ever done in Japan. We’ve gone over there and played our own shows in clubs, but these were like stadium shows, pretty insane. AllHipHop.com: Was it for benefit? MCA: No, just a festival. Like one of those big European festivals or like Lollapalooza. It was one day in Osaka, and one day in Tokyo. The bill swapped. The bands that play Saturday in Tokyo, plus Sunday in Osaka and vice-versa. AllHipHop.com: The staff has been talking about To the Five Boroughs a lot… MCA: I haven’t seen it in the bulletins. Yeah, I did. Maybe you said like how many it sold. AllHipHop.com: You check the bulletins and Ill Community? We love to hear that. MCA: I think it’s cool. It’s given a lot of news that you don’t [otherwise] hear. Maybe it’s because I don’t really pick up any Hip-Hop magazines. It’s just cool to get those blasts [AllHipHop.com’s Alert service]. AllHipHop.com: It’s even been coming up with the artists we’ve been interviewing. The whole Hip-Hop community seems to watch you quietly. Are you pleased with the overall reception of the record? MCA: I think so. It seems like it’s cool. I definitely like it. I feel good about the record. I made it. It seems like people are giving me a pound when they run into me, so that’s cool. AllHipHop.com: I know it’s a topic that’s been beat to death. But New York needs this. I think the Beastie Boys are as much a tribute to New York as the film, Taxi Driver. After you guys had made your last few records on the West, how did New York affect you? MCA: I think that’s a big part of why the record is so focused on New York in a way, because of what happened in 9/11 just makes you more retrospective about it. I sometimes think about it almost like you sometimes have a relative or somebody really close to you, and that person gets really sick or almost dies or something like that, then you feel close to that person. You have all these memories. It’s kinda like that. You get nostalgic about New York in a way. That wasn’t even an intention when we went in [with], to make an album about New York. That just kinda happened, then in retrospect, when we were done with it, and we were deciding what to call the record – we sort of noticed that that was a common thread throughout. AllHipHop.com: Right around the time you left to do Paul’s Boutique, New York changed. There’s a Duane Reade on every corner and a Starbuck’s on every block in Manhattan now. I miss that New York. I lived vicariously through with White Castles and rooftop parties. I know everything changes. But how do you use the city as a muse these days? MCA: I guess I know in a way what you mean. The thing about the city is…when you’re in the city; you’re a part of it. We still ride the subway all the time. I still get around on my skateboard all the time. We lived out in L.A. for a while, and I remember feeling really disconnected out [there] because you’re in you your own house, car, studio, swimming pool – these contained environments, separate from other people. In New York, you’re always kind of around other people. I guess you could separate yourself, but [not] the way that we live. AllHipHop.com: How long have you been back? MCA: I moved out of L.A. in like ’92. I was out there for like five years. AllHipHop.com: This year marks the fifteenth anniversary of Paul’s Boutique. That’s the record I dreamed of making. A lot of us feel that way. That’s a record that still sounds brand new. How do you treat that record amidst your catalog? MCA: It’s ironic in a way. I know that’s a lot of people’s favorite record now. But at the time it came out, it’s ironic, people weren’t feeling it or weren’t checking for it, just kinda like, “F**k these dudes.” But I remember running into people in the street and them being, “Man, why didn’t make something like License to Ill, what are you giving me?” It’s interesting that now; a lot of people are feeling it. AllHipHop.com: Because it’s been three decades, do people still set certain expectations for yourself? MCA: Yeah, they do. Sometimes I take a look at Beastie Boys message boards. I saw stuff on there, “Man, if they just would’ve put a couple instrumentals on there, the album would’ve been more complete.” Some people were mad that they thought it was short. AllHipHop.com: We just talked to LL a few weeks ago. He said he was unable to endorse either candidate. I gotta ask his Krush […]

With his clever wordplay and impressive ability to spontaneously kick a freestyle verse better than most rappers could after days spent dawdling with a pen and a pad, Flatbush bred Wordsworth has long been considered one of underground Hip-Hop’s best emcees. But oddly enough it’s been nearly a decade, with no album, since he made a name for himself with partner Punchline after showcasing their talents on The Stretch Armstrong and Bobbito radio show. Besides his skills earning him countless featuring credits, Words also parlayed his talents into TV writing gigs (The Lyricist Lounge Show), acting (Freestyle: The Art of Rhyme), and various other activities to legally hustle a check. Opportunity knocks but so often and Words is finally set to drop his long anticipated solo outing, Mirror Music, in September. AllHipHop.com caught up with Words to in turn help y’all play catch up. AllHipHop.com: How long you been working on Mirror Music? Wordsworth: Over a year, man. A year and half (of) just trying figure out where I wanted to go with the music [and] getting my song writing abilities top notch to bring people into my world. AllHipHop.com: I can’t front, I thought it would be a lot of freestyle type rhymes but you have a lot of substance in there. Wordsworth: Yeah, I’ve been doing that for a minute. If you follow what I do, I’ve done a lot of story rhyming on a lot of these underground singles that came out. I might tell a humorous narrative. I try to give a perspective that people ain’t necessarily get from the other rappers that I rhyme with. I’ve done stories on Disposable Arts with [Masta] Ace and different joints. If you follow what I’m going, it ain’t too new to you. AllHipHop.com: Right, like that “Backstage” song on the 7 Heads R Better Than 1 joint. Weren’t you affiliated with 7 Heads for a minute? Wordsworth: I was actually seeking management at one point and they had me on tour with J-Live. So I was rolling with J-Live on tour for mad shows. I was about to sign with them and at that moment things didn’t go down that way and we just kind of went separate ways. But I still support things that they need me to support with them and vice versa. AllHipHop.com: So you signed with Halftooth Records instead? Wordsworth: Right, I actually met Halftooth inside the 7 Heads office. I was just sitting in their chillin’. Dave Schrager came in the office fixing a correction for Oddisee’s name. And I was like, “Yo, you signing cats?” He was like “Yeah.” I was like “I’m Wordsworth, I want play you some music.” I