Although Radii (pronounced “ray-dee-eye”) was only launched in 2008, the footwear brand has already received much notable love.     Jay-Z in Radii   Jay-Z has been spotted all over the U.S. rocking his 420 Tops by Radii. The brand didn’t even hook him up, apparently he copped them himself!    A great way for a sneaker brand to start off, isn’t it?      

  Developer/Publisher: BungiePlatform: XBOX 360   Players: 1 – 16 (Online)Release Date: 9/22/09   Rating: B   It seems any form of enjoyment can run its course and face the dreaded fact of overexposure. Social networking is out of control, music isn’t what is used to be, and the list goes on and on. With respects to popular gaming titles, many in the gaming community have griped that the HALO series has already seen its best years.   While the complaints of overexposure might ring true with some, this title is still one of most popular with online play. But the ongoing release of special editions and expansions makes this game a money burner, and now comes the release of HALO 3: ODST. What started as a simple expansion pack turned out to be much more.   ODST switches up the focus from the run and gunning with usual protagonist Master Chief to a rookie Orbital Drop Shock Trooper. The story is set to the year 2552, parallel to the storyline of HALO 2. Your crew is dispatched and dropped to the city of New Mombasa all to be attacked by the covenant. You wake up six hours later on a hunt for your team and things heat up from there.   The game automatically captures you with its powerful presentation. Visually the graphics are stunning, and probably the best we’ve seen on any HALO title. The audio is a perfect compliment with an ever looming sonic backdrop sure to intensify any high pressure moments.     The game plays well but differently from what we come to expect from this series. First off ODST is only a six hour campaign. Your time is well spent though. Once you connect with some of your crew members you flashback and play out what they saw within that six hour lapse.   Secondly a bit more strategy is needed to succeed in New Mombasa. Your soldier takes more bumps and bruises than what we have become accustomed to with a weaker armor and fall damage both in place. Also new here is the addition of a night goggles which adds to the need for a more tactical approach.   Outside of your story mission is Fire Fight mode. Similar to Gears Of War 2’s Horde Mode, you and three online teammates take on increasingly tougher missions. This addition is sure keep gamers up at all hours of the night on XBOX LIVE.      The second disc of the package contains all the adversarial maps from HALO 3, plus three new ones. The new maps are very fun but gamers that purchased all these maps separately will find themselves a bit cheated. Also if you don’t have access to online or online friends for that matter (sorry no matchmaking) Fire Fight and these aforementioned maps won’t be as impactful.   All in all HALO 3: ODST is a nice addition to this ever popular series. While this title doesn’t feel like a full sequel and might not change the future of the first person shooter genre, it does play well throughout. Keep this game in your crosshairs.   Official HALO 3 ODST Trailer:

In 1971, Gil Scott Heron recorded, “The Revolution Will Not Be Televised.” Although the song was written during the time of the Vietnam War, Heron could have just as easily been talking about the war against gangsta-ism being waged on the campuses of Historically Black Colleges and Universities (HBCU’s), today.Across the country , students are protesting the fact that student funds are being used to give fat paychecks to Hip Hop artists that promote violence and disrespect of women. Every year, black institutions of higher learning, collectively, spend millions of dollars bankrolling Hip Hop homecoming shows that promote the worst kind of anti-intellectualism.Unfortunately, except for a few Hip Hop websites and scant local media coverage, the protests have received little attention from a black community that should be rallying around such efforts to protect the minds of African American youth.Earlier this month, students at North Carolina Agricultural and Technical State University in Greensboro, NC protested an appearance by rapper, Gucci Mane because of his lyrics that glorify gang life. Although, the concert is still scheduled for October 31, the students were successful in getting North Carolina A&T administrators to drop the school’s support of the show.Now, The FAMU People’s Coalition, a group of students and community activists around the campus of Florida Agricultural and Mechanical University have started a campaign against their upcoming homecoming show with the rallying call,’ You Call that a Concert?”.According to group co founder, Terrance Darnell during an interview with No Warning Shots Fired.com, the current FAMU concert lineup is in direct conflict with the cultural and social guidance that the institution is supposed to provide. The lineup was originally scheduled to include Gucci Mane but he will not attend, supposedly, because of legal issues.”The University shouldn’t validate these artists, ” said Darnell.It has been reported that a HBCU can invest upwards of $100,000 to put on these types of shows , money that Darnell says should be put to better use.”The money could have gone to get a higher caliber of artist,” he said.On the organization’s website , they list a group of performers whom they feel would better represent the university’s mission statement including, Common and Lupe Fiasco.Although, many people believe that all young black people support the gangsta-ism of some of today’s Hip Hop artists , Darnell says that his group’s own research contradicts this long held myth.”Where are all the people endorsing this” he asks? “The majority of the people understand where we are coming from.”Perhaps, the bigger question is why is so little attention being paid to these gangsta rap rebellions ? It can be argued that if the students of HBCU’s were involved in some negative activity it would be front page news. However when young folks raise their voices against negative noise, the silence is deafening.In an era when the educational gap between black males and their peers just keeps getting wider and children are being killed on the streets by senseless, gang violence, how can we hold our tongues and refuse to speak out?Where are the religious leaders who should be on the front line of this fight? Where are the educators who should be waging war against the destruction of young minds? Where are the alumni of HBCU’s who should be upholding the honor of their schools?Could it be that the blood money that these concerts generate makes those who should be aiding the protesters look the other way?The activities of these activists should be the main topic of conversation in barbershops, community meetings and Sunday morning church services in every city in America. Members of the community should be textin’ and tweetin’ this information to their circle of friends until the wee hours of the morning.Some my ask, why with all the problems facing black folks, should we be so concerned about a rap concert?Terrance Darnell said it best.”I’m not willing to have this on my conscience when I’m 70 years old.”Neither should we, brother. Neither should we…For more information on the FAMU People’s Coalition visit http://petitionfamuconcert.blogspot.com/ or on Facebook (You Call that a Concert?)Paul Scott is a self-syndicated columnist and author of the blog No Warning Shots Fired.com. He can be reached at (919) 451-8283 or info@nowarningshotsfired.com He recently launched the Intelligence Over Ignorance Campaign http://www.ioimovement.com/

