HIP HOP MUSIC & NEWS

 CHECK OUT KRS ONE INTERVIEW ON TRUE SCHOOL RADIO

 INTERVIEW STARTS AT PART 3
 http://www.archive.org/details/TrueSchoolRadio052207pt2

 http://www.archive.org/details/TrueSchoolRadio052207pt3

 http://www.archive.org/details/TrueSchoolRadio052207pt4

 http://www.archive.org/details/TrueSchoolRadio052207pt5

 

Gangsta Moves Made by the Industry Designed to Shut You Down

 

by Davey D

 

Over the past couple of days two major rulings came out about the music industry in profound ways that will have long lasting NEGATIVE impact if we sit back and do nothing. One had to do with the FCC Ruling around the issue of payola.

For those who don't know, the FCC cut a settlement deal with 4 radio chains including Clear Channel, CBS, Citadel and Entercom where they would be required to play one half hour worth of independent music per day. That means 6 songs by artists on independent record labels. Now a lot of people have been talking about it and jumping for joy, because they feel the airwaves have finally opened up and they now have a shot. Right? WRONG!!! This has got to be one of the most short sighted, full of crap rulings I've seen in a while. Here's a few things to keep in mind.

 

A while back former major label executives formed their own "Independent Label and Music group. This means that artists like Lil Jon and the Ying Yang Twins on TVT Records, Jim Jones on Koch/Dipset records, Mike Jones on Asylum records and Ice Cube on Lench Mobb Records can all be considered independent artists. If you think you're gonna hear a Peanut Butter Wolf cut, a new Hiero track or a new C-Bo cut think again. In all likelihood you will probably hear some of these major label connected indy artists and at most one or two cuts from an artists on Stonesthrow, RhymeSayers or Angeles records. In the words of Public Enemy... Don't Believe the Hype.

 

These radio companies agreed to donate 4000 hours of air time to indy artists. That DOES NOT mean 4000 hours per station. It means all the stations will add up their numbers and split that 4000 hrs. So you can get a company like Clear Channel that has 1500 stations. Add that to CBS 144 stations. Add that to stations owned Entercom and Citadel and divide that into the 4000 hours. All of sudden you have a commitment that can be short lived.

 

Hip Hop artists aren't the only ones seeking air play. Remember we have rock, country, reggae and R&B artists all vying for that coveted half hour per day slot. So that means your favorite Hip Hop and R&B station may opt to play 6 neo-soul cuts late at night when they slow things down and call it a wrap. Maybe they'll venture out and play a few reggae cuts. Remember a radio station is out to get high ratings and in doing so they will program themselves accordingly. Most are trying to win over female listeners. Hence, if they have choice between playing an independent artist like Goapele over a new hardcore joint by LA artist Mitchy Slick, who do you think these stations are gonna pick?

 

A radio station may decide that it wants to play indie records from another region as opposed to one that is local. So you could live in New York and instead of hearing Papoose or Saigon you may hear a bunch of southern records that are considered independent. Bay Area folks instead of hearing some new joints from Messy Marv, Zion I or San Quinn, may suddenly hear music from NY that falls under this independent label category. People in Seattle instead of hearing local artists like Chokalat, Blue Scholars, Dred I or Silent Lambs may instead hear LA artists like Ice Cube or Tha Dogg Pound who are on independent labels.

 

The decree doesn't stipulate that a station has to play 'New" music. Hence you might hear a Too Short or EPMD record from 15 years ago when they were on small independent labels. They may hear some old Snoop Dogg and 2Pac from Death Row which is considered independent. Heck if they want to they could go pull an old Sugar Hill Gang record like 'Rappers Delight' which was on an independent label. While hearing the classic can be good, it doesn't do any good for artists trying to break new records.

 

These radio stations are not doing you any favors by playing local or independent artists. Its what they SHOULD be doing. They were granted a license to broadcast on the public airwaves with the stipulation that they serve the public good. Hence there is no reason that Chicago artists should not be getting airplay in Chi-Town. There's no reason why Bay Area artists shouldn't be getting love from their local stations. Its a damn shame that it took a FCC ruling where they avoided harsher penalties for committing a crime (payola) that lead to them doing what they should've already been doing. Its akin to a dead beat dad getting hauled off to court and facing jail time suddenly holding a press conference to announce that he's gonna take care of his kids and pay child support.

Many are saying 'Fuck the Radio!'. 'Who needs them?' 'Hip Hop doesn't need to be on there anyway, we gotta take it back to the streets'. Well I agree. That's absolutely true...But here's the deal. Popular methods used to get around radio like Mixtapes and Internet Radio are under serious attack. Mixtape retailers and producers are getting arrested or fined.

Even worse on the same day as the FCC rulings, major record labels cut a sinister deal with the Congress and US Copyright Office to basically shut down Online Radio unless you are very very rich. I don't wanna bog people down with too much reading so check out SaveInternetradio.com for all the gory details.

For those who feel that they'll go out and just do shows keep in mind that even the venues are on lock. First in many cities, the main concert venues are owned by Clear Channel.

Second, three years ago Clear Channel got a patent for the methodology used to record live performances, and sell it back to customers that same night at the venue. It's called Instant Live Performance Recordings. Well now you need a license from Clear Channel to do that in ANY venue. These cats went and got a patent for that and locked that income source up for themselves. A number of companies tried to sue them over this Draconian measure, but were unsuccessful. You can check out these two articles if you don't believe me:

 

EFF challenges Clear Channel Recording Patent

All in all this FCC ruling was feel good measure designed to get everyone excited to the point that they start paying closer attention to these radio stations. In the beginning you are likely to hear a lot of fanfare about them reaching out to give the little guy a shot.. But after a short period of time when the lights and cameras go away they'll be catering to those who don't need any extra help.

Please folks don't get hoodwinked.

Davey D


Below is a petition for you to sign to Save Internet Radio Please pass this far and wide..

 

http://www.petitiononline.com/SIR2007r/petition.html

To:Internet Radio Listeners
To my Congressional representatives, and to Congress as a whole,

As a fan of Internet radio, I was alarmed to learn that music royalty rates were recently determined by the Copyright Royalty Board (CRB) which, if enacted, would certainly silence most or all of my favorite online listening services. For most webcasters, this royalty rate represents more than 100% of their total revenues!

The shuttering of the webcasting industry would be a loss for not only independent business owners, but also for musical artists, for copyright owners, and for listeners like me who enjoy the wide variety of choices available via Internet radio.

I respectfully request that Congress look into this matter and initiate action to prevent it. As the CRB rate decision is retroactive to January 1, 2006, please understand that time is of the essence -- as the immediate impact of this decision could silence many free Internet radio stations forever.

Sincerely,

The Undersigned
 

News Headlines

The Zulu Nation Demands Hip Hop Take Responsibility

By: Katie Patterson

February 23, 2006

"This is a town meeting for the survival of people!"

That's what Public Enemy front man Chuck D said at an emergency meeting held yesterday, Feb. 22, at the National Black Theatre in Harlem. The Supreme World Council of the Universal Zulu Nation, which was established by Afrika Bambaataa, considered by many to be the founding father of hip hop, called the meeting to address the need for the reinstatement of balance, respect and love in hip hop music.

“How can you say you love hip-hop without learning the voices, the sentiment, the soul, the legacy, the responsibility?” asked Chuck D.

While the evening began with angry accusations of brainwashing by media, more specifically New York radio superpowers Hot 97 and Power 105.1, it was messages of change and constructive solutions that resonated with the culturally and religiously diverse crowd that overflowed into the hallways.

“If you’re playing 50 Cent we want to hear Common Sense; if you play Missy Elliott we want to hear Sonic Force; if you play Sean Paul we want to hear Bob Marley,” said Bambaataa, referring to the recycled playlists on radio and television.

“This is not a building full of bitter people, bitter old recording artists who are mad that their records aren’t getting played on the radio any more,” said Chuck D. “This is a town meeting for the survival of people.”

“Hip hop is caught up in a time where one’s worth and status are contingent upon money rather than a genuine love for the music,” he said. Both he and Bambaataa went on to say that the degradation of women and the ubiquitous use of the N-word are not what the originators of hip-hop had in mind when envisioning what the culture would become.