played some music like a week or two later and next thing you know, we was in negotiations. AllHipHop.com: I remember hearing y’all on the Stretch Armstrong & Bobbito’s radio show back in the day, was that the first time you got any serious light? Words: That was it. Stretch Armstrong & Bobbito. It was me, Punch and Red Hot Lover Tone. That right there definitely helped set up a lot of things. People heard those tapes and was like, “Yo, you gotta hear these kids” and the tapes circulated and that actually helped spawn the Lyricist Lounge exposure and getting on the album and just a lot of notoriety. Stretch & Bob was the place to go at that certain time if you wanted to be known anywhere. AllHipHop.com: How did y’all get onto the radio show? Words: It was Red Hot Lover Tone’s time to go up there to promote his album and he brought me and Punch. We was rockin’ with Tone and Poke, Trackmasters, working on some music at the time and it was Tone’s night to go up there and rock it. So he just was like “Roll with me up there” and the rests is history. AllHipHop.com: He’s on your album (“Not Fair”) so is it safe to say you and Punch are still cool? Words: Yeah, that’s basically what that’s about. I wanted to establish that we still was cool. Plus I just felt it was mandatory. It wouldn’t have been a great first album for me without son on it. Cause everybody would have been expecting that and wanting that one record. AllHipHop: I got word that Masta Ace is trying to get Punch & Words on M3 Records, true? Words: Yeah. It might happen, brother. I know we’re thinking about doing maybe a group together, all of us. AllHipHop.com: A group as you two and Ace? Words: Me, Ace, Punch and Strick. That’s something we been talking about so ya know, that’s more coming into play actually. That’s where we at right now. AllHipHop.com: Now the A Tribe Called Quest joint “Rock Rock Y’all” from The Love Movement, how did that happen? Words: We were doing a Lyricist Lounge event. Actually that night Q-Tip hosted because I think Biz Markie didn’t show up. Me and Punch did our thing and Q-Tip called the next day like, “Who was those kids? I want to work with them.” We were actually supposed to be the beginning of part of the crew with me, Punch, Jane Doe, Mos Def and Consequence, all of us. All of us was supposed to be the crew to set off that record label he was supposed to have on Dreamworks. That was going to lead to it and that’ s how it all came about. It was definitely a plan to it [but it never worked out]. AllHipHop.com: Looking back at all the records you have appeared on what are some of your favorites? Words: Definitely gotta say “Twice Inna Lifetime” (Mos Def & Talib Kweli Black Star), that’s one of my most memorable verses. The song I did with Q-Tip, "Making It Blend," and "Rock Rock Y’all". Those right there stand out to me because of the Q-Tip thing. It was dope working in the studio with him, […]

With few passing the test of time, rappers are here today and unfortunately gone today. As a teenager, Silkk The Shocker was playing with millions. He entered the rap game through his older brother Master P’s No Limit Records. The label exploded on to a scene dominated by New York and California at the time, helping put the South on the map. Ten years have passed and it seems that the No Limit tank’s fuel is running on e. Now a little older and a little bit wiser, Silkk is fighting his way back. AllHipHop checked in with Silkk on the status of C-Murder’s sentence, reasons for No Limit’s decline, and we even checked up on the status of some of those old No Limit artists that some of y’all front like you don’t still bump. We still keep it Ghetto D, and so does Silkk, check it. AllHipHop.com: Where have you been and what have you been up to? Silkk: Well basically I was going on like on my tenth year as far as rapping. So I decided to take a small break because I went on ten consecutive years with out really stopping. I was still doing features on a lot of people’s stuff, so I just needed to chill in a sense of getting myself together and learn the other side of the game. Just taking time out for myself and spend time with my family. Just enjoying life and having fun with it. AllHipHop.com: At one time No Limit Records was the number one Hip-Hop label, can you give the Allhiphop community some insight on how it was to be down with the tank at the time? Silkk: I’ve been down with No Limit since day one, when we were selling tapes out of our trunks, one record at a time. And I’ve been here when we sold 75 million records. Actually, I had more just fun just coming up before we really made it. Definitely when we signed Snoop and some other artists, we had a lot of fun touring. I’m still having fun after all that, because how many records you sell doesn’t make a difference on your happiness. At one time I had…well I still have crazy cars and crazy houses, but I wasn’t as really happy as I am now. When I was selling records, I wasn’t really at my happiest, so I kinda enjoy it more now having control of stuff. Back then, I was 17 years old with 5 million in my bank account. What else can I do with that kind of money at 17 but just spend heavy and live reckless? Now we have to use our brain and actually do the business side of it; venturing off to jewelry, clothes, shoes and stuff like that. Even back then it was fun because we had Snoop and Mystikal with the tours and stuff like that. But other than that, it’s the same. We haven’t changed. I think we just have to redefine ourselves so that won’t happen again. But right now, I appreciate the downtime too. AllHipHop.com: What led you to the point where you humbled yourself? Silkk: Humbling wouldn’t be a good word to use, but I would just say reality hit me. People died in the business, my brother got locked up. A whole bunch of stuff happened that just made me say, “Damn.” It wasn’t humbling, but more of a wake up call. So I got to enjoy this a little more. You don’t know what really is going to happen so you live life. AllHipHop.com: What do you think were the factors that lead to No Limit’s fall from grace? Silkk: I don’t think anything caused it. I just think it’s the same thing with any other label. Nobody can reign on top forever. So what you got to do, is take what ever you made and do something else with it. It wasn’t that we declined in popularity, is that everyone has his or her turn. You got to redefine yourself. AllHipHop.com: Have you ever doubted your brother business wise? Silkk: Never. I have been with him a long time. I’ve watched him do stuff that would nobody else would understand. He moves when you wouldn’t expect someone to move, because of that we survived as long as we have. He’s just a good businessman. No one is perfect. He did what he did, but he did his thing. I learn from his bad decisions and good decisions. He was never into being a superstar; he was more