The debacle of one having “good hair” vs. “bad hair” has been a constant topic in the homes of African-Americans since before the days of the Afro. What exactly is “good hair”? According to Chris Rock, “good hair” is whatever hair-do being worn at a particular time that makes a woman happy. Rock’s documentary Good Hair chronicles the importance and popularity of hair relaxers and weaves among women in the African-American community. The comedian-turned-actor and now fledgling director spoke to some of his celebrity friends to gather the research for Good Hair, in addition to voyaging to India to find out exactly where these “human hair” weaves are manufactured, and doing an extensive look into the annual Bronner Brother’s International Hair Show that takes place in Atlanta. Rock travels around the country to reveal the truth behind the reasons of what Black women (and some Black men) go through to escape from have “naps.” Among the guests openly speaking on their love of “good hair” in the film include actresses Nia Long, Raven-Symone, Meagan Good, Lauren London and Sarah Jones; artists Salt-N-Pepa, Ice-T, KRS-One, Eve and T-Pain; poet Dr. Maya Angelou; activist Rev. Al Sharpton; video vixen Melyssa Ford and music producer and executive Andre Harrell, among others. Rock’s Good Hair arrives in theaters nationwide today. AllHipHop.com: One thing that was impressive was the great caliber of people that you got to speak on camera about such a sensitive subject. Who was the hardest person to interview for the documentary? Chris Rock: Maya Angelou ‘cause she lives in the town that the Dudley. So we knew we were gonna be there so getting her was pretty hard. But once we got her it was pretty great. AllHipHop.com: Who is this [film] geared towards? Chris Rock: Like anything I do it’s kinda geared towards everybody, but it starts with a pretty Black sensibility. But there’s stuff in there that Black people don’t know about. Did you know that your relaxer could eat through a coke can? Nia Long: It’s kind of like we want to see the images on the film that we can relate to. It’s like we want to go and see images on a film or a scripted piece and say, “Oh my God, I know that feeling.” AllHipHop.com: Chris, I thought it was horrible when you said that men couldn’t touch a Black woman’s hair. I didn’t believe it, so I went to a couple of barbershops and surprisingly that is true. It’s surprising you was able to pull that element out. Did you know that prior to this project? Chris Rock: (laughs) It’s one of those things that we [men] don’t even realize that we’re doing it at this point because we’re just so used to not touching the hair. Nia: I think Black men are careful, they don’t just go for it. They give you a look like is it ok. AllHipHop.com: Did the underground India hair trip get more dangerous than what the film led it to be? Chris Rock: for India to be so poor, it didn’t feel that dangerous. It was something about the people that was just relaxing. One thing I did notice being in India is you don’t see any women walking around at night. They’re just off the streets because it’s dangerous. AllHipHop.com: Speaking of weaves, Nia you mentioned that when you wear weaves you sometimes wear Indian hair. Did you know that so many of the Indian women were exploited for their hair? Did that concern you at all? Nia Long: When I saw those scenes I was like, “Wow, we don’t get that type of information.” It’s not like they go here’s the history of this person’s hair. So to actually see culturally what was going on, was kind of mind-blowing. I felt bad and a little guilty. It’s like we’re doing this for vanity and these women are doing it as a religion sacrifice. That’s just so extreme. AllHipHop.com: Did your daughters come away with feeling ok about their hair after you did this documentary? (Since it was inspired by them.) Chris Rock: They haven’t seen it [entirely], they’ve seen parts of it. They’re into their hair, to tell you the truth. They love their Afro-puffs. AllHipHop.com: Are you going to put a relaxer in their hair? Chris Rock: In my daughter’s hair? No, I mean when they’re teenagers what can you do? I mean they’re your kids, but they’re not your kids anymore. AllHipHop.com: Nia, with all of the different hair that you’ve had over your career, do you find that you move through different projects more smoothly when your hair is more straighter? Nia Long: Not really. We were at the L.A. premier [of Good Hair] and we all walked down the carpet, there were probably about eight prominent Black actresses all around the same age and everybody had the same hair. And I immediately took my weave out the very next day. I thought this is ridiculous, because clearly there’s some sort of message that we’re all getting that’s subconscious and it’s kind of in there and I was like f**k it I’m done. Chris said the same thing when he saw me [with my natural hair.] Chris Rock: Now your beauty is original. Before you were like Starbucks—good coffee but found everywhere. Nia Long: Now I’m like Pete’s Coffee [laughs]. Stronger and harder to find. AllHipHop.com: What is “good hair”? Chris Rock: Whatever hair makes you happy is good hair. AllHipHop.com: One of the things I liked about the film was that it also gave the man’s perspective. Can you tell as a father, as an actor and a movie director how you purged the subject from a male’s perspective? Chris Rock: I knew going in that as a man I had to be neutral, I couldn’t be judgmental. If I had gone either way for or against, I’d be hated by women all over. My preferences about hair are not important, I am a […]

Beyoncé   Get the run down on some of the hottest trends in ladies boots this fall/winter:   The ankle b#####:   Caterinia Zip B##### by Apple Bottoms   Ankle boots look great worn over leggings or skinny jeans, as well as over a pair of tights and a dress/skirt. You can bet you’ll see many fall/winter styles influenced by the rock chick look – think lots of black, details like zippers, studs, chains, etc. The black on black color looks super hot too:     The pointy toe:   Room Service by Déreon   You knew they were going to make their way back…   The pointy toe was spotted on many runways this season, such as Balenciaga, Roberto Cavalli and more. Made of faux leather with a suede inset, this tall leg-hugging lace-up boot by Déreon comes complete with a metallic heel and branded placket on front.   The Workboot:   6″ Premium Boot by Timberland   A notable men’s trend also, the workboot is on fire this fall, so it’s inevitable that one of the leaders in this this department is getting lots of love in the urban market once again – Timberland.   The classic Timbs are back with a vengeance for both men and women. Made of premium full-grain waterproof leather, these durable boots are abrasion resistant and best of all, extremely comfortable and easy to wear! Lace them up under a pair of boot cut jeans, or rock them over skinny jeans with a “messy” look like Kanye‘s below.     Leave your laces loose and untied like Kanye for an “effortless” look Faux Crocodile:   Croc Mifie by Rocawear   Crocodile skin is in this fall, but you can get the look without outing the poor reptilian by copping these. These fierce boots are lined with breathable fabric, and have a hidden platform in the heel for extra comfort.   The trendy flat boot:   Frances Boot by Baby Phat   To the delight of many tortured women’s feet out there, flat boots don’t need to be boring and “UGGly” this season. There is a great assortment out there (so great that I am having trouble finding the motivation to wear heels now). Details like buckles, straps, ever popular studs, and cool fabrics/finishes have jazzed up the flat boot so its not just a casual style.   The cute yet functional winter boot:   14″ Premium Fur Boot by Timberland   We had to include a real winter boot from the trusty Timberland brand once again. This winter white boot is super cute and feminine with faux fur trim and premium leather upper. Great for trudging through snow!   Make sure you take care of your boots ladies – keep them looking fresh all season!   Ladies, what styles are you rocking now?