“This is not the hip-hop Afrika Bambaataa, Kool Herc, Grandmaster Flash and all the pioneers started way back,” said Bambaataa.

Rapper turned activist, Chuck D, pointed out that the presidents of both MTV and BET are black women, an irony considering that black women are the subjects of unapologetically misogynist portrayals in an overwhelming number of rap songs and accompanying videos.

Rounding out the evening was perhaps the most important call to action. Building on the theme that bringing about a balance between the responsible music of the Talib Kwelis and Mos Defs, and the shallowness of the s and Ying Yang Twins, will allow for hip hop to give other options to those who look up to it for guidance.

“That’s all you hear… is a mixture of a thug life and children,” said Chuck D. “How you going to make a club song and your marketing campaign is aimed at a 14 year-old? Why? A 14 year-old can’t get into the God d*mn club, and not only is it a club, it’s a strip club. So what the hell does an 11 year-old who rushes home from school to turn on the radio or television know about strip clubs, anyway?” he continued.

And, in true Chuck D fashion, his most powerful statement was a self-reflective one. “I have been blessed to go all over the world because of this music, to feed my family because of this music, I have an obligation and a responsibility to take what this music has given to me, and take whatever I have gained and learned from the brotherhood and the sisterhood of this music, and spread it.”

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IN THE NAME OF AMEN RA

THE 5TH ELEMENT OF HIP HOP
KNOWLEDGE, CULTURE, OVERSTANDING

TAKE  BACK  HIP HOP CULTURE


TIME TO FIGHT ALL RADIO STATION WHO CLAIM HIP HOP BUT DO NOT PLAY HIP
HIP IN A BALANCE. PLAY OLD SCHOOL WITH NEW SCHOOL TO KEEP A BALANCE
WITH TRUE SCHOOL.. TIME TO FIGHT ALL THESE DAMN STATIONS WHO ARE JUST
PLAYING ONE STYLE OF RAP AND TO FIGHT THESE BS TV VIDEO SHOWS THAT
ONLY PLAY RAP VIDEOS OF DISRESPECT TO WOMAN OR JUST SHOW NEGATIVE
VIDEOS AND NOT PLAY ALL VIDEOS IN A BALANCE FROM PAST TO THE PRESENT.
BRING THE SPIRIT OF MAAT TO HIP HOP RADIO AND TV SHOWS.
CONSCIOUSNESS AND FUN IN HIP HOP

THE FIGHT FOR 2006 IS ON TO SAVE HIP HOP CULTURE, TIME TO RAISE THE
ARMY OF PEOPLE WHO WILL PUT THE POWER OF THE SUPREME FORCE ON THESE
SATANIST BASTARDS, WHO ARE TRYING TO CONTROL THE MINDS OF THE HIP HOP
WORLD NATION. ALL WHO STAND ON THE SIDE OF THE SUPREME FORCE, WHO IS
CALLED BY MANY NAMES, STOP BEING SCARED, STAND UP AND RAISE YOUR
VOICE AND THEN GET TO WORK TO EXPOSE THESE DAMN RECORD LABELS, RADIO
STATIONS,TV HIP HOP SHOWS OR WHATEVER SHOWS THAT SHOWS US IN A BS
VISION OF JUST BEING PIMPS, PLAYAS , GANGSTERS AND HOES, STRAIGHT UP
NIGGERS, WIGGERS, OR ANY OTHER DEROGATORY WORDS THAT THEY USE AND WE
USE TO CALL OURSELVES.

WE ARE ASKING ALL BROTHERS AND SISTERS OF ALL SO CALLED RACES (THE
HUMAN RACE) ALL OVER THE WORLD,TO JOIN BROTHER AFRIKA BAMBAATAA AND
THE UNIVERSAL ZULU NATION,BROTHER DAVEY D, TOOLS OF WAR,THE
R.E.A.C.H. ORGANIZATION, SISTER ROSA CLEMENTE, KEVIN POWELL, SISTER
APRIL SILVER, ERNIE PANICCIOLI, CRAZY LEGS, FABEL,TONY TONE, ADISA,
NTELEK MARTHA DIAZ, CHUCK D, PROFESSOR X, KRS ONE AND THE TEMPLE OF
HIP HOP, THE UNIVERSAL FEDERATION FOR THE PRESERVATION OF HIP HOP
CULTURE AND MANY MORE GRASS ROOTS ORGANIZATIONS THROUGHOUT THE WORLD
TO BRING THE POWER OF GODS AND GODDESSES,THE SUPREME FORCE ON ALL
THESE JIVE ASS SO CALLED HIP HOP RADIO STATION TO CHANGE UP OR BACK
TO HELL YOU GO . IT IS TIME TO CAUSE A WORLD MOVEMENT. STOP BEING
SCARED AND CALL ON THE SPIRITS OF THE ANCESTORS, THE LORD OF ALL THE
WORLDS AND GET TO WORK. RAISE CONSCIOUSNESS BACK IN HIP HOP CULTURE.
WE ARE NOT SAYING TO STOP PLAYING WHAT YOUR ARE PLAYING ON THE AIR OR
SHOWING ON THE TV BUT TO HAVE BALANCE AND PLAY IT ALL, OLD SCHOOL TO
NEW SCHOOL TO BE TRUE SCHOOL..

WE NEED THE ARMY OF GODS AND GODDESSES TO LIFT EVERY VOICE AND SPEAK
BUT TO LIFT EVERY ARM AND SWING MEANING PUT FIRE TO THESE DEMONS ON
THESE STATIONS WHO WILL BRING THE CULTURE OF HIP HOP OVER TO THE
DEVIL. IF YOUR ARE WITH SAVING HIP HOP CULTURE THEN FIGHT LIKE GODS
OF HEAVEN AND SEND THEM DEMONS BACK TO HELL. IN THE SPIRIT OF THE
MILLION MORE MARCH, MILLION MAN MARCH, MILLION WOMAN MARCH, MILLION
YOUTH MARCH, THE UNIVERSAL ZULU NATION, THE ROCK STEADY CREW, ALL THE
B-BOYS AND GIRLS, TRUE HIP HOP CULTURE HEADS THROUGHOUT PLANET EARTH
JOIN AN ORGANIZATION OR GET WITH PEOPLE WHO ARE ABOUT MOVEMENT TO
TAKE OUR CULTURE BACK AND SAVE OUR YOUTH ALL OVER THE WORLD AND TO
SAVE YOUR MIND AND YOUR SOUL..

ALL POWER TO THE PEOPLE

BROTHER AFRIKA BAMBAATAA
THE AMEN RA OF UNIVERSAL HIP HOP CULTURE
UNIVERSAL ZULU NATION
 

FOR IMMEDIATE RELEASE APRIL 21, 2006 6:00 AM   CONTACT: Free Press Craig Aaron, 202-265-1490 x 25   After Thousands of Activists Demand Investigation, FCC Launches Payola Probe Free Press calls for a crackdown on Big Media's abuse of the public airwaves   WASHINGTON - April 21 - The Federal Communications Commission has launched a formal investigation into growing payola scandal at four of the nation's largest radio broadcasters. According to a report in the Los Angeles Times , the FCC has issued "letters of inquiry" seeking documents from Clear Channel Communications, CBS Radio, Entercom Communications and Citadel Broadcasting. In response to evidence of payola first uncovered by New York Attorney General Eliot Spitzer, Free Press activists sent tens of thousands of letters to FCC Chairman Kevin Martin and the three other FCC Commissioners urging them to "launch a full and thorough investigation into all allegations of payola in the commercial radio industry and hold bad actors accountable." "Media consolidation has closed off the radio dial to musical variety, silenced independent artists, and ushered in a new wave of payola," said Craig Aaron, communications director of Free Press, the national, nonpartisan media reform group. "It's time the FCC took the first steps toward exposing payola and putting an end to this illegal, shameful practice once and for all. Tens of thousands of concerned citizens have contacted the FCC, calling for a full and thorough investigation. They'll be watching closely to see that big radio executives are held accountable for abusing the public airwaves." For more information, see www.freepress.net/payola ###

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McClusky Relinquishes Biz Model Amid Spitzer Probe

By Chuck Taylor, N.Y.