about his money. AllHipHop.com: Have you spoke to your brother C-Murder? How is he holding up? Silkk: I spoke to him last week. He’s doing pretty well. The worst part that hurts him the most is, that he didn’t really do it and I know he didn’t do it. Imagine someone taking three years of your life for something you didn’t do, and your kids having to grow up without you. That’s the part that bothers him the most. AllHipHop.com: Have you spoken to Mystical recently? Silkk: I haven’t spoken to Mystikal in a long time, even before he went into jail. So I can’t really speak on him. We didn’t chop it up often. But before he went in, we were cool. AllHipHop.com: Did you have a personal relationship with Soulja Slim? Silkk: Just like Mystikal, we were cool. We didn’t talk often but we were cool. I don’t have any problems with any rappers. I don’t talk to Mia X often [either], but it’s still love. AllHipHop.com: What’s up with your new album? Silkk: This album right here, is one of my albums so far because of my maturity level. I’ve grown up. Lyrically, I understand what I’m doing more. I think people will like it. I kept it in the family because I have been gone for a minute. I definitely wanted to give the world me for a change. For the […]

Does Hip-Hop have a Donald Trump? Before just the dollars and worth, Trump is renowned for his resilience after loss. To go from something to nothing and back up, that’s genius. Perhaps the most deserving Hip-Hop comparison lies in Lance “Un” Rivera. Un was responsible for a hearty size of Biggie’s success by way of Junior M.A.F.I.A. and Lil’ Kim. Shortly after Biggie’s murder, Un discovered two of today’s best: Cam’ron and Charli Baltimore. Both began under Un’s tight supervision, to notable praises. But maybe there’s a reason they aren’t still beside their mentor? In a haze of bad business on the part of Epic Records, and the publicized tussle with Jay-Z, Un and his label vanished without a trace. Five years later, where better for Un to resurface than the top. After you laugh your jeans off seeing “The Cookout”, stay for the credits. Rivera directed and had a large hand in the creation of this memorable film. On the eve of the opening, AllHipHop.com caught up with Lance to extract some business ideas, some reflections, and some gossip on what you thought you knew. Oh boy. AllHipHop.com: You doing big things with The Cookout. Where’s your head at right now? Un: Right now, I feel blessed because this is my first film. I definitely always wanted to do films and go to Hollywood and be able to make great films for the people I represent – which is the urban, Hip-Hop community. I feel like for my first project, we pulled it off ten fold. The movie is gonna be a movie for everybody. The people who represents us are gonna be able to say, “This is a classic. This is a movie that you have to have in the future or you won’t be able to entertain people.” Like a Friday or a Barbershop. AllHipHop.com: Two greats. Besides Cube and Pooh, most Hip-Hoppers turned directors stay straight-to-video, how hard was it to get taken seriously by Hollywood? Un: Overall, it was a concentrated effort by myself, Shakim, and Queen Latifah. We developed the movie. I had to convince them that I wanted to do it [then] the studios that I was qualified to do it. AllHipHop.com: Friday is a movie that brought Whites to the theater, people of all ages to the theater. It plays on USA Network. Will The Cookout have that mass appeal? Un: Yes. It definitely has the ability to crossover in a mainstream kinda way because it’s pure to us. We only love what is ours. What our definition of the sneaker, the basketball player. We see everything our way. Then the crossover audience sees it from the original, plus us loving it, so they pay attention to it because it’s, “super-cool,” and then they put they spin on it. I made sure that cinematically; it felt like one of their films. When it was time to put people like Farrah Fawcett in it, and Tim Meadows and Danny Glover, that they would understand their perspective of those talents and our perspective of those talents. It was a balance. It’s just an awesome film, from eight to eighty. AllHipHop.com: Was the process enjoyable or stressful, consider what you had at stake? Un: No, it was enjoyable all the way. This was something I always did. I directed all them old Biggie videos, “Players Anthem,” “Get Money,” Lil’ Kim’s “Crush on You,” “Ladies Night,” all of Cam’ron’s videos. That’s something that I have a passion for. I was in the music business because Big and my family wanted [it]. It wasn’t a passion of mine. The creativity was the passion. It’s to be able to come up with a mainstream song that can go past a certain number of spins on the radio. I understood that philosophy of being an A&R. The movie business, this is an amazing feat; I shot a 125 page script in eighteen days. I shot a two hour and forty-five minute film. You could’ve shot three films out of that. It only shows that I have a gift of it. AllHipHop.com: Prior to videos, did you have any training? Un: Nope. Puff was my mentor at it. He had first gave me my opportunity ‘cause I co-directed, “Juicy.” I asked him questions. It just started becoming easy to me. AllHipHop.com: Let’s go back to the music era of Un. Because it’s going on five years, remind people in your own words. Un: Un is a guy who was part of a plan that was hatched between myself and the Notorious Big. We became partners in a company called Undeas. Big was behind the music. I was behind the business. When Big passed away, the spotlight was on me, “Was it Biggie, was it Un, the person who could create something from nothing and make money off it?” So I created this other company called Untertainment through Sony. I signed Cam’ron and Charli Baltimore. As new artists, everybody in the world knew who Cam’ron was, who Charli was. I solidified who I was in the business. Cam went on to sell Gold. It was the first time Epic had ever sound-scanned the first week on a Rap act. AllHipHop.com: So what happened? Un: The funny thing about this conversation is this. The first week of Cam’s album, [Epic] fired everybody [in the department]. We totally sold those records on our own. Untertainment! Through Sony cuttin’ the check and allowing us to get what we need to get to, the status there was. It became a numbers situation. [Epic] had to decide what they wanted to be [as far as a genre]. They chose the Pop and R&B route. They didn’t really understand Hip-Hop. It didn’t make sense to keep us around. They [offered me jobs] in business [and] music. What I did was just backed up out of the music [industry]. Y’all take Cam’ron, y’all take these artists and leave me to recoup the future. I’m just gonna chill. The […]