  Lil Wayne is already the hottest thing in Hip-Hop and for the past few years he has only gotten more and more popular. Now the rapper has plead guilty to gun charges associated with a 2007 arrest.   While he has yet to be sentenced, insiders speculate he will serve about eight to 12 months over the conviction. The rapper managed to dodge a potentially lengthy prison term by submitting to the terms of the deal.   Clearly, this is not the optimal way to further one’s career, but could there be an upside to this seemingly bad situation?   The streets and internet have posed the question: will jail increase the already popular rapper’s street cred after doing a stint in a New York City jail?   Take the poll and weigh in.   QuestionsView Results  

“Kill the track, annihilate the sequel”   – Dilated Peoples   People, people, people.   Something needs to change.   Quickly.   This year, we have seen a dangerous trend overtake our genre and upend it into near oblivion. A trend that seems to grow with each passing month. A trend that may cause the very existence of the genre to be in peril. Auto-tune?   Naw. That’ll hopefully continue its steady decline—thanks “D.O.A.”—until it goes the way of hip-house.   It’s the ever-growing album sequel phenomenon. It hasn’t reached fever pitch yet but you can feel the lava bubbles getting bigger and bigger. It’s time to cut this off now, though, before the volcano explodes.   You can argue the trend started a decade ago with Dre’s 2001, the follow-up to 1992’s classic The Chronic. Hell, you could argue that EPMD has made a career out of it with their Business series, but they at least always switched up the title a bit.   One look at this season’s releases confirms our worst fears: Raekwon’s Only Built 4 Cuban Linx…Pt II, Fat Joe’s Jealous One’s Still Envy 2, Canibus’ Rip The Jacker II, N.O.R.E.’s S.O.R.E. (which just looks weird) and, of course, the granddaddy: Jay-Z’s Blueprint 3. (Lil Wayne, no stranger to sequels is currently prepping Tha Carter IV for release next year.)   Why do rappers do it? The obvious reason, of course, is to try to capitalize on their biggest record by instantly tying their new project to an already established classic. But there’s a flipside: by equating your latest album with said classic, you’re immediately telling people, “Please, compare these two albums and hold my latest to a higher (usually unachievable) standard than you would just on a cold listen.” To be fair, most listeners use an artist’s classic as an established guidepost consciously or not (“It’s dope, but it’s nothing like so and so”), but to explicitly instill that point can only be detrimental for the artist and, worse, marginalize all of their other works. (Sometimes justifiably. Immobilarity, anyone?)   Don’t get it twisted: this has nothing to do with the quality of the albums themselves. Chef put out one of the best hip-hop albums of the year and Jay-Z? Well, at least the first half was solid. Interestingly, Raekwon’s new one at least sounds similar to the original, while Jay-Z’s latest is the polar opposite to 2001’s The Bluperint. Either way, though, it’s a bizarre trend that, when you think about it, makes absolutely zero sense. In movies, sequels are continuations to a character’s development or plot. Even if you’ve never seen Rocky II, you probably have a pretty good idea that it will be somehow, someway connected to a guy named Rocky. (See Eminem’s upcoming Relapse 2, which uses tracks from the same sessions as the original, for an appropriate use of the sequel.)   But music is not cinema. What the hell does The Blueprint 3—sonically, lyrically, thematically—have anything to do with The Blueprint or The Blueprint 2? Had Jay-Z released this album under a different name, there’s no doubt that its already tepid ratings would have at least marginally increased, as at least a certain amount of reviewers and listeners wouldn’t immediately conjure the success of the original and/or the failure of its successor.   Which leads us to the absolute nadir of the trend: the sequel of the sequel. Fat Joe dropped Jealous One’s Still Envy 2 (J.O.S.E. 2), the sequel to 2001’s Jealous One’s Still Envy (J.O.S.E.), which itself was a sequel to 1995’s classic Jealous One’s Envy. Emcees can spit all they want about how this or that album is a “continuation” or “progression” and how they’re “getting back to their roots and finding their hunger again,” but to me, this just signals laziness to me. You can’t just put the word “Still” in a title, pick up the check and call it a day if you want to be considered a true artist. Granted, hot music is hot music no matter what the album title is called, but where is the line? Still Jealous One’s Still Envy 3? Still Jealous Still One’s Still Envy 4? Joey Crack is certainly far from the only artist to employ this trick, but you get the idea.   What’s next? Tribe Called Quest’s Marauding After Midnight? KRS-One’s Return of Return of the Boom Bap? Common’s Re-resurrection? The Roots’ You Want More? LL Cool J’s Biggerer and Defferer?   Consider this a call to arms for the good of the genre. I know artists want to cling to their classics and try to revive them at any opportunity. That’s understandable. But it’s also the easy way out. And once the slippery slope begins, the creativity of all of us falls off the cliff.  

GUCCI MANE’S PRODUCER IS DOING BEATS FOR JEEZY TOO   Peep this:   Zaytoven Beats just landed Jeezy’s new single “Trap or Die 2.” You probably already know that Zaytoven is Gucci’s producer, and along with “Bricks,” Zay is also responsible for the song that started the Gucci/Jeezy beef – “So Icey.” Anyway, everyone on the net is wondering why would Zay work with Jeezy if he also works with Gucci.   This is what Zaytoven said on his twitter page (Twitter.com/ZaytovenBeats):   “I just like to make music. I don’t get involved in all that other stuff.”   Regarding the effects beef has on business, Zay stated in an interview with Mandatory Business Magazine:   “The beef affected me when ‘So Icey’ came out. It was a big song, and I felt like it was my breakout song, but didn’t nobody like Gucci Mane so nobody really liked me. Nobody wanted beats from me. People are passed that now. Everybody knows me. I feel like I can work with anybody, and I’m working with everybody. So even if they don’t like each other, they still gotta like me.”     Shout out to Ms. Rivercity. Illseed’s new boo for the info and video.  