Well-known indie promoter Jeff McClusky tells the New York Times he is
dumping the business model that he made an industry standard between
record labels and radio stations, following the high-profile
pay-for-play investigation by New York State Attorney General Eliot
Spitzer, which all but makes his practices illegal.

McClusky?s business provided annual fees to radio stations, which were
said to be used to fund promotional budgets. While the payouts were not
supposed to be linked to airplay of specific songs, McClusky would then
bill record labels for each song that was added to one of his client
station?s playlist.

Federal law prohibits broadcasters from accepting anything of value in
exchange for airplay, unless it is disclosed to listeners.

Five years ago, the Times reported that McClusky had deals with 175
stations. He now has only 30. McClusky said Nov. 2 that amid radio
industry consolidation, shrinking music sales, and Spitzer?s sweeping
inquiry, that he would not renew contracts that call for him to provide
annual fees. He intends to continue working for major record companies,
by being paid a flat retainer fee instead of fees tied to radio
playlists.

However, it appears clear that the decision was hardly McClusky?s own.
Spitzer has called his business model "an effort to dodge the payola
laws" and a means to "perpetuate the fiction" that stations were not
receiving money or gifts from record companies in exchange for airplay.

As part of a $10 million settlement with Spitzer, Sony BMG agreed not to
reimburse independent promoters for any expense made for a station or
programmer?in essence, squashing McClusky?s business.

"Whether or not I agree with it, it is what it is," he told the New York
Times, "and I choose to comply because I do not want to interrupt the
excellent promotion relationship I've had with Sony BMG labels."
Paul Porter
"Moral responsibility is not an option"
   www.IndustryEars.com
  www.PaulPorter.voice123.com
 

THE UNIVERSAL FEDERATION FOR THE PRESERVATION OF HIP HOP CULTURE

199 LINCOLN AVE ROOM 303

BRONX, NEW YORK 10454

PHONE: (718) 402-4087  FAX: (718) 402-4088  E-MAIL  Federation200@aol.com 

Will the real Documentarians please stand up?

By: Hadji Williams

I spent the last week or so watching “And You Don’t Stop,” VH-1’s recent weeklong documentary on the history of hip-hop. And I could’ve gotten so mad over AYDS’s numerous oversights and inaccuracies. I could’ve gotten mad at Bill Adler, former Def Jam exec, anointing himself Hiphop’s official historian/archivist throughout AYDS. I could’ve gotten over his claim that until the late 1980s New York was the only city producing hiphop when just about every black community in just about every major city has local legends and verified histories chronicling their roots in hip-hop dating back to at least the late 1970s, if not earlier.  I could’ve gotten mad at AYDS’s marginalization of the Midwest and other regions in favor of rehashing BIG vs. Pac/East vs. West/Bad Boy’s brilliance for the umpteenth time. I could’ve gotten mad over AYDS’s refusal to highlight hiphop’s true forefathers— Gil Scott Heron, Watts Poets, Last Poets, Sonia Sanchez, Nikki Giovanni, and all the black poets who were rhyming and flowing over live drums and instruments for decades prior. Truth be told, they along with jazz cats like Cab Calloway were the original MCs. (Even the word “rap” was black slang from the 1950 and 1960s that meant black people talking intimately amongst each other, i.e. “Can I rap with you?”)

I could’ve also gotten mad over AYDS’s refusal to acknowledge B-Boying and breakdancing’s roots in Capoiera, the fighting style born of African and tribal South American worship dances and fighting arts brought together via the transatlantic slave trade. I could’ve gotten mad over AYDS’s refusal to question or challenge any of the artists, labels and corporations who currently profit off hiphop to be more responsible to the communities and culture they exploit. I could’ve gotten mad at AYDS’s refusal to at least question the potential side affects of mainstream consumption and co-option of yet another urban art form…

I could’ve gotten mad about all of these things and more, but I didn’t. Instead I was too busy asking myself one simple question: Where are our documentarians? Where are the people of our communities, of our heritages and culture telling our own stories?

For decades I’ve watched countless documentaries on MTV and VH-1 and other mainstream outlets about hiphop, black music and black culture. I’ve watched Ken Burns dictate his history of The Blues. I’ve watched Clint Eastwood tell his version of Jazz. I’ve watched Martin Scorsese give us his mini-series version of the Blues. I’ve watched numerous whites tell the story of Bob Marley and Reggae music and culture. I’ve watched Trè (from Phish) and Dave Matthews (DMB) trace black music and African music through their own eyes and ears. I’ve watched countless documentaries on Rock & Roll, R&B and Soul, all from mainstream America and Corporate America’s viewpoint.

And of those dozens upon dozens of documentaries, not one all seen was produced or directed or written by a person or color. Not one of those documentarians came from the communities or cultures they were documenting. They were all the result of outsiders, most of whom have little or no respect for the people and communities these cultures come from. Same applies to the likes of RollingStone, SPIN, DETAILS, JazzTimes, etc. the numerous magazines and books that’ve anointed themselves the official documentarians of Rock & Roll, Soul, Jazz and Blues. 

At least one big reason why there are so many stereotypes about hiphop about blacks about Hispanics about Asians, etc. is that we continue to let people outside of our communities speak for us. We continue to accept their version of us. We continue to allow them to define us.  We continue to allow them to lay claim to us and package us as they see fit.

A philosopher once said, “Until the lion has his own historian, the story of the hunt will always glorify the hunter.” No culture is truly a culture until it cares enough about itself to tell its own stories and demand existence on its own terms. And until hiphop and black folks in general realize this, we’ll never be anything more than what we are right now— everyone else’s prey.

Hadji Williams is author of KNOCK THE HUSTLE: HOW TO SAVE YOUR JOB AND YOUR LIFE FROM CORPORATE AMERICA, hiphop’s first success guide for business, culture and life. Email him: author@knockthehustle.com and read excerpts at www.knockthehustle.com.

12 Point Program for Hip Hop's Revolutionary Rebirth
By: Adisa Banjoko bishop@lyricalswords.com

Right about now, there is a resurgence of conciousness in Hip Hop. It reminds me of what was once known as "The Golden Age of Hip Hop". This new conciousness is evidenced in the rise of Dead Prez, Talib Kweli, Paris, Zion I, Common, Mystic, Mos Def, Encore, Shamako Noble, Immortal Technique, the new tracks by MC Ren, and others. This is a beautiful thing to watch, and something that makes me proud to see.

The Black Panther Party for Self Defense used to have a ten point program to rebuild the Black community. It was something to help keep the Black community focused how freedom was to be achieved. Unfortunately, the masses did not listen to them as well as they should have and many people lost out due a lack of follow though.

This is a twelve point program I have constructed in hope of rejuvenating the Hip Hop community and industry across the board. I believe without fail that if these ideas are put into action that Hip Hop will gain a higher status in the minds of those who love it as well as in the hearts of those who hate it. This list can be used by anybody (regardless of race, faith, or culture) who is an MC/rapper. But for those that TRY to be concious, I feel these things are a must. Big props to Scape Martinez for helping me refine this (eventhogh we disagree with some points).

1. Stop the cursing. If you are going to reach the people, you need to be refined lyrically. You will have one up on radio industry who try to ignore you.
You must also make yourself loved by the parents of the children who love Hip Hop. Keeping it clean on wax is an easy way to gain an upper hand in the streets and in the industry at the same time. Plus you don't have to always make clean versions of everything- so it saves you money. In the movie Malcolm X's original mentor says that a man curses because he does not have the tools to tell you whats really on his mind. So chill out and tell us whats on your mind. Gangstarr's "Step Into the Arena" is a perfect example of how you can stay REAL and not curse.

2. Stop using the word "nigga". The word "nigger/nigga" was a lyrical tool of empowerment for the Hip Hop movement during the late 80's and early 90's. It came at a time when Black people needed to counter the hateful words being put upon them for so long. Now, the word has indeed been dilluted in it's power (it does not hurt most Black people to be called that name anymore). However, it also lost it's painful historical relevence. We need to remind people of where the word came from, so it is never taken lightly. If you are unclear on the history of it, go read "100 Years of Lynchings" by Ralph Ginzburg.