In today’s current Hip-Hop climate, there is no better promotional tool as effective as the mixtape. No longer do record companies hold the power to impose their data calculated will upon the Hip-Hop community. Thanks to this ever-popular medium, the streets now dictate who is hot. In 2002 mixtapes gave birth to Hip-Hop heavyweight 50 Cent. Behind the incredible momentum of the G-Unit movement was Queens’ own DJ Whoo Kid. With his CD’s, the Y2K NWA’s story was broadcasted in every hood. Through strategic planning and cross marketing he has been able to carve his own niche in this business within a business. Allhiphop.com caught up with New York’s mixtape king and chopped it up on current G-Unit affairs, what’s he been up, to and why no mixtape DJ is doing it like him. Allhiphop.com: Are you still signed to Capital Records? Whoo Kid: Yes, but I am in the middle of transferring to G-Unit Records now. The lawyers told me that we are in the final stages of that. So I’m going to be 50 Cent’s permanent partner. Allhiphop.com: Partner in what aspect? Whoo Kid: As far as albums, marketing, his clothing line, future artist development. Because of me, The Game got signed. I helped Banks and Young Buck with their marketing. You got to understand, I just don’t do these CDs, I do everything, radio promotions, the imaging. We keep our promotions going by leaking songs to other DJ’s, but they just don’t promote artists like I do. Lloyd Banks didn’t get promoted at 100% the way I did it; the covers, the superstar status, with people hosting the tapes. It looks iller when Banks has his own CD, not just his songs mixed with other peoples songs. CD’s like Money In The Bank 1 and 2 are classics. Those CD’s started trends. You see people with tats on their hands now; people are rocking two rose gold chains at the same time. If I give a “On Fire” to another DJ they’ll just put “On Fire” with other wack songs because they don’t have access to all the hot music I can get or create. Allhiphop.com : How do yours differ from other commercially available mixtapes? Whoo Kid: I won’t allow artists to do their own songs of course. I’ll be checking it thoroughly, not allowing any bulls**t songs on there. A lot of DJ’s just accept whatever songs artists hand in. I would have Red Spyda produce 60% of the album, you know Dre too. I would pick some other producers for it like Kanye or whatever. Some of the songs will be freestyles; some of them will be real songs. I’ll try to have combination of artists that people would want to see. The reason I did over 300 new songs this year, because a lot of those songs will never get cleared, but society forced them to get cleared. Like Pac’ and 50, you couldn’t clear that, society cleared that. It got bootlegged so much; we started getting BDS spins on radio. We got lawsuits from Tupac’s mom but it came to a point that people wanted to hear it on the Tupac soundtrack. She ain’t really give in. We worked out a deal were she would just get the song. It wasn’t our decision or her decision; it was society’s decision. That’s all I do, I just do s**t for my fans. Allhiphop.com : Some people were were disappointed with Lloyd Banks’ Hunger For More. How did you feel about it? Whoo Kid: People were disappointed with Lloyd Banks album? Allhiphop.com: Yeah, some people. Whoo Kid: I thought it was a good album. Like I said, society is always going to have their opinion. Everybody is going to hate in their own way, he sold 450,000 records first week so it can’t be that bad. So where is the hate coming from? If the album sucked, there is no way he would of sold so much first week. The guy is growing and learning. I am not backing because I roll with him. I see his work ethic, and it’s serious. He doesn’t really chase chicks on the road like some artist I know. He is always working, always writing. His freestyles prove no one can f**k with him. He’s the punchline king. Allhiphop.com: Have you heard Shyne’s record dissing 50? Whoo Kid: Yeah I heard it. Allhiphop.com: What you think of it? Whoo Kid: I mean, it is what it is. Like I told you… when I was a kid I was never into all that gangster s**t, so I don’t really understand what Shyne is talking about. But I guess he took 50’s supposed diss out of context. Basically, 50 was just p##### at Irv Gotti trying to get at Shyne, when 50 was trying to get Shyne on G-Unit records. I guess he is taking advantage of 50 saying something bad about him to sell his album. Him being in jail and that whole club s**t that happened with him and Puffy was enough hype. I guess he wanted to add more to his hype. 50 just said one line, he didn’t go into depth dissing him. Allhiphop.com: I heard 50 and Yayo already did a song coming at Shyne. Whoo Kid: Nah, there is nothing coming back at Shyne. 50 has too much on his mind; his album and other future projects. Allhiphop.com: You are working on a Mixtape for the Rap The Vote organization? Whoo Kid: Yeah I own a lot of stuff and I hate paying taxes. If I get a million kids to vote against the system, maybe I can get my taxes lowered (laughs). I was always ignorant when I was younger because I didn’t give a f**k about voting and I probably still don’t give a f**k about voting. But they woke me up where voting could help with not all the real problems like health, but it could help other areas. I never […]

No flash, no bling, no mess, Alchemist is about beats. For the better part of six years Alchemist has been one of the more reclusively successful producers in Hip Hop, producing grimy banger after grimy banger. In those six years, producers have risen to levels where their personalities and commercial draw equal, if not eclipse that of the emcees they work with. Talented enough to have taken the “look-at-me” producer route, Alchemist decided to lurk in virtual anonymity, with only the dopeness of his beats giving him face. Alchemist has purposefully crafted beats, and a persona, that puts emphasis on the MC’s lyrics, while encapsulating them in score-esque music that is emotional, sinister, and beautifully trancing all at once. Now, with his debut album, 1st Infantry, Alchemist steps from behind his lyricists, and puts his talents front and center. Alchemist took a second to speak with AllHipHop about his transition from beats-smith to artist while also speaking on the practice of jacking samples, why he desired to escape the opulent existence of his youth, and the use of the word, n**ga by people of non-color. AllHipHop.com: What’s the theme and purpose behind the album? Alchemist: It’s basically an album based on production. It’s not like I rhyme on every song, I actually on rap on two songs. It focuses on the beats which is how I made my name over the years. It’s got a lot of my friends on it, I didn’t reach out to people I didn’t know. It’s got my family on it, I got Cypress on it, Dilated Peoples is on there, of course Mobb Deep is on there, all the Lox is on there, M.O.P. is on there, this new artist Stat Quo, and Devin the Dude. It just feels so good to have my