It could be easily forgotten that the tracksuit was once used for function, not fashion. It was meant to be a "warm-up suit", worn over athletic apparel, until Adidas re-introduced it as lounge wear during the 60s. The tracksuit didn’t quite become a fashion trend until the 80s. It was taken to another level by the booming hip hop industry of that time. As huge fashion pieces, they were worn like uniforms in performances by breakdancing groups, and hip hop legends like Run DMC. Run DMC The velour tracksuit specifically made a come back a few years ago, thanks to brands like Sean John and Juicy, and then seemed to quickly go from cool to tacky. The market became over saturated with them, and velour lovers began abusing them, wearing them everywhere from the airplane to a dinner date. Kim Kardashian Last year, Nas helped Fila re-establish itself in the urban market when he promoted one of their clean and classic velour tracksuit. Fila is still going strong with these sets, with other urban brands like COOGI jumping on the velvety bandwagon.  Velour Track Jacket by COOGI  As soft and comfy as they are, can you see yourself wearing velour sets again? Or have you been rocking them? Check out some of the latest from DrJays.com and DJPremium.com:  Sleeve Stripe Velour Jacket and Sleeve Stripe Velour Pants by Fila   Velour Sweatsuit by Crystal Rock

“All comedy comes from a dark place.”   -Katt Williams   In his new DVD, Pimpadelic, Katt Williams often refers to his once illustrious career as a stand up comic, a legacy that still resonates with fans. However, the video now may be one of the last documents to chronicle his stand up life now that the entertainer has official retired from comedy.   The film, mostly taped in Washington D.C., also serves as a glimpse into the murky recesses of Katt’s mind as well as his comedic genius.   “If you’re going to be the caliber [comic] that I am, you have to have a lot of bulls**t in your life,” he says in the limo commuting him through the city. “As a comic, the bad things are good. The journey is worthwhile.”   And from the moment he jumps on the stage, he offers much that is worth watching, merging the reality and humor into a highly combustible mix.   On money and Michael Jackson, he says:    “That’s why sometimes you don’t don’t want too much f**kin’ money. Look at Michael Jackson. He ain’t mean to look like that. That wasn’t in his f**kin’ plan,” he said. “That’s not the face he thought he was finna end up with. He just had too much money. Sometimes being broke is a m#### f**kin’ protection.   In the video, he visits the D.C. Iverson Mall wearing a bulletproof vest under baby blue leather. He would later quip from stage that the shopping area was so small, it was in the shape of a circle.   Comedy is expected and routine from Katt. Pimpadelic features Katt in rare form as he sheds the humor and offers his more human, intimate side.  He discuses his family life, his relationship to God and offers gems of wisdom to those daring enough to pursue comedy. These are the moments that will endure and round out Katt’s outrageous public pimp persona.   On success, he says, “Life is change. I’m trying to be changed by all new circumstances. It would be ridiculous for me to get money and fame and not change. If I was going to stay the same, I could have stayed in the same position. I want to change more. That’s the goal.”     But the comedy is what ultimately anchors Pimpadelic and will please all fans of Katt Williams and earn him new ones.   Katt even takes technology to task.   “Ya’ll remember when the cell phone came out, was it not this m#### f**kin’ big?” Katt says holding up a chair. “Now the cell phone’s so small that by next year…its going to be a chip on a n***gas tongue. “Hello, no n***a, I’m on the tongue phone.”   At the end of Pimpadelic, Katt sums up his aims nicely.   “You try to be good. You try. You try to do as much good as you can possibly do,” he say of his job as comic and man. “I want to get a promotion, I want to get a raise and I want to retire,” he ends.   Pimpadelic includes some footage that is older and likely identifiable by hardcore Katt Williams fans. Still, the grainy footage is like sitting in a live comedy show – ultimately pleasurable.

As a Hip-Hop junkie that has never once considered detox, I have to admit that Hip-Hop has been subject to mountains and mountains of Bad Ideas. That is the theme of this new column that examines this re-occurring theme with rap.   Hip-Hop is no different than than other genres, which have seen a number of bad ideas. But, Hip-Hop’s approach to things has been different. Hell, we even created a word for bad ideas called “wack.”   A bad idea isn’t always wack, but generally it is. When the White Boys were released on the world in the year 1988, the virus known as Hip-Hop was spreading like a brush fire. The White Boy were likely heavily influenced by their Queens brethren Run DMC as much of their debut, …On A Mission, offered sentiments of hard rock melded with Hip-Hop. They also had mullet hairdos and cheap-looking biker coats, an overt effort to say “these dudes are the real rock rap deal.” These guys were like a bad version of the Beastie Boys, who were ill as rappers and as artists.   And then there was their lyrical content…oh, yes…their lyrical content. Check out their single, “This Is Hardcore…Is It NOT?”     Were The White Boys terrible? Yes. Where they culture vultures? Not necessarily. They were probably like every other person in America that attempted rap. They were just early to the market and as unskillful as your Youtube regular in 2009. Check this one out, where they proclaim “I’m wearing gold Converse and my rhymes are self-made.”:     Lastly, there is “Coolin’ In The Crib,” and obvious bite off of songs like “Slow And Low” by the Beastie Boys.   “Lots of people go to clubs, chill around the way?but the crib is the place that I like to stay?I got a microwave oven, big screen TV?steam room, sauna bath, water b-e-d?a wall full of medals from the battles I’ve won?and a golden microphone shinin’ bright as the sun?cordless telephone, answering machine?with the pre-recorded rhyme that sounds real mean?says: ‘I’m sorry, but the White Boys aren’t in?Leave a message at the tone or call again?and if you really wanna see us come where we live?you’ll find us coolin’ in the crib’”   Sadly, Youtube didn’t have this gem. The White Boys, just another Bad Idea in Hip-Hop.   Illseed is a cultural critic and rumor guru for AllHipHop.com. We hope he can continue to provide these Bad Ideas on a weekly basis.  