3. Read. The more you know, the more you can rap about. Read about the history of your people as well as the histories and cultures of others. Nobody is asking you to become Nerdball McGee- but you should open a book. Choose a topic and go learn something you did nto know the day before. Then bring that into Hip Hop. Ice Cube, KRS ONE and Tupac Shakur were arguably at their best when they were reading.

4. Rap About YOUR Struggle. MC's and rappers who are remembered, are story tellers. Slick Rick, Ice Cube, Tupac and Rakim are able to bring you into their world and allow you to see from behind their eyes. This should be your goal as an MC. Tell us about your fam, your area, your personal journey in a way that no one else can tell it. If you cannot do that, you will certainly fail to impress and inspire. Tell us about your city. Nobody cared about the Queens, Compton, or Vallejo until MC Shan, Eazy E, and E-40 told the world stories about where they came from.

5. Stop following trends, create them. The rap industry tries to create cookie cutter rappers now.
They all come complete with pimp cups, loc's butt naked women and saggy pants. That has it's place. But we need more people pushing the lyrical envelope.
Brothers and sisters don't try to flow with originality anymore. They just try to copy a carbon copy. Do not be afraid to find out who you are and challenge the trends across the board. N.W.A., Biggie Smalls, Beastie Boys, Common, Talib Kweli, Mos Def, Public Enemy, Kwame, Paris, De La Soul, Queen Latifah, and Eminem (YES, I said EMINEM) all take creative chances musically and lyrically. From your look to your flow, be original in your life and on wax.

6. Respect Women. This is a subject that cannot be discussed too much. We need to stop using the word bitch and hoe (I'm talking to myself as well as y'all). We need to stop objectifying all women. By undermining them, we undermine the cornerstone of all civilization. This is a serious thing. You can still make a dope jam and show respect to the women.
Remember that every "hoe" and "bitch" is someone elses sister, daughter, mother- maybe even yours. So clean yourself up. I'm not asking you to take estrogen shots, watch Oprah 24/7 and wear a wig. Just show some respect.

7. Don't forget to rock the party. This is a major problem in Hip Hop. Most of the MC's who try to be concious. They get so caught up in their mission that they forget to have fun. If all you do is spit politics and stuff, people never get to see you shine creatively. Show the people you have skills to rock the party, then give them something to take home.

8. Learn an instrument. Since it's inception Hip Hop has gotten far by sampling. The record industry has come down hard on us at times for doing it. Sampling has served it's purpose, but it is time to show the world our full creativity. Learn an instrument for yourself. If you do, you will gain a new respect for those you sample and you'll get new insights on how to make music for yourself.

9, . Listen all kinds of music from the past. This is crucial. Part of the reason Hip Hop is so stale is because Hip Hop only listens to Hip Hop, nowdays.
Chuck D, Mix Master Mike, DJ QBERT, KRS ONE, P Ditty Poor Righteous Teachers, Premier, Jungle Brothers, Marly Marl, Timbaland, DJ Quick, Dr. Dre all listen to other forms of music. You should slso read the biographies of some of these artists as well (something I'm about to get into). They listen to Jazz, Reggae, Blues, Rock, Heavy Metal, Symphony, Salsa, Zen flutes etc.This is a BIG part of what makes them great. Now, go be great!!!

10. Acknowledge the beauty of the other Hip Hop elements. This is a HUGE problem. Sometimes I think it is talked about too much. But the bottom line is that if you don't have a full appreciation for graf writing, b-boy'ing, popping, locking, and turntablism you are missing a lot of tools that you can both learn from and incporporate into your shows. A lot of people confuse appreciation of these elements with being a hippy or dealing with things that are not "real".
Nothing could be farther from the truth. Don't sleep on that.

11. Choose a Cause. Once you know who you are, it is important that you ask yourself "What will I champion in Hip Hop besides my lyrics"? You care about education? Poverty issues? are you just a party MC?
Are you gonna champion your culture? Politics? Child abuse? Domestic violence? WHAT?!?!? Choose a cause then make sure you mention it from time to time. NOT ON EVERY SONG- becuase you will turn people off.

12. Never forget the poor. This music is from them, for them, forever. Knowing that fact always, IS KEEPING IT REAL.

Adisa Banjoko is author of "Lyrical Swords Vol. 1: Hip Hop and Politics in the Mix", available at
www.lyricalswords.com.

=====
"It's lack of faith that makes people afraid of meeting challenges, and I believe in myself." - Muhammad Ali

wwww.lyricalswords.blogspot.com
________________________________________________________________________
Adisa Banjoko aka "The Bishop"
1304 S. Winchester Blvd. # 441
San Jose, CA 95128

Facing the Copyright Rap  Associated Press
Story location: http://www.wired.com/news/digiwood/0,1412,64884,00.html

12:30 PM Sep. 08, 2004 PT


A federal appeals court ruled Tuesday that rap artists should pay for every
musical sample included in their work - even minor, unrecognizable snippets
of music.

Lower courts had already ruled that artists must pay when they sample
another artists' work. But it has been legal to use musical snippets - a
note here, a chord there - as long as it wasn't identifiable.

The decision by a three-judge panel of the 6th Circuit Court of Appeals in
Cincinnati gets rid of that distinction. The court said federal laws aimed
at stopping piracy of recordings applies to digital sampling.

"If you cannot pirate the whole sound recording, can you 'lift' or 'sample'
something less than the whole? Our answer to that question is in the
negative," the court said.

"Get a license or do not sample. We do not see this as stifling creativity
in any significant way."

Some observers questioned whether the court's opinion is too restrictive,
especially for rap and hip-hop artists who often rhyme over samples of music
taken from older recordings.

"It seems a little extreme to me," said James Van Hook, dean of Belmont
University's Mike Curb College of Entertainment and Music Business. "When
something is identifiable, that is the key."

The case at issue is one of at least 800 lawsuits filed in Nashville over
lifting snippets of music from older recordings for new music.

The case centers on the NWA song "100 Miles and Runnin," which samples a
three-note guitar riff from "Get Off Your Ass and Jam" by '70s funk-master
George Clinton and Funkadelic.

In the two-second sample, the guitar pitch has been lowered, and the copied
piece was "looped" and extended to 16 beats. The sample appears five times
in the new song.

NWA's song was included in the 1998 movie "I Got the Hook Up," starring
Master P and produced by his movie company, No Limit Films.

No Limit Films has argued that the sample was not protected by copyright
law. Bridgeport Music and Westbound Records, which claim to own the
copyrights for the Funkadelic song, appealed the lower court's summary
judgment in favor of No Limit Films.

The lower court in 2002 said that the riff in Clinton's song was entitled to
copyright protection, but the sampling "did not rise to the level of legally
cognizable appropriation."

The appeals court disagreed, saying a recording artist who acknowledges
sampling may be liable, even when the source of a sample is unrecognizable.

Noting that No Limit Films "had not disputed that it digitally sampled a
copyrighted sound recording," the appeals court sent the case back to the
lower court.

Richard Busch, attorney for Westbound Records and Bridgeport Music, said he
was pleased with the ruling.

Robert Sullivan, attorney for No Limit Films, did not return a phone call to
his office.

 

The racial and political dynamics of light bulb changing

  BY  Ernie Paniccioli

Q) How many Hip Hop legends does it take to change a lightbulb?

A) Ten or more, one to change the lightbulb, six to swear it was their idea and three to say they were the first to actually do it!
Plus Kool Herc to go on the "NY tour circuit" and complain about how corporate America stole the lightbulb.........and KRS1 to preach about the spiritual value of changing lightbulbs, then Kevin Powell to go on VH1 and say he is a "Lightbulb Head for life" and how racist it is for Black folks to have to change White light bulbs and that he is about to do an anthology with the 100 most important Black light bulb changers and how he is an expert on the subject .......... and Nelson George to mumble something about "the streets and Charlie Parker's influence on light bulb changing" in an smug academic monotone.
MTV would have a hit show showing Rappers vast collection of light bulbs aptly called "Bulbs".
Puffy would sign twenty poor dim light bulbs and after they were burned out or shot, he would start a "Bulb Memorial" clothing line to sell to White kids who felt guilty that they had always had too many light bulbs just laying around unappreciated.
Then Cornell West and Michael Eric Dyson would remind us that Tupac's poetry reminded them of Billy Holiday's soul searching wails which were actually about the childhood experience of never having enough light bulbs.
Kanye would dedicate a song to the "Holy Light' Common and Mos Def would sing about finding the "Light Bulb Within" while hard core rappers would produce platinum songs about "shooting out dem bulbs".
Russell would be holding "light bulb awareness and light bulb changing Summits". Then Jesse would jump in screaming "Keep Light Bulbs Alive" and "I am somebody, I am a light bulb changer" while stuffing his pockets with unmarked stacks of 100 dollar bills.......ad nauseum............
Ernie Paniccioli
PS No light bulbs or rappers were harmed in the writing of this piece.