own joint, instead of being in the credits mad little, cause not everybody reads the inserts on the albums. AllHipHop.com: No Nas? Alchemist: Yeah Nas is on the album, also Game. I knew I was forgetting some people. AllHipHop.com: Is the sound classic Alchemist or did you try some new things production wise? Alchemist: I kept it classic cause I felt like I haven’t had a chance to assert my sound within the scope of my own album. The producers I was raised off of like Diamond D, Large [Professor], Premier, Muggs, they all did albums with their groups first. Then those producers would go out and do music for other people. For me, it was the opposite. So that’s why I don’t go too far away from my formula, you’re not going to be too shocked by anything on the album. It’s just that good music AllHipHop.com: What are your thoughts on producers being the main attraction on some songs, with the artist being a secondary attraction? Alchemist: I learned over the years that the artist is the star of the song. Ya know you can make your beat roll over and play dead, and do tricks, and breakdown and all type of s**t for the fans of beats. But at the end of the day, the world is listening to the message. AllHipHop.com: Do you feel there is a difference between a producer and a beat maker? Alchemist: I think in order to be a producer you have to be a beat maker, but I you can be a beat maker and not necessarily be a producer. It’s like Karate, the beat maker is a white belt, a beginner. The producer is a black belt. A producer collaborates with artist more than a beat maker. You can’t just give a beat to an artist and say okay I produced it. Yeah, but there are a few artist that you can do that with, like my man Buckwild told me he would just give B.I.G. a beat and he was so skilled that you would just come back later and the song would be done. Esco’s the same way, I don’t have to be there with Nas. But Nas actually likes the input, he appreciates input. I remember when we did “No Ideas Original,” I brought him this break and we talked a little bit about it and I came back two days later and it was done exactly how we spoke about it. AllHipHop.com: A lot of producers seem to be pretty relegated to either the underground or commercial circles, but you seem to bounce back a forth as you please. Why do you think the industry affords you that luxury? Alchemist: Maybe cause I built a foundation, but I don’t know, cause I think if I did something out of my league people would definitely come at me. I don’t know if I’ve gone too far into the commercial world yet. The new Mobb Deep single is probably the furthest I’ve gone commercially. I’m careful to keep what I’ve built special. AllHipHop.com: Jaheim’s new joint, produced by KayGee is a little too close to yours. Is there any code of the streets for producers with that? Alchemist: Nah man, you can tell by how Trackmasters did the Beatnuts with that J. Lo s**t, they didn’t call up the Beatnuts or nothing. Amongst certain heads who I got respect for and who have a mutual respect for me, yeah sure there’s a code. I would never do something like that, because I think back to that era when biting was completely not tolerated. Nowadays, the word biting doesn’t exist anymore. Back in the day you had to be original, having your own style is what made you special. So as far as using other peoples loops and stuff, I try to steer away from it, or if I’m gona use it I’m gona twist it up and flip it into something they wouldn’t have thought of so even the originator would respect it. AllHipHop.com: So you weren’t even a little bit p##### when you heard the Jaheim song? Alchemist: Nah, it was just funny cause in the song […]

Roc-A-Fella and its empire has shifted its position appreciably in the entertainment industry, similar to the way moving tectonic plates cause massive earthquakes. On facet, Roc-A-wear, one of Hip-Hop’s premiere urban clothing was founded in 1999 by moguls Damon “Dame” Dash, Jay-Z and Kareem “Biggs” Burke to the delight of urban and suburban dwellers worldwide. Since its inception, the company and brand have replicated itself with splinter clothing lines, a pulse on what’s fresh and hundreds of millions in revenue. AllHipHop.com talked fashion with Dame Dash, the man helming Roc-A-Wear’s fashion movement. AllHipHop.com: So first of all let’s talk about your newest clothing lines Wash House and Team Roc. Dame Dash: Well its not really a new line its still Roc-A-Fella but we are trying to take over every demographic and make sure we are the best at everything so we have good urban wear so we are not going away from what we’ve been making we’re just adding to. As you can see Jay is wearing dress shirts and things like that, a more adult look a more boutique look sometimes a tighter fit but we’re not going to stop making what we’re making – it’s just in addition to. Also we have another line out called Team Roc which iss more of and active sort of line. We’re going And 1 money. AllHipHop.com: The Wash House boutique line wit what made you do that? Dame Dash: Well like I said we want to take over everything, we’re going to touch everything that we can. And I think as we get over and styles cultivate we want to do something that had the ability to sit in a boutique store, something that seemed a little more designer at the higher price point with better quality but like I said never steering away from our original audience and our core market which is urban wear, just expanding the line. AllHipHop.com: So its just shirts like this? Dame Dash: Dress shirts, jeans denim, sweaters… AllHipHop.com: Somebody said suits too. Are you also doing suits? Dame Dash: No, not yet. AllHipHop.com: So you’re really getting heavy into fashion is that your focus now? Dame Dash: I like at myself as a superhero. I haven’t slowed down if anything its speeded up. I just have to pay more attention to take me to another level, like I could make $300 million that’s great but I want to do a billion. I feel like what Jay-Z is to rapping, I am to business. What Michael Jordan is to basketball, I am to business, I’m just that ill. I have the ability to be good at a lot of things and I don’t just talk it I walk it I take the time to learn the business and pay attention to everyone of them equally. AllHipHop.com: Are you putting your time more into Roc-A-wear now? Dame Dash: Nah it’s just equal. AllHipHop.com: Well as far as the fashion aspect of it, are you taking a particular personal interest in the fashion aside from business? Dame Dash: Well I consider myself fresh to def, so as a consumer I know what the consumer is going to like. Personally speaking being that Roc-A-Wear is my baby I really started it from then to where it is now. Roc-a-wear was my idea, Team Roc was my idea they’re all these things that come out of my brain. I feel I’m a visionary my job is to see these things through. AllHipHop.com: What’s the difference between Roc-A-Wear and different clothing lines? And how do you keep yourself from being a clone of other clothing lines? Dame Dash: I don’t really look at other lines really. I know that Roc-A-Wear reflects my lifestyle it’s like saying what makes me different from everybody else. I don’t know if anybody else does what I do but I do know when I go to Paris I don’t see anybody else from my neighborhood there. I am of the music world, I’ve been on the road, I’ve been on tour, and I’ve been in the studio. I am of the movie world I’ve produced movies, I’ve written movies, I’ve directed movies and I’ve been in movies. Maybe that’s what makes Roc-A-Wear different because it shows how we are different from the inside out. AllHipHop.com: What about super models like Naomi Campbell, what do those people bring to the table? Dame Dash: Well I think diversity. And Charlotte Ronson is [Roc artist] Samantha’s [Ronson] twin and she’s always had a really good fashion sense. Jessica Simpson was wearing a pair of her underwear in the cover of Rolling Stone, which are manufactured and distributed by us. So everyone loves her fashion sense and her style, it just adds a dynamic but it is a dynamic because these are true friends of mine. AllHipHop.com: So explain what C. Ronson is, is it a line of clothing? Dame Dash: It’s a clothing line, but it’s more of a boutique line. It’s considered as of now [to be] a contemporary clothing line it’s smaller you see it in the boutiques. What I might try to do is figure out a way to bring contemporary to the urban world to where it’s accessible to everybody so the mass market can enjoy good fashion as well. AllHipHop.com: So people like Naomi who was in Jay-Z “Change Clothes” video – do those fashion people link credibility to what you’re doing or add to it? Dame Dash: It definitely brings credibility because of what Naomi is but honestly it’s just natural because we know her. The credibility point just adds to it because she’s one of the number one models of all time but we know her. AllHipHop.com: I saw you on a weird magazine cover and that’s a different look, what made you do a cover story for them as opposed to somebody else more Hip-Hop? Dame Dash: If somebody asks me to be on the cover I’d be on that […]

While the fashion tastemakers of the world gear up for the August MAGIC Convention, held in Las Vegas August 30th through September 2nd, the Fall lines that were presented at February’s MAGIC show are beginning to hit stores. In each month, or ‘delivery’ in fashion-speak, clothing companies work hard to capture your attention in department stores with new colors, designs, and marketing strategies. While some independent clothing lines like the very popular Hip Hop lifestyle brand Mixwell (mixwellusa.com) and the artistic empowerment-inspired Wheat Bread (wheatbreadlife.com) focus on a more loyal grass-roots customer base, some of the larger companies go all-out to expand and multiply their opportunities. A couple of the urban fashion industry’s most sought after designers and innovators took some time to go over their Fall 2004 lines with AllHipHop.com. CEO and entrepreneur Eminem launched his signature Shady Wear clothing for Fall 2004. Paul Rosenberg, Em’s manager and VP of Shady Records, gave us some insight about what to expect from the new line. AllHipHop.com: How have things been coming along in the development of Shady Wear? Paul Rosenberg: Early last Summer [2003] we did a soft launch with just t-shirts and hats. We’ve expanded, and it’s pretty much a full line now. We’ve got jackets, we’ve got a full denim line, we’ve got polo shirts, t-shirts, sweatshirts – everything. AllHipHop.com: Is Eminem involved in the design process at all? Paul Rosenberg: He doesn’t have time to go through every single piece of clothing that we do, but the guys in the company are really in tune with what the artists want and prefer, so we have a pretty good idea of what he will and won’t approve. While label owners, emcees, and superstar designers are creating new ways to market their ideas, other independent companies are coming up with ways to keep the high rollers looking good in unique ways. Official Apparel is a company that created an officially licensed line for Cadillac aficionados. Whether you’re flossing in the bright white Escalade or just flowing with some spinners on your Toyota, co-creators Geoff Heath and Eran Rothchild are confident that something in the line will suit you nicely. Many of the tees and hats come in basic colors and feature the numbers 24 and 26 to represent the different rim sizes. They have polo shirts with wrap-around embroidery, and the plush velour jogging suits that stand out from other designs. AllHipHop.com: Your velour suits come in some striking colors – black, white, gold, and that silvery platinum. Explain the concept behind that. Eran Rothchild: It’s specialized metallic velour to match the Escalade that you’re riding in. AllHipHop.com: How do all the pieces in your line work together? Eran Rothchild: We take our cue from the car really – you know how you get a car and it’s stock, then you start flossing it out and accessorizing it – after market grills and Giovanni spinners – it’s the same thing with our line. You can accessorize our pieces in the same way the car becomes a fly ride, it’s the same with each piece, you can build it up. AllHipHop.com: What do you most want people to know about Official Apparel? Eran Rothchild: You don’t really have to have a Cadillac to wear it. The August MAGIC show is just around the corner, and AllHipHop.com will be there to check out the next wave of exciting fashions. Stay tuned! For more information on MAGIC, go to www.magiconline.com

The music industry is notorious for breaking up relationships. Friendships and family ties have went down in the ball of flames due to the inner strife that the industry is sickened with. The dynamic duo of Pete Rock & CL Smooth is no different. Pete Rock, one of Hip-Hop’s most celebrated underground producers, recently went on a riotous rampage against his partner in rhyme, unveiling to the world that the relationship fans figured to be rock solid was cracked at the seams. As fans will find out shortly, CL Smooth is not the type of man to keep quiet when rivalry approaches. While on the comeback trail after years of hiatus, CL has returned to set the record straight about his strained partnership with his former producer. In one of Allhiphop.com’s most angry and curse-laden conversations ever, CL Smooth steps forth to send a message to Pete Rock that is sure to cause some controversy. Fasten your seatbelts! Allhiphop.com: You recently did a performance at the Peace & Unity Fest in Toronto. Speak on that experience and exactly what happened there. CL Smooth: It was a good weekend, man. I performed for 25,000 people at the Splashfest, and it was