“All things come to an end. … Now, the spirit of Hip-hop will always be alive… as long as there’s inner cities, there’s ghettoes, and there’s poor people.” —Nas[1] Last week BBC News featured a report couched in questioning: “Has hip-hop grown up?”[2] Besides the obvious condescension, we learned next to nothing (!) about what musical maturity truly means or how it might relate to Hip-Hop. The scantily clad article did very little to examine the dexterity and virtuosity that has sustained Hip-Hop for three decades, and kept it in a permanent state of reinvention.  Big wheel keep on turning. Maturity, it seemed BBC was trying to tell us, is achieved when privileged suburban students (a la Yale) find an art-form valid enough to study, and “think critically about,” it. Hip-Hop has indeed come of age because, now, “tourists visit inner city ghettos and Ivy-league students study street culture.” No mention of how this didactic experiment with Black artistry, of how this fetishization, and trivialization, of Black culture is a practice as ancient as colonialism. For, as Ralph Ellison wrote brilliantly a half-century ago, “it is the crime of reducing the humanity of others to that of a mere convenience, a counter in a barrel game which involves no apparent risk to ourselves. With us Negroes it started with the appropriation of our freedom and our labor; then it was our music, our speech, our dance.”[3] Sara Baartman knew a thing or two about that.[4] To say I was surprised would be disingenuous. The whiff of ignorance-infused elitism was pervasive from start to finish, so it seemed only right that it would end with a slight nod to the much-hyped, but discredited, generational division between the younger and older Hip-Hop family.  Somewhere in the shallow depths of my mind, I can hear Toni Morrison reminding: “the subject of the dream is the dreamer.”[5] * * * The recent wave of Rock-influenced Hip-Hop is worth exploring. It all seemed to start when Damon Dash, a much underrated mind I should add, collaborated with Blues-Rock sensation The Black Keys to formulate “a good business model… that kind of protects the artistry, it’s lucrative, but where a lot of people can get [into] it without compromising the brand.” Out of this, Blak Roc sprung, and the rest, as is often said, is history.[6] The project, recorded in 11 days and due November 27 (“Black Friday”), is to feature Mos Def, Jim Jones, Billy Danze (M.O.P), Pharoahe Monch, Q-Tip, Raekwon, ODB (R.I.P.), among others, lacing their vocals onto instrumentals built with the signature sound of The Black Keys.[7] Then surfaced a video promo clip late last month in which Onyx, the ever-energized New York Hip-Hop group, expressed displeasure about Blak Roc, as they considered the concept essentially a rip-off of their soon-to-be released album, The Black Rock. Group member Fredro Starr described the instrumental feel to be expected on their album—“mad guitars, hard drums.” Sticky Fingaz also promised to deliver “an hybrid album of Hip-Hop and Rock & Roll.”  They contend the potency of their idea was so strong that, now, “everybody and they mother want to do a Rock & Roll album!” In a stark-raving-mad interview on Sirius Radio, Fedro Starr and Sticky Fingaz went so far as leaving open the option for violent confrontation with anyone involved in “biting” their concept.[8] Besides the obviously exaggerated outburst (meltdown?), they have every right to express righteous indignation at the recent Rock & Roll frenzy brewing in the Hip-Hop community. Seeing as Jay-Z now wants a Rock project of his own, they might have a point.[9] And, of course, within the last 3 years, unexpected artists like Lil’ Wayne and Shop Boyz have found the initiative irresistible—even if they lack the artistic sophistication to do something worthwhile with it. But if would be wrong for Onyx to assume, or ordain, themselves the originators of Rock-Hip-Hop mash-up. Run DMC’s pioneering role with “Walk This Way” (Raising Hell, 1986) should never be forgotten. And neither should the Beastie Boys’ unabashed maintenance, and development, of a Rock-reflected sound their whole career. It would be just as wrong for Jasiri X, the highly skilled Pittsburgh MC, to pronounce himself the first Hip-Hop artist with an inextinguishable dedication to fusing intelligent rhyme schemes with social advocacy. He might be the finest example of our time, but he’s a legatee of the Gill Scott-Herons, Muhammad Alis, Fela Kutis, Miriam Makebaas, Public Enemys, and X-Clans that laid the foundation upon which he has built a legacy of his own. Hip-Hop artists must always remember, no matter how convenient—and oft times lucrative—it is to forget, that our musical tradition is but an extension of that which came before us. From the West-African folklore, to the North-American Plantation Gospel, to the Blues, to Rock & Roll, to Jazz, to Reggae, to Afro-beat, to Latin Jazz, to Opera, to Funk, to Soul, to R&B, the peculiarity of Hip-Hop is only overshadowed by its strict reinterpretation of those elements. Through sampling, one of Hip-Hop’s greatest contributions to humanity, this truth is set free.   It’s much too easy to condemn modern-day Hip-Hop production, and use it as proof positive of an innate defect Hip-Hop artistry harbors, but anyone lucky enough to have been exposed to the eclectic creations of Afrika Bambaataa, J Dilla, Outkast, Madlib, Questlove, Black Milk, or 9th Wonder, can attest to the wide-ranging rhythms Hip-Hop is capable of producing. No other art-form in the history of modern music is able to boast of exposing so extensively its younger demographic to the sounds of old as Hip-Hop has demonstrated these last 30 years. The regeneration of George Clinton and James Brown are two great examples of Hip-Hop’s philanthropic possibilities.   In The New Beats, a slept-on classic written by Hip-Hop critic S.H. Fernando Jr., George Clinton applauds Hip-Hop for making his “job easier”—the job of sustaining that critical creation of Funk that is both unique and unnerving. “I never knew that I would be […]

With the east coast U.S. expecting possibly the coldest winter in a decade, you’ll want to make sure you’re armed with stylish and cozy knits and fleece.   The cardigan made a big comeback and is here to stay. Although the “grandpa” styles are hot as well, many brands have updated the classic cardigan with small details and slimmer fits. Hoodies are cool, but not the ridiculously oversized ones.   Try more grown up, fitted styles. Clean crew neck fleece sweatshirts are a 90s look that also made a strong comeback in recent years.   Thankfully, these are also not going anywhere. Check out some of the newest pieces from your favorite brands with fly graphics and details.   The great thing about crew neck sweatshirts is that you don’t need to match up other layers of clothing – just pull it over your head and you’re good to go!   Check out some of the freshest pieces in each category on DrJays.com:.   THE FLEECE CREW NECK:     Chris Brown   Crew Sweater by Money Clothing   Fomalhaut Knit Sweater by Nikita   THE MODERN CARDIGAN:     Megan Fox   Rainbow Roo Sweater by Married to the Mob   Striped Cardigan by CAVI   THE GROWN UP HOODIE:     Kanye West     Milan Hoodie by CAVI   Big Words Hoodie by Married to the Mob   See more from DrJays.com by clicking HERE.