STOP CALLING THESE IMPOSTERS HIP HOP ARTISTS,

they do not do or cover all its elements of the hip hop culture

This version of Hip Hop that the worlds media promotes globally, is a strange sissified version of its true self. It consists of middle-class fakers acting like gangsters, so-called hardcore rappers, so-called underground heads and so-called superstars killing each other, while the white controlled global media celebrates. Who are these imposters?

Hip Hop is the MC (not rapper), DJ or turntablists, B-boys or B-girls (not breakdancers), Writer (not graffiti artists), BeatBoxer and students of Knowledge of Self. These according to the founders of the culture are the main elements of the culture. Now you have world media calling EMINEN, 50cents and the rest of the multi-nationally backed "rappers", the upholders of HIP HOP CULTURE. Excuse me, but do they b-boy, write, MC and DJ ? HELL NO! so why do we perpetuate these lies. They have no right to call what our ancestors created and gave as a voice for the people, whatever the hell they wish to call it. Strangely enough we just allow this bullshit to continue without any protest. We even reduce ourselves to speak their names and titles they named what we do. Hip Hop elders have not been approached in their research about the culture, they just named things as they wished. We sit in front of the TV and hear them spread these lies to the world and accept this powerless position they have put us in. I HAVE HAD ENOUGH. It is time to set the record straight. These titles that make up the HIP HOP CULTURE are titles that practitioners of writing, MCing, B-boying, DJing, Beatboxing earn and no just giiven to anyone. It is something that is earned with time, dedication, research and sacrifice. Nowadays everyone is a rapper and maybe they are right, because an MC earns that reputation for skill as well as ability to be the "master of the ceremony" (Where the name MC comes from by the way). Many of these rappers are studio rappers that have no stage, microphone or crowd/ audience control skills.

A true MC or Hip Hop head would not lie to the audience about fake bling, bling that he or she does not have, especially knowing how many youths are listening to them on the radio and watching them on the TV. A true B-boy or Hip Hopper learns the history of the culture and gives respect to those who have gone before. Those like Afrika Bambaataa, Kool DJ Herc, Grandmaster Flash, Grand Wizard Theodore, MC Cowboy, the Rock Steady Crew, The Nigga Twins, Pop Masters Fabel, Phase 2 and Mr Wiggles to name but a few who contributed to the REAL HIP HOP culture. There are also hip hop histories in countries around the world and those contributions by those individuals have to be given the credit that they deserve. This new mentality of forgetting the past as quickly as a new song hits the number 1 spot on radio or MTV, is a global mentality. This eliminates resepct for elders and those that pave the way. It also seperates the younger practitioners from those who have experience and who could help them not repeat the mistakes that they have made before these young kids who are now earning millions. It is my opinion that it is for this very reason that the gap between the elders and next generation are made bigger by record companies and the entertainment industry. Their intention is to keep these younger artists as blind to the realities of the industry as possible. EXPERIENCE CAN NOT BE DOWNLOADED.

Do you think that classical music lovers would allow the world media to call their music "Screeching noise" or simply rename it whatever they wish, without putting up a fight ? I think the arrogance of the world media is because HIP HOP is considered a black sub-culture or street culture. Even the usage of the prefix "sub", implies something that is lesser than or under what might be considered cultural. Think about it a bit more. We name it b-boying/ b-girling, they rename it breakdance, we name it writing, they rename it graffiti, we name it MCing and they rename it rapping. It is an insult to our creative ability. They control the media and thus feel that they have the power to name whatever they wish and get away with it. Like Michael Jackson being called Wacko Jacko, this is like calling us "Nigger"
and "Kaffer" all over again. We internalies the lies they feed us and start to believe what they call us. Attached to the medias version of hip hop are gangs, profanity and violence. The REAL HIP HOP is a powerful tool globally bringing youth together and enlightening them to their true selves. REAL HIP HOP is educating youth, fighting AIDS, exchanging cultures, breaking down racism, protesting against global dictators.

I do this call out to all defenders of the TRUE HIP HOP CULTURE to use the correct terminology and free our culture from their verbal enslavement of it. Only once we do this will we be able to regain the financial control of this multi-billion dollar industry that they have almost taken complete control of. I know that everywhere in the world their are true soldiers of the REAL HIP HOP. Like Mr Devious, from South Africa, who was prepared to die for what hip hop has taught US. In the USA is the Univeresal Zulu Nation, Eazy Roc and Asia One that started the B-Boy Summit, also from the USA is Poe One and Cros One from the Freestyle Sessions event, in Germany is Storm and Swift of Battle Squad, also in Germany is Thomas of Battle of the Year, in Japan is Dance Machine, in Spain is Kapi, in HOlland is Timski, in New Zealand is Norman, in South Africa is myslef Emile of Black Noise, wew have brothers in Brazil, Mexico, Sweden, France, Denmark, Zimbabwe, Australia and every other country on this planet. We are many my brothers and sisters and our voice can never be silenced, but we have to RE-IGNITE THE FIRE OF TRUE HIP HOP REVOLUTION. We have to insist that MTV Awards and Grammy Awards remove the false labeling of the best Hip Hop Artsist, until they are willing to call up a group that have writers, DJs, MCs, B-boys, etc.

I hope that you will forward these thoughts to all those concerned with HIP HOP getting the respect it deserves.And hopefully we will enlighten more youth to the REAL HIP HOP and not the FAKE one that is spread MTV and other media.

Yours in the REVOLUTIONARY HIP HOP
Change must come
Emile YX?
Black Noise
Cape Flats Uprising cc 2004

Their is Music and then their is Right Music! My name is Dr.Henry E.Gable II. Musically I am known as -NTELEK- which is pronounced intellect. After spending restless moments in the lab I have come to surface with a medicine musically which is helping change the climate from a negative to a positive in environments that are far beyond fare. We are NUWAUPIANS so the formula is in what we call Nu-Wop. We are interested in the Civil and human Rights of our people. Derived out of Hip-Hop "NuWop is our brand of music which is spiritually uplifting. It's beneficial qualities include educating and encouraging the listener(s). NuWop is about the lyrical content and tones of each word and drum. It induces love, joy, hope, peace, stability, self worth, pride and understanding. We are using Nu-Wop music as a means to help bring the listener(s) another level of awareness.

Hip Hop Reflections on Ronald Reagan
by Davey D <MrDaveyD@aol.com>

Well, today is June 11th, and I'm watching all these TV stations play Ray Charles rendition of 'America' [Brother Ray just passed away yesterday] while showing the funeral of former President Reagan.  Some stations are even showing pictures of the two men together.  I can't help thinking something is not right about what I'm seeing.  In the words of Public Enemy, 'Can't Truss It' .

To start with, I feel like my senses have been assaulted all week with non stop news coverage that seemed designed on getting me to believe that we had just experienced the passing of a Saint.  I keep asking myself how is this happening?, because when I think back to the Reagan years I recall some very troubling and contentious times that we are still recovering from.

It has been suggested by President Bush that we stay home to mourn and reflect upon the life and times of Ronald Reagan.  Well, when I reflect, I like to do it to music.  So I guess it was only appropriate that I pulled out Gil Scott Heron's 1981 album 'Reflection' which contained a highly charged 12 minute spoken word song called "B-Movie", which was directed at Reagan shortly after he took office.  I also pulled out a landmark record from pioneering rapper Mele-Mel called 'Jesse' which was released in 1984.  Both these songs spoke truth to power and help me cut through all the hoopla, fanfare and blatant rewriting of history with regards to Ronald Reagan.  Gil Scott starts off his B-Movie song by saying:

"Well, the first thing I want to say is.'Mandate my ass!'