just incredible. It was a good look. I really loved the experience and I hope to do it again next year. Allhiphop.com: What songs did you get on stage and perform for those 25,000 people in attendance? CL Smooth: I performed my new single that I’m trying to promote, called “Love Thing.” The B-side is called “Appreciate,” and I’m trying to promote that. Those are the two current singles that I can perform on my own. Of course, I performed the essentials, so in all, there was about 13 or 14 records that I did. Allhiphop.com: In your opinion, has your lyrical flow changed at all over the years? Cats that are in the game for over ten years tend to grow and mature with their sound. CL Smooth: Lyrically, I have evolved because of the maturity and the growth process. You don’t normally stay artistically at one phase. Normally, if you elevate your game and you’re serious about your game, it’ll grow. I just nurtured it with the time I spent off. I nurtured my craft, kept it sharp, and kept it attentive so that I’m able to step in, be productive, and perform the way I need to perform. Allhiphop.com: Who do you feel as the sickest flows in Hip-Hop right now? It does not matter if they wrote the rhymes themselves or if they have a ghostwriter. CL Smooth: Right now, you have to look at the 50’s of the world, on down to the Talib Kweli’s, you have Fabolous on down to Black Thought. I’m very conscious of the music and what brands are out there. I recognize and see it because of how Rap has grown. It’s not only in New York or LA; it’s a whole movement going on outside. You have Outkast giving you an opportunity to see Lil’ Jon and all types of Rap start to emerge and hold court. I learn to recognize the different genres and different flows, and that’s what makes Rap competitive. Allhiphop.com: In Jadakiss’s new song, “Why,” he made the statement that the Rap game is designed to keep artists broke. From your different experiences in this business, do you think that there is some truth to that? CL Smooth: Well, I feel it’s like any job. You get a check, but it’s what you do with that check. Everybody gets paid, man. At the end of the day, there has to be somebody on your side that makes you understand that you need to put something away for a rainy f***ing day! Allhiphop.com: Rappers seem to want to floss Maybachs and $500,000 necklaces more than they think about the future. CL Smooth: That whole jewelry is another saga to the Rap game. That s**t is un-added pressure. N***as ain’t relating to your inside, they are relating to your exterior. What make me a man are the choices I make. I’m going to make the choice to [show that] the diamonds I wear are on the inside. You can’t blame or fault them, though. When these dudes go from nothing into one million, it’s like “Go freak off, daddy!” I did it, too. I spent $500 everyday for two years straight. But, at some point and time, you got to put the brakes on. You have to say to yourself, “F*** Jordan and Jacob, what about my enterprise?” Allhiphop.com: Do you wish to comment on some of things that Pete Rock has been saying lately? CL Smooth: If you’re not here to help, f*** you! Don’t act like I’m a cancer or a parasite. I’m not jealous of you! I would never be jealous of nobody with one car and one garage. I’m trying to get four cars and four garages! What is the matter with you? Come back home. I’m building houses where I sold crack at. So, don’t tell me that I haven’t changed into a better man. I’m not going to allow the negative s**t to display and take the forefront because it’s too hard to come back in the game after ten years and talk s**t to a n***a like me. I don’t even let them street n***as talk to me like that. The biggest record on Pete Rock’s album is from CL Smooth. I don’t have to make it up…ask my hood! I’m not the toughest n***a; I’m just more serious than the average man. It shows in my music, my discipline, and my enthusiasm. All of my enthusiasm is catered toward what I’m trying to build and what these n***as remember about CL and Pete Rock. I’m keeping that legacy alive. How are you going to do thirty shows with me and then tell me you don’t need me? Come on, you never had packed shows until you were with CL! […]

If one were to peruse Billboard’s hip-hop singles charts, they’d probably think West Coast hip-hop was extinct. The fact that the Left has only a handful of consistent chart-toppers that keep the West alive might have some under the impression that West coast mc’s have nothing to offer but regurgitated gangstaism. Those who listen to radio in any region other than where the sun sets, could easily succumb to these misconceptions thanks to radio programmers whose “California Love died” with Tupac (RIP). Although major artists like Dre, Snoop, Warren G, and Nate Dogg keep worldwide fans Westside connected, mix tapes keep the streets connected to the hottest rhyme slayers from city to city. In the streets of Los Angeles, the familiar sound of sirens blaring is usually the result of a high-speed car chase, or Power 106 air personality, Felli Fel, hitting the airwaves with another official premier. His infectious energy and impeccable mixes, has over 1.6 million listeners tuning in daily and producing some of the most sought after mix tapes in the West. He produced Tupac and the Outlaws’ “Worldwide” and recently even Jessica Simpson tapped him to remix of her remake “Take My Breath Away.” Now, he and Ghetto Heisman homeboy WC collaborate to offer “WC The Westside Heavy Hitter.” The mix tape is in the streets and has WC, dubbed The Shadiest One, bing bing bangin his usual venomous reality bites. AllHipHop.com got some real talk from some real players. AllHipHop.com: I often hear people complain about hearing the same music and artists on the radio, do you like what you hear on the air? Felli Fel: Radio is just like any other business. It’s about relationships. If a record label has a good relationship with the station then I think radio is going to be a little more prone to want to play those records. Part of building relationships is taking care of the radio station by making sure they have exclusive artist interviews first and things of that nature. Speaking for myself if a label can take care of me in regards of respect you know I’m gonna look out as much as I can. As far as do I like what I hear on the radio, it’s kinda like if you worked at Foot Action and you might get tired of seeing the same damn shoes on the shelf everyday but they’re still hot shoes, it’s the same thing here, sometimes I might get tired of hearing the same music, although it’s a hot song. WC: A radio station has the power to program or de-program whatever they want. You ever hear a record you didn’t really like but when you listen to the radio and hear the song one million and one times your like damn that s### is bangin? You gotta realize the label is a vehicle; they got