Check out Bill Cosby, and four African American men about race, family, music and a myriad of other matters in the community.Bill Cosby has been a lightening rod in the Hip-Hop community. He’s been a positive force for years, as an entertainer, comic and as an activist. Still, with his intentions in recent years have been met with some fierce opposition.His words towards Hip-Hop and those in lower economic positions have made The Cos a more controversial person. This live stream shows Cosby means well, if nothing else. This townhall is live! See it below!   Stream videos at Ustream  

There is nothing like a pair of fresh raw denim jeans.   They might be a little stiffer than soft vintage denim, but they have that new crisp look that automatically cleans up a casual outfit.   Mos Def in Too Black Guys   Where does raw (or dry) denim get its name?   It is denim fabric that is unwashed after being dyed. Unlike denim that is washed and preshrunk to provide a distressed or vintage look, raw denim is harder and you might not be able to fit back into it once you wash it!   Essential Crossed Knives Flap Denim by Artful Dodger   It is common for raw denim owners to not wash their jeans at all – they want to preserve that solid dark look and stiffness. Apparently, some raw denim lovers even go as far as sticking their jeans in the freezer to get rid of odors instead of throwing them in the laundry, which may make the dye bleed. When they’re unbearably funky, dry clean them.   T.I.   The denim will eventually start fading and softening, but after it has been influenced by the way you move and the shape of your body. The end result is a customized, natural fit.   Here’s a hot fall look with a pair of raw Sabit jeans – get it from DrJays.com!   Flannel Woven Shirt by Mighty Healthy   Gravel Pit Vest by LRG   Slim Selvage Jean by Sabit   Gore-Tex Field Boot by Timberland   Are you a fan? What’s your favorite pair of raw jeans?   See more on DrJays.com by clicking HERE.

Whether you like it or not, one trend that is hot on the runways and streets this season is double denim.   Along with acid wash and bleach splattered denim, its another one from the seemingly never ending 80s.   William Rast Fall 2009   This trend definitely seems to be difficult to digest for many.     One blog, Fashionising.com, called it “a trend that shouldn’t”. One of the reasons they stated “you shouldn’t” is because it is dull. They referred to William Rast‘s collection fall 2009 collection, where denim jackets match up with the jeans of the same shade.   It seems the way to do it this time around is by combining clashing shades of denim – check it out:   The Dream   Rihanna   Kanye West Are these 80s denim trends going to far?   Have you let any of them infiltrate your wardrobe? Check out a few ways to get the look from DJPremium.com and DrJays.com.   MIA Jacket by Hellz Bellz   Savoy Classic Rise Skinny by William Rast   Thriller Zipper Detail Jacket by Rocawear   Skinny Jean With Zipper by BLANK   Denim Vest by Artful Dodger   Poiak Jean by Diesel   See more on DrJays.com and DJPremium.com.

    Developer/Publisher: 2K SportsPlatform: XBOX 360   Players: 1 – 10 (Online)Release Date: 10/6/09   Rating: A-   In the world of gaming, few releases fill the calendar with a yearlong hype until it hits the street. From role playing, first person shooters, sandbox adventure to driving; every genre has that one franchise title that commands every gamer’s attention. When it comes to basketball, the NBA 2K series is tops.   For the last couple of seasons 2K has reigned king with little contest. Now celebrating its tenth anniversary, 2K Sports upgrades its core gameplay in an attempt of absolute dominance. While NBA 2K10 comes close to perfection, it is hampered by some nagging problems that hold it back from true greatness.   What has previously kept 2K atop the totem pole is its on court experience and this year’s installment doesn’t disappoint. First off the graphics are exceptional. The player models are realistic with ballers looking like the splitting image of their real life counterparts.     Even smaller details like visible sweat stains on jerseys and tattoo accuracy are covered. Superstar signatures are also nicely represented here from Shaquille’s awkward free throw launch to Lebron James’ pre-game talcum powder handclap shower.   Sonically the game is well rounded with chants of MVP bound to be heard when a star player has a great night. The beautiful presentation is heightened with what could be the best play by play in any sports title thus far.    Announcers Kevin Harlan and Clark Kellogg adjust their commentary depending on how your season unfolds. So if your team stunk it up the previous night, you’ll hear about it in your next game.     After the ball is tipped you get a true look at how impressive this game plays. The action is fluid from jump shot form to guys swimming around picks. Offensively this series has been pumped up with the addition of more plays and on the fly coaching. Previous complaints of an arcade feel have been addressed with the addition of a stamina bar; quelling any rampant abuse of fast breaks sprints.   A new feature that is sure to take engross the gaming community is the My Player mode.  My Player lets users create their own baller to any specifications. After building a player, you join the NBA summer league in hopes of getting picked up by a team. If not you get shipped to the development league where you can grow your player’s skills while waiting for that call from your agent. It’s not an easy mode but very rewarding once you really start to excel.   Unfortunately unacceptable technical issues do arise throughout regular gameplay. While the informational pop-up menus detailing up to date season stats add great depth to the game, they sometimes take way too long to disappear making it difficult to navigate throughout the court. Framerate also plays culprit with some noticeable slowdown during some high traffic breaks. Furthermore, the A.I. presents some wacky computer behavior with a great deal of backcourt violations, and bad time clock management.   All things considered though 2K10 is still impressive. This simulation presents the closest basketball experience without lacing up your hi-tops.   NBA 2K10 Trailer:  