"Because it seems as though we've been convinced that 26% of the registered voters, not even 26% of the American people, but 26% of the registered voters form a mandate -- or a landslide.  21% voted for Skippy and 4% voted for somebody else who might have been running.

"But, oh yeah, I remember.  In this year that we have now declared the year from Shogun to Raygun, I remember what I said about Reagan.  Meant it.  Acted like an actor.  Hollyweird.  Acted like a liberal.  Acted like General Franco when he acted like governor of California, then he acted like a Republican.  Then he acted like somebody was going to vote for him for President.  And now we act like 26% of the registered voters is actually a mandate.  We're all actors in this, I suppose."

-- from '-B-Movie-' by Gil Scott Heron

As I listened to all this lavish praise being bestowed upon Reagan, and US Senators proposing that his face be put on a 10 dollar bill and carved into Mount Rushmore, I kept asking myself -- is this the same guy who immediately started cutting back social service programs and started scapegoating folks in the hood as the reason for inflation and overspending in government?  Gil Scott early on let us know just what we were up against, as he kicks his third stanza.

"... What has happened is that in the last 20 years, America has changed from a producer to a consumer.  And all consumers know that when the producer names the tune.  the consumer has got to dance. That's the way it is.  We used to be a producer -- very inflexible at that, and now we are consumers and, finding it difficult to understand.  Natural resources and minerals will change your world. The Arabs used to be in the 3rd World.  They have bought the 2nd World and put a firm down payment on the 1st one.  Controlling your resources we'll control your world.  This country has been surprised by the way the world looks now.  They don't know if they want to be Matt Dillon or Bob Dylan.  They don't know if they want to be diplomats or continue the same policy -- of nuclear nightmare diplomacy.  John Foster Dulles ain't nothing but the name of an airport now.

-- from '-B-Movie-' by Gil Scott Heron

Mele-Mel -- who helped kick off a wave of message-type songs from Hip Hop's then-emerging scene, starting with his groundbreaking song 'The Message' in 1982 -- also brings home some salient points.  After dealing with 3 terrible years of Reagan's economic policy, the 'trickle-down' theory, also known as 'Reaganomics', Mel summed up the situation in the first verse of his song 'Jesse':

See Ronald Reagan speaking on TV
Smiling like everything's fine and dandy
Sounded real good when he tried to give a pep talk
To over 30 million poor people like me
How can we say we got to stick it out
When his belly is full and his future is sunny
I don't need his jive advice
But I sure do need his jive time money.

from '-Jesse-' by Mele-Mel

I'm listening to these songs -- reflecting and asking myself how in the world are 200 thousand people standing on line waiting to see this cat's body?  Was this the same Ronnie Reagan who had no problems closing down mental wards and setting all those ill patients to fend for themselves back in our community?

Is this the same Iran-Contra scandal Ronnie who back in the 80s showed his first signs of Alzheimer's by stating he didn't recall all the corruption taking place right under his nose?

Was this the same Ronald Reagan, the jovial jellybean eating, 'great communicator' who is credited with ending communism and bringing down the Berlin Wall, but vetoed a bill calling for sanctions against the racist South African Apartheid Regime?

Is this the same Ronald Reagan who wouldn't lift a finger to help end Apartheid, but in 1983 was more than willing to send US troops to smash the Black Government of the small Island of Grenada, who they said had links to Cuba and Communism?

Was this the same Ronnie Reagan who got called out and embarrassed by Noble Peace Prize winner Bishop Desmond Tutu, who said he was "evil, immoral, and un-Christian" because of his 'Constructive Engagement' policies toward South Africa.  This article in the Boston Globe gives the breakdown on this:

http://www.boston.com/news/globe/editorial_opinion/oped/articles/2004/06/09/reagans_heart

I kept asking myself with such a sordid track record that impacted so many and continues to impact many, how are folks shedding so many tears for this guy?

Thank God for Gil Scott, who gives the breakdown as he eloquently explains the American mindset.  Peep the lyrics:

"The idea concerns the fact that this country wants nostalgia.  They want to go back as far as they can -- even if it's only as far as last week.  Not to face now or tomorrow, but to face backwards.  And yesterday was the day of our cinema heroes riding to the rescue at the last possible moment.  The day of the man in the white hat or the man on the white horse -- or the man who always came to save America at the last moment -- someone always came to save America at the last moment -- especially in "B" movies.  And when America found itself having a hard time facing the future, they looked for people like John Wayne.  But since John Wayne was no longer available, they settled for Ronald Reagan -- and it has placed us in a situation that we can only look at -- like a "B" movie.

"Come with us back to those inglorious days when heroes weren't zeros.  Before fair was square.  When the cavalry came straight away, and all-American men were like Hemingway to the days of the wondrous "B" movie.  The producer underwritten by all the millionaires necessary will be Casper "The Defensive" Weinberger -- no more animated choice is available.  The director will be Attila the Haig, running around frantically declaring himself in control and in charge.  The ultimate realization of the inmates taking over at the asylum.  The screenplay will be adapted from the book called "Voodoo Economics" by George "Papa Doc" Bush.  Music by the Village People, the very military 'Macho Man'.

"'Macho, macho man!'

"Put your orders in, America.  And quick as Kodak, your leaders duplicate with the accent being on the nukes -- cause all of a sudden we have fallen prey to selective amnesia -- remembering what we want to remember and forgetting what we choose to forget.  All of a sudden, the man who called for a blood bath on our college campuses is supposed to be Dudley "God-damn" Do-Right?

"'You go give them liberals hell, Ronnie!'  That was the mandate.  To the new 'Captain Bly' on the new ship of fools.  It was doubtlessly based on his chameleon performance of the past -- as a 'liberal democrat' -- as the head of the Studio Actor's Guild.  When other celluloid saviors were cringing in terror from McCarthy -- Ron stood tall.  It goes all the way back from Hollywood to hillbilly.  From liberal to libelous, from "Bonzo" to Birch idol -- born again.  Civil rights, women's rights, gay rights -- it's all wrong.  Call in the cavalry to disrupt this perception of freedom gone wild.  God damn it ... first one wants freedom, then the whole damn world wants freedom.

"Nostalgia, that's what we want ... the good ol' days, when we gave'em hell.  When the buck stopped somewhere, and you could still buy something with it.  To a time when movies were in black and white -- and so was everything else.  Even if we go back to the campaign trail, before six-gun Ron shot off his face and developed hoof-in-mouth.  Before the free press went down before full-court press.  And were reluctant to review the menu because they knew the only thing available was -- Crow.

"Lon Chaney, our man of a thousand faces -- no match for Ron.  Doug Henning does the make-up -- special effects from Grecian Formula 16 and Crazy Glue.  Transportation furnished by the David Rockefeller of Remote Control Company.  Their slogan is, "Why wait for 1984?  You can panic now ... and avoid the rush."

"So much for the good news.

"As Wall Street goes, so goes the nation.  And here's a look at the closing numbers -- racism's up, human rights are down, peace is shaky, war items are hot -- the House claims all ties.  Jobs are down, money is scarce -- and common sense is at an all-time low on heavy trading.  Movies were looking better than ever, and now no one is looking -- because we're starring ... in a "B" movie.  And we would rather had John Wayne.  We would rather had John Wayne.

-- from '-B-Movie-' by Gil Scott-Heron

Deregulation, calling ketchup vegetables, the busting up of unions, trickle down theory economics, attacks and roll backs on civil rights legislation is what I recall about Reagan.  For the most part, it wasn't good.  Reagan was the great communicator because he had a nice way of smiling and a jovial way of talking while he put a foot up your ass.  The effects of Reagan are still being felt to this day.