the power to drive a record where they want to drive a record. AllHipHop.com: How has commercialism affected the authenticity of hip-hop and why are mix-tapes such a successful vehicle nowadays? Felli Fel: I think it’s helped it because there’s a lot of people that would’ve never known hip-hop if it hadn’t crossed over commercially. You got your MTV’s, BET’s and Allhiphop.com’s that show another side to the music. It also made it possible for people like me to get jobs doing jingles for companies like Starburst using hip-hop, so I’m glad about it. WC: There’s a lot of cats that’s not on, that wanna get on but you never really get a chance to hear from them unless somebody who’s already established puts them down. But mix tapes showcase a lot of artists that you might have never heard and too it gives the artists that are already out there a chance to hear these cats on a whole other level as well, other than records we hear on the radio. Me and Felli just wanted to get together and do something different that hasn’t really been done out here, that’s an established artist doing a full mix tape. I try to keep feeding my fans when I can. AllHipHop.com: How do you stay so connected to the streets spending all of your time at the station or in the studio so much: Felli Fel: I eat live and breath music, even though I’m here at the studio a lot, it’s not hard to be here all the time because I love the people I work with. I love doing radio and interacting with the callers, and I love getting behind the turntables and in a nutshell that’s what my show is. Actually when I get on the air at 7 it’s almost like the first time of the day I have to relax. WC: I hit the block, I’m one of the few artists who you can catch bailing through the swap meet with no security. The contributions I give to the kids is I give them me, anybody who runs across WC on the street already knows you can just walk up to me and it’s gonna be nothing but just real convo back and forth; and if they choose to take it to another level and everything they know WC is there on that level as well, but for the most part it’s always open arms because I keep it real and never disrespect I don’t disrespect nobody’s set, nationality nothing like that, I just do me and for me that’s as gangsta as it gets. AllHipHop.com: What are some things you see messing up the game right now? WC: There’s A LOT of disrespect in hip-hop. If I disrespected you right now then what’s gonna make you want to continue talking to me or even continue to support WC? If you disrespect me why would I want to support you? That disrespect is something you really gotta take into consideration when your dealing with people. No matter how cocky you are or whatever ego you may have, […]

Chuck ‘Jigsaw’ Creekmur and “Grouchy” Greg Watkins, co-CEO’s of AllHipHop.com formally announces its First Annual AllHipHop Week, which will include voter registration, Breeding Ground Live, The Social Lounge, the 2nd Annual BBQ and others special events. Jigsaw and Grouchy said the week wasn’t even supposed to be. “We never intended to have a week, but we happened to have all these great events lined up and so we just decided to package it together,” said Jigsaw of the week’s affairs. “I think this is going to be a memorable week that people are going to want to enjoy yearly.” The week offers a number of highlights with the brightest spots being the quarterly AllHipHop Social Lounge, The Breeding Ground Live at SOB’s and the 2nd Annual AHH BBQ. On Tuesday, August 24th at 6pm – ALLHIPHOP’S SOCIAL LOUNGE returns to SOB’s nightclub in New York City at 204 Varick Street at West Houston Street. The Social Lounge is hosted by Erick Parker (Vibe Magazine) and Amanda Diva of MTV 2. Furthermore, the FREE program features an esteemed panel that will discuss a number of pressing topics that face the Hip-Hop community. With DJ Lazy K spinning, panelist include Def Jam rapper Joe Budden, Dr. Benjamin Chavis, CEO of the Hip-Hop Summit Action Network, M-1 from dead prez and Ms. Info, a personality from Hot 97’s famed morning show. The Social Lounge will be capped off by a performance by Freeway and Ice City. Grouchy Greg says, “This is by far one of the best and diverse group of individuals that we’ve pulled together. We really expect to home in on the dilemmas that we face daily, but also offer realistic solutions that people can take with them.” This is the second such community gathering at SOB’s. The day after the Social Lounge, SOB’s will also host the first BREEDING GROUND LIVE, where AllHipHop’s greatest unsigned artists get on stage to display what was once limited to the internet. The Breeding Ground is the online entity where AllHipHop allows talented lyricists to spit fire for the millions that visit the site. AllHipHop President Steve Julien, who oversees the Breeding Ground says, “We have Stimuli from Brooklyn, Blyss from D.C., Mims from Washington Heights NYC, Uno Dos and others coming to tear it down. On top of that, rap vet Lord Finese is the host so we have it all locked down.” On Friday, August 27th at 6 PM at The Star Club on 246 Columbus St., AllHipHop continues its week with a Hip-Hop Film Screening. By partnering up with H2O [Hip-Hop Odyssey] International Film Festival, AllHipHop plans to show a films with a Hip-Hop perspective. The primary film screened will be the hugely popular documentray Hip Hop Immortals We Got Your Kids. There will also be an EXCLUSIVE screening of AllHipHop’s trailer for our upcoming Documentary, Allhiphop Presents: Live at SOBs. On Saturday Aug. 28, the week ends with the Annual BBQ in Flushing Meadows Corona Park where peaceful hip-hoppers can convene to network, chill, eat and meet other like-minded individuals. With AHH DJ Aqua Boogie spinning, it doesn’t cost anything to attend, revelers get free giveaways and can expect an assortment of surprises. ALL AGES WELCOME. In addition, we have representatives from Art, Rhymes & Life, AIDS/HIV awareness group, who will educate and promote awareness. They will have two small tents with information. Finally, the BBQ will host a car show that will have the hottest vehicles in New York! CLICK HERE FOR ONLINE LISTINGS AND UPDATES – https://staging.allhiphop.com/allhiphop/clickthrupage.html Below is the full listing for ALLHIPHOP WEEK 2004: ..:: ALLHIPHOP WEEK 2004::.. MONDAY AUGUST 23 AllHipHop.com and Midi Mafia Rap Contest TUESDAY AUGUST 24 AllHipHop.com’s Social Lounge at SOB’s AllHipHop.com Presents The Afterparty: "UP IN HARLEM SOUNDTRACK RELEASE PARTY” WEDNESDAY AUGUST 25 AllHipHop.com’s Breeding Ground Showcase Hosted by Lord Finesse THURSDAY AUGUST 26 Online Fall Fashion Spread Starring The Roc’s Dame Dash, Gloria Velez, Joe Budden & D-Block’s J-Hood FRIDAY AUGUST 27 Hip-Hop Film Festival – At The Star Club, 2116 Columbus St. 6 PM. SATURDAY AUGUST 28 The 2nd Annual AllHipHop.com BBQ at Flushing Meadows Corona Park