I do this for Hip Hop! VH1 Hip Hop Honors celebrates 25 years of Def Jam I have yet to be officially invited to the VH1 Hip Hop Honors. Yes, I know many of you are sitting there with your mouths open and a cloud with a question mark over your heads wondering how such an incredible oversight like this could ever happen, 5 years in a row. Although I say that with a pompous amount of sarcasm I still believe that EPMD is synonymous with Hip Hop- am I alone on this? Yet the two times we’ve been included in this occasion, which is supposed to honor those who have made great contributions to Hip Hop culture, it has been at the request of other artists or by some strange turn of events. This year, I spoke with a VH1 producer from the show who told me that he “found a spot for me.” At the time, this remark didn’t bother me that much because it was buffered with the rundown of all the great people involved and a rumor that I had said I didn’t want to be a part of the festivities. Of course no executives contacted me directly to establish if this were true or not- so they took me off the original schedule because of this so-called “rumor” they heard.  But that’s beside the point. I did this for Def Jam. I did this for Hip Hop. The show was set off with a non- Def Jam artist, Eminem who did an amazing job performing LL Cool J’s  “Rock the Bells.” He set the bar for the performance levels for the night. Most of us were able to keep up but unfortunately the energy wavered as the evening progressed. I heard Jay was overseas and L was in Cali taping NCIS so I understand they had prior obligations but it would’ve been hot if they made it. All the executives from Lyor Cohen to Rick Rubin to Russell Simmons were in attendance.  Def Jam was instrumental in both L and Jay’s careers so a celebration to their 25 years of success didn’t feel right without them. I’m still waiting for the day when EPMD gets their respect! LOL! Yes, folks I know my internet acronyms. Here’s my recap below MVP: Rick Rubin and Russell Simmons sitting Indian style reminiscing over the heydays of Def Jam Best Performance: Ludacris “Throw them Bowz” Best Song Choice: Redman and Method Man “Tha Rockwilder” Best Rendition/Likeness: Eminem “Rock the Bells” Best Reunion: DMX and Ja Rule peace-ing up before the night was through WTF? of the Night: Method Man and Mary J. Blige performed “All I Need”- one of Def Jam’s biggest records and arguable one of the most popular Hip Hop songs of all time. Shockingly after their set, the crowd reaction was strangely delayed leaving an awkward silence with a few delayed claps bellowing through the theater. I could actually hear people in the audience asking “yo, where’s Jay-Z at?” and I was backstage! Should’ve Beens: Besides the obvious LL Cool J and Jay-Z not being there- the Beastie Boys were missing, Slick Rick, 3rd Bass, Nice & Smooth, Jadakiss… Should’ve Dones: DMX should have performed “What’s My Name?” Ja Rule should have started with “Holla” and went into “Always On Time.” Scarface should’ve rocked the crowd with “My Minds Playing Tricks on Me.” EPMD should have had more time…LMAO  Signing off, Green Eyed Bandit  Russell and Rick Chop It Up: Indian Style. video platformvideo managementvideo solutionsfree video player

 I’m sure there are quite a few people that are going to disagree with me on this, but I am going all out.   There is a very big issue with Hip-Hop.   Not enough weirdos in the game to sustain the voyeurs and the Hip-Hop head itching for something that doesn’t look like it walked off the block.   We have enough “block stars” in rap to last us for the next million years or so. And, there is nothing inherently wrong with a rapper from the streets – nothing at all. Unless that rapper’s mind remains stuck on the block.   I’m not going to name names, but there are some highly skillful rap artists that have lost relevance like Cross Colours after gangsta rap. These rappers sound good, but after 5 or 10 years of saying the same thing, they no longer matter. They went the way of the dinosaurs.   Back to the weirdos.   I love weirdos and I am a self-proclaimed weirdo myself.  Weirdos are creative in a way that defies all convention and logic.   We study weirdos.   We look at weirdos.   We p### and poke at weirdos.   We cut them up to see what makes them tick.     We love weirdos.   We hate weirdos.   Why are we still talking about Andre 3000? I mean, seriously. Andre is a weirdo! The guy used to wear there craziest clothing and say the illest things and we miss it. Admit it. You miss the weirdo named Andre 3000. In theory, rappers have come and goes and come back and we’re still putting Andre in our Top 5 Dead or Alive. You favorite thug rapper emcee killer loves Three Stacks.   Lil’ Wayne has proclaimed himself the “Greatest Rapper Alive” for quite some time, but that’s not why we are enthralled by him. Wayne has been a marginal rapper since the 90’s. And, he cranked out a near-classic album on Carter II, but did that make him a superstar? NO. It wasn’t until Wayne turned into a weirdo did people (HIp-Hop and others) truly care about Lil Wayne. Even the whole kissing Baby was mystifying to people. I don’t see Hip-Hop – which is supposedly so homophobic – giving Wayne the heave-ho after that. Why? Dude is a freakin’ weirdo that you really can’t fully comprehend and therefore, he’s something to entertain you at no end.   That is what is all boils down too: entertainment.   Kanye’s last album, 808s & Heartbreak, was god-awful. It was terrible and still sold a gaggle of records and he became more interesting to the paps, the fans and even the haters. Honestly, I watched his first video about 300 times trying to figure out exactly what he was trying to say as an artist. I tried to understand why he broke the new single at that time on “Ellen.” And we have been trying to decode Kanye ever since. Hell, AllHipHop’s Staff has consistently wondered why we haven’t gotten an interview in years despite our unwavering support for Kanye (past and present), but that’s another story. He’s a freakin’ weird person! Who cares about that past stuff!   The point is, we can talk about Kanye on any given day and its most likely going to be interesting. People are going to be passionate, scornful, supportive, understanding or the opposite of each. They are going to feel something though and they will not be indifferent.   Think about a typical rapper these days.   On the real, dudes are getting shot and the public doesn’t bat an eye. A lot of them are spitting lyrics like crazy and nobody really…cares. Not about them, not about their life, their health, lyrics, family, well-being or anything. They are just there until the next write up on a weirdo comes around.   But, don’t take my previous examples of weirdoes and try to find some common thread or some pattern. There is none.   KRS-One is a weirdo! Dude said that Hip-Hop could be a new religion and he’s written a 900-page book about it. Who DOES THAT?   Look at Redman’s first three album covers! Weirdo!   Look at the creative genius of Q-Tip. Man, everything about him – from his beats to his rhymes to his dress – sceams weirdo! That’s why he’s still here.   Why are we dying for Lupe to come back with a new album called We Are Lasers? Come on, you already know!   Ol’ Dirty Bastard- Weirdo!   I mean, you can go back even farther to the founders of Hip-Hop that engaged in all sorts of crazy garb, crazy activities and crazy lyrics and look back with reverence.   There’s no shame in being a weirdo.   There is a shame in not pushing the culture and yourself forward in some way. There is a shame in not evolving. There is a shame is being an artist that is inherently boring as a human being. There is a shame in doing what everybody is doing just, because you are afraid…or keeping it real.   Well, if you see people getting bored with Hip-Hop and sick of it…you know why.   Not enough weirdoes.   SOME WEIRDOES! Andre 3000  De La Soul In The Daisy Age    Lil Wayne  Eminem and his Mexican wrestling mask   Redman’s Muddy Waters  Cee-Lo as Darth Singer   Kanye Warhol  Pharrell’s ode to the ultimate weirdo – Michael Jackson!