As Mele-Mel noted:

The land of the free and the home of the brave
But it might as well be the home of the slave
They got me walking around saying freedom's come
But my body is free and my mind is dumb
The people ain't black but the house is white
And just because I'm different they don't treat me right
They done cast me aside and held me down
Dragged my name down to the ground
Oh beautiful for spacious skies
With your amber waves of untold lies
Look at all the politicians trying to do a job
But they can't help but look like the mob
Get a big kick back and put it away
Watch the FBI watch the CIA
They want a bigger missile with a faster yet
But yet they forget to hire you, the vet
Hypocrites just talkin trash
Liberty and Justice are a thing of the past
They want a stronger nation at any cost
Even if it means that everything will soon be lost

from '-Jesse-' by Mele-Mel

Mele-Mel went on to completely embarrass Reagan, by chronicling this all-but-forgotten incident when Reverend Jesse Jackson succeeded where Reagan failed:

The 30th day that's in december
Is a day that everyone's gonna remember
Because on that day a righteous man
Thought about taking a brand new stand
The name of the man is Jesse Jackson and his call
Is for peace without an action
Cause now is the time to change the nation
Without just another negotiation
He went to the East for human rights
To free a lieutenant shot down in flight
Just another statistic and the government knew it
They didn't even want the man to go do it
Before he left he called the president's home
And Reagan didn't even answer the phone
But I tell you one thing and that's a natural fact
You can bet he calls Jesse when Jesse got back

 

Dear Mr Peter Jennings

I just finished watching the Prime Time TV special you hosted on ABC last night. It was with great anticipation that I tuned in especially after hearing all the provocative commercials on local radio stations and seeing the enticing ads on TV. The subject matter of gang violence and police brutality are realities many of us who live in certain communities have to deal with first hand. As was pointed out in your program there aren’t too many people in LA who have not been impacted by the police and the gangs.

With all that being said, I have to say as a California resident and a fellow journalist, I was disappointed, and in many respects, angered by what I saw on your show. I felt the show was unbalanced in what was shown or in this case, NOT shown. I kept asking myself as I watched, where are the community leaders who strived for years and in some cases, even lost the lives of loved ones to try and bring about peace in these troubled areas? Why was there no mention of the historic gang truce that was forged in South Central in the aftermath of the 1992 Rodney King uprisings?

How come you guys didn’t have people like former NFL great Jim Brown and members from his organization Amer-I-Can or former gang members like Bo Taylor and members from his organization Unity One? Bo can heard each week on the weekly Reality Talk [KKBT]? These individuals have been in the forefront of dealing with the challenge of eradicating gang violence.

Where was urban peacemaker Nane Alejandrez of Barrios Unidos? You could’ve reached out to him as well as actor/activist Harry Belafonte who was just on Air America Radio talking about the work he has been doing with Barrios Unidos and other organizations to help LA gangs set up legitimate businesses. He even took a number of them to Africa? I would've like to have heard how LA police Chief Bratton and LAPD were doing with their interactions with those community leaders. After all, Chief Bratton kept repeating over and over that the police can not do this alone.

Why didn’t Prime Time interview Minister Tony Muhammed of the Nation of Islam? The NOI has a long history of working with gangs in LA. Many of their members have grown from gang life thanks to their tireless efforts. Last year they were helping organize a 100 thousand man march in LA to help spark change. How has LAPD fared in working with the NOI?

There are dozens of other people that should have and could have been included in your report including former gang members Twilight Bey who has been featured in numerous documentaries and was the inspiration and main focus for Anna Deavere Smith’s book and PBS TV special ‘Twilight Los Angeles’.

You could’ve gotten former gang member Bone who was both a consultant and shown in the movie 'Training Day'. Actor/ Rapper Ice T, rapper Kam, record exec Micheal Conception, Alex Sanchez of Homies Unidos, author Louis Rodriguez, former Senator Tom Hayden, Congresswoman Maxine Waters, activist Fidel Rodriguez of Divine Forces Radio or activist Najee Ali of Project Islamic Hope could’ve been in the piece. The list goes on. The names of these community folks are well known. How were they overlooked by ABC Prime Time?

One profound statement that you made in your report was that how the police are in the community some of the time, but the gangs are there all of the time. I would venture to say that scores of these unsung heroes and sheroes are also in the community all of the time.

Many of them have been putting in work day in and day out trying to end gang violence while simultaneously dealing with an out of control notorious police department, are seen by many as the root cause for many of the flare ups and increased frictions and hostilities between gangs. The significant role they play in fueling gang tensions is an issue Prime Time touched upon and then skirted over, especially when you spoke about the Rampart Scandal.

I understand that the Prime Time special was about the Los Angeles Police Department with the main focus being on the new chief William Bratton. I clearly understand that you can’t fit everything in one show. As a radio talk show host I frequently will do shows where I direct all my attention on one side of the story so that perspective can be shared uninterrupted. Perhaps in some respects it was good to get an unfettered perspective from the Los Angeles police. We got to see and hear exactly what their going through and how their dealing with a harsh situation.

As Chief Bratton stated his goal was to try and heal the huge rift and mistrust that exists between the police department and the Black and Brown communities of South Central LA. Part of that healing comes with dialogue. He got to share that with you and the rest of the country during your one hour special. But now I think as a seasoned journalist who many of us look up to, you have the challenge and responsibility to bring to light those other perspectives that were missing from your Prime Time report. You spent a year working with the LAPD. I hope you take a year to spend time with some of the aformentioned organizations and individuals so you can convey to the country their hardships, challenges and sucess stories. Perhaps their tireless efforts can be a clarion call for those who had no idea that such activities were going on. This is extremely important since ABC is getting ready to do a similar special focusing on the NYPD.

It would be a shame to leave viewers who never been to Los Angeles, with the false perspective that the only ones putting their necks on the line to end poverty, oppression and violence in the community is the police. It would also be a shame to not squarely address the full extent police corruption exits in South central LA and similar communities and how they systematically undermine ongoing efforts to bring about positive change.

In closing I’m including a number of links for you and your producers to pursue so hopefully start putting together a compelling Prime Time Special that focuses on the challenges facing the community.

Sincerely
Davey D
Columnist San Jose Mercury News
Source Magazine
KPFA Radio
 

 TOO MANY GROUPIES ON HIP HOP RADIO
by Mark Skillz

Have you listened to hip hop radio lately?  Or should I say what passes for hip hop radio.  Like anything else in our culture the standards for urban radio have been lowered.

Instead of deejays on air being conversational -they shout.  The art of one to one conversation style radio is lost in hip hop.  Maybe station managers think that blacks and Latinos don't want to be talked to intelligently.  Or does keeping it "real" mean that you have to sound like you perceive your audience to be?  For instance, take a station like the Bay Area's KMEL, the on-air deejays recently, not only sound like they're from the street - but also like they are broadcasting live from a street corner.

Now, there is nothing wrong with being from the street, however, in our culture - I'm talking about African-American culture, historically, when a person is given the opportunity to communicate with our people, we've always strived to present a positive image.  But for some reason, when people think of hip hop they automatically lower the standards of excellence.

Black people are not monolithic beings.  We don't speak with one voice and one mind.  Neither are all hip hoppers monolithic beings.  We range in age and taste.  Some of us prefer Mos Def and Talib Kweli, while others prefer Lil Flip.  With preferences in tastes so vast you'd think that the people who market music to us would realize that and would have more than one kind of on air personality talking to us.

When I was coming up, deejays like Frankie Crocker, Nick Harper, Greg Mack, Jeff Fox and many others sounded like intelligent people.  They might not have been rocket scientists but never the less, these men sounded intelligent enough to communicate ideas to a mass audience without dumbing down to them.  For some reason, people think that being a part of the hip hop culture or even black culture for that matter, means that you have to dumb things down to relate to people.

For instance, on the 70's sitcom Sanford and Son, whenever the Sanford's came in contact with the police - it was always Officer Smitty (a brother) and some white cop, the white cop would speak in "cop talk" meaning he would say things like "Hello Mr. Sanford we received a call about a domestic disturbance somewhere on these premises, and we came to ascertain the facts."

It is at that point that Fred and Lamont would look at each other bewildered, as if they couldn't understand what the white cop had said.  They would then look at Officer Smitty for his interpretation - "Fred we got a call about a fight around here, do you know anything about it?"

Like they were too dumb to understand what the white guy was saying, as if the words were too big for them to know.  Now this kind of white-speak-black man-don't understand kinda thing exists today but on different levels.