“I’m a bluesman moving through a blues-soaked America, a blues-soaked world, a planet where catastrophe and celebration… sit side by side. … Like my fellow musicians, I’ve got to forge a unique style and voice that expresses my own quest for truth and love. … I must unapologetically reveal my broken life as a thing of beauty.” —West, Cornel. Brother West: Living and Loving Out Loud, A Memoir. New York: Smiley Books, 2009, pp. 4-5. “A formulation was taking shape in my mind and heart: that the centrality of vocation is predicated on finding one’s voice and putting forth a vision. All three are intertwined: vocation, voice, and vision.” —Ibid. p. 87. “On the operating table, I was thinking once more of all the unbelievable blessings that I’d been given throughout my life. I didn’t know whether I was going to die or not. I had to wait and see. But I refused to let death come in like a thief in the night and steal the joy and love I had already given and received. I was so grateful that God had allowed me to pursue my spiritual vocation of promoting unarmed truth and unconditional love.” —Ibid. p. 225. He is peerless and matchless. One of a kind. Once if a lifetime. If I stopped this short into my review of the incomparable Cornel West, I’m well convinced justice would have been served in honoring this grand intellectual icon who has changed so many lives and saved many more—including this humble writer’s. Three years to the date, I still hadn’t quite grasped what my life’s purpose was to amount to. I still lacked any coherent explanation of what shape and direction my movement through space and time would or should take. I was still engaging in the most frivolous of activities, burning up the last left of my chance at redemption. That was until I heard Dr. West speak. And everything—literally everything—changed. My life hasn’t been the same since; and I stand confident today, unashamed to declare that if I missed that opportunity, if it somehow passed me by, not only would I not be where—intellectually, spiritually, socially—I am today, it’s also likely I wouldn’t be where—physically—I am today. For this reason and many more, I was filled with illimitable joy upon hearing, earlier this year, that Dr. Cornel West, born June 2, 1953, in Tulsa, Oklahoma, was preparing a memoir which would go into specific detail about the many adventurous twists and turns his life journey has made—and continues to make. From Professor, to Philosopher, to Poet, this man does it all.    But before emerged on the national scene a Harvard and Princeton graduate whose remarkable insight won him several visits to the White House in the ‘90s and an American Book Award, “Little Ronnie,” the much younger, less amiable Cornel West was threatening to s#### out that budding genius from breaking out the shell. Little Ronnie was ruthless; he beat up bullies badly, refused to stand up to recite the Pledge of Allegiance at age 9, assaulted teachers, shook-down classmates to share their lunch with the poorer kids (democratic socialist in training?), smacked-up oversized jocks, got expelled, and brought his parents much grief and agony. “Most of my fights had to do with bullies beating up on younger kids,” Dr. West writes, recounting some of those experiences. “Maybe I saw myself in some Robin Hood role. I’d notice that poor kids came to our school without money. Others had money to spare. So I forced the haves into giving to the have-nots.” Little Ronnie’s adolescent hostility might have been a cheap imitation of his maternal granddad, Big Daddy—“one bad brother.” Big Daddy was rare—a Negro with the courage enough to tell white folks why intimidation was a sense he couldn’t feel, a flavor he couldn’t taste. Like Nina Simone’s “Peaches” who’ll “kill the first m#### I see,” Big Daddy, West warns, “carried a piece and would lovingly crush a motherhucker for unduly messing with him or his family.”  Little Ronnie’s antics carried on for months and years until his loving parents had had enough. The next step was to find a way through which the rage could be channeled constructively. No, not boot camps, not military drills, not abandonment, not disownment, not a thousand lashes of the strap; rather, an avenue that would affirm his dignity while still making it known violent outbursts were unacceptable: “Give this child more books,” they said. “Give him more trained teachers. Give him tougher lessons. Challenge his little mind. Keep him busy learning new things. Keep him intellectually stimulated and all that violent business will soon fall by the wayside.” And it did. Clifton and Irene West didn’t have to be neuropsychologists or psychoanalysts to know the right solution wasn’t a full-fledged disciplinary crackdown on the young, exuberant, misguided mind. They simply saw the potential for greatness in their child, realized how unfortunately he was masking it with unscrupulous ways, and set his soul on fire with the matchstick of love and the gasoline of patience. His Christian faith, Brother West tells us, also provided the amazing grace this wretched soul longed for. West is unabashed about his love for Jesus Christ—as he should be. But, in the prophetic tradition of Socratic questioning and inclusion, theological supremacy is a grammar he lacks the tongue to speak: “I’m the kind of Negro who can worship in a lot of settings and still feel the presence of God.” If anyone wonders why this man on the move can often be found in more prisons than palaces and classrooms than castles, it might be because as a child a voodoo specialist helped cure an asthmatic ailment that threatened to stop his beating heart. This experience forever moved him “in a more ecumenical direction. I began to understand that answers to problems—physical, emotional, and spiritual—often require enquiries that go beyond the confines of narrow dogma.” Narrow dogma has trapped many a Black man and […]