What else do I mean by talking down?  Well, when a grown man, is talking to teen-agers instead of raising the bar for what and whom they should strive to be like, he communicates with them on their level.  Hearing thirty and forty year olds saying "What's crackalatin'" 20 times a day is embarrassing.  It's the equivalent of that 50 year- old uncle, at the barbecue, trying to talk the latest slang and worse, trying to do the latest dance.  That's what's happening on radio now.

One night I was listening to KMEL and I happened to turn it on in the mmiddle of an interview, now this interview went on for like 10-15 minutes, and in all that time, never once did this guy say who he was, or who the artist was he was interviewing.  However, what he did get across was that this artist had a fat platinum chain on and how much he wanted to have one as well.  And also this guy enjoys hanging out with him 'poppin' collars' at the Beehive and checkin' out "breezies".  Now what the hell does all that mean to a listener?

After 15 minutes of this crap when this artist was walking out the door I finally figured out he was talking to none other than Kanye West.  Oh snap!  I thought, damn I can think of a bunch of questions I'd like to ask Kanye my damn self like; What was the Chi-town hip hop scene like when you were coming up?  What influence did house music have on your style?  The Nation of Islam is real strong out there, what influence did they have on you if any?  The gang scene out there, how did you avoid that trap, when gang culture goes back 40 years plus out there?  Did you start off rapping over house records?  What Chi-town radio did you listen to, that influenced you to go the soulful hip hop route?

The art of the interview, the art of conversation, all of that is lost in current hip hop radio.  Why is that?  It's because we've lost our culture to a bunch of groupies.  Not just here in the Bay Area, but all over the country.

Radio stations like record companies have people working there who are just happy to be down.  They are content with the status quo, if you tell them that there is something wrong with hip hop radio, they look at you like your crazy.  As far they're concerned everything is all good and then some, because they're going to concerts and they're chilling backstage with their favorite rap stars.

Greg Mack, the pioneering LA dee-jay that was on KDAY back in the 80's and 90's, the man that any-artist-that-wanted-his-record broken in LA had to see.  When he interviewed an artist, like, Big Daddy Kane, for instance, he asked Kane questions like; "So Big Daddy, where did you first start performing?"  "What year was it?"  "Who were some of the people that you looked up to while you were coming up?"  "What's this whole thing with the Juice Crew and BDP, the reason I ask is because you seem to be respected by both sides so, what's your take on things?"  "How do you think it can be resolved?"

See, now that was from a KDAY interview I heard in 1988.  Never once did Greg Mack ask him how many hoe's did he have waiting for him back at the hotel or in the limousine like you hear so often today in hip hop radio.

The groupie culture is one that loves to be seen in the places to be seen and to give the impression that they are down.  But really ask yourself, do you care if some idiot on the radio was chillin' in the club with some football or basketball player?  What does the stations event that they are constantly promoting every 15 minutes have to do with your school closing down because the state has no money for teacher's salaries and books for students?

Let's really go back, to WBLS and Mr. Magic, the man who was the first person to play rap records on the radio.  I used to think that Mr. Magic was a big fan of the Force MC's, because they were on his show a lot, but to his credit he wasn't riding their dicks, he asked them good questions like; "So fellas, you just won the battle out in New Jersey, how much rehearsal time did you put in for it?"  "Ok, name some of your favorite doo-wop groups."

In defense of the deejays, I have to say, that they are only carrying out orders from up top.  If station management didn't want that style of presentation they would've long since gotten rid of them.  These are young brothers and sisters trying to make it, trying to find their way in a very competitive field.  Managers are the ones that set the tone, so ultimately they are responsible.  You'd think someone older with more experience would want to lead them better - but not so.
Don't get me wrong, there are some talented brothers and sisters on the radio today, and quite a few of them have real potential in the years to come.

So what's changed?  What has changed in urban radio from the Frankie Crocker, Greg Mack era to now?  Yes, hip hop music is more dominant today, but what about the quality of talent?  Does a hip hop deejay have to sound like he just rolled out of the gutter?

To a certain degree I can understand why urban radio programmers want their deejays to sound 'street', it makes them more relatable to a ghetto audience.  But aren't they doing the audience they serve a dis-service by going that route?  Do the station managers know that they are reinforcing negative racial stereotypes of the inner-city audiences that they are catering to?

Yes, hip hop culture is far more influential today than it was when Frankie Crocker and Mr. Magic ruled the airwaves, but does that mean that radio has to appeal to the lowest common denominator?  No.

Black people have always talked slang.  As far back as the 50's, the first black radio jocks were rappers - people like Jocko Henderson and many others.  Within that style they entertained and informed the community, later, people like Frankie Crocker took to the airwaves and just talked to people in a conversational style.  There was no need to 'talk jive' on air anymore.

Do station managers know that by reinforcing these stereotypes that they are helping to keep black and Latino youth forever ignorant?

Why is it I can turn on a rock station, and hear guys on there with a sense of humor and who aren't talking down to their audience?  But mostly I don't hear anyone yelling on rock radio.  Except on the records.  Is hip hop that low of a culture that standards have to be lower for us than anybody else?

Hip hop radio is now notorious for being shout out and request radio, instead of being informative as well as entertaining.

Now, the whole shout out style comes from the mix tape scene, which works really well in clubs and car systems, but radio should have a different standard.  Don't get it twisted, I like the mix tape dee-jays, but there needs to be a balance between that and regular radio.  I don't need to hear DJ Clue or Whoo Kidd, or even Kid Capri reading liners and doing interviews - let them rock the party

Because I'm down for positive changes in our culture, here's what I think station owners can do to help change this situation.Station managers talk with your dee-jays, talk to them about being conversational, talk to them about them being role models in our communities, talk to them about preparing for an interview, you know, stuff like researching the artist, so that you can ask different kinds of questions so that fans and non-fans can walk away with more than."Damn look at all that ice in that medallion!"

And remember mediocrity is only realized in the presence of excellence.

Respond to Mark Skillz at markskillz@aol.com

FAKIN' THA FUNK' IN THA FACE OF GENOCIDE:
HIP HOP, POLITICS AND POLITICAL HYPE
By: Min. Paul Scott
 

Back in tha day during the P-Funk era, tha Brotha's on tha block with the Don Cornelius afro's used to warn each other about 'fakin' tha funk.' If we look at the term from a socio-political perspective, it means, not really being down for the cause or the true aspirations of your people. Although, the words may have changed over the Hip Hop years to 'perpetratin' or 'frontin' the meaning remains the same; not being TRUE to tha Game. This being an election year, we must take a more critical look at everything affecting Afrikan people and since most of the focus (and money) has been put on getting the Hip Hop generation to vote, Hip Hop is not exempt. To say the least, Hip Hop and politics make strange bedfellows; a case of sleeping with the enemy. Since most politicians are old conservative white men who don't' know Afrika Bambaataa from Bam Bam from the Flintstones, the  relationship between  politicians and 20-something year old Hip Hop headz should be examined.

Bro. Cimerron of the Durham UNIA chapter once broke down to me how politics is all about obtaining and controlling resources. If this is true, then the contradiction of a limousine ridin,/champagne sippin'/ private jet flyin' rap superstar being the spokesperson for the millions of bill collector avoidin'/ struggling to pay rent/ repo man dodgin' Black folks becomes too obvious to ignore. As one of the talking heads on TV recently said 'voting is a Democracy's alternative to rioting in the streets.'  Or as Malcolm X would put it, a choice between the ballot or the bullet. Therefore, white folks always need some assurance that the most angry and potentially militant members of a society  are still going along with the program. They must have some indicator that Black folks still believe in the virtues of Capitalism and if we work hard and get an education (or go to jail for a couple of years and become a reformed Capitalist Hip Hop entrepreneurial evangelist) that we can one day be the president of the United States.

White folks need a universal spokesperson for all Black people, whether it be a Jessie Jackson, Jay Z or Junebug  on tha corner with a jehri curl and a 40oz. They need someone to assure them that the natives ain't restless and everything is cool.

In order to sleep at night Mr. And Mrs. White must know, without a shadow of a doubt that Tyrone Brown is going to show up at his job at Burger King at 5:55 AM to make sure their coffee is brewed just the way they like it. So politics in the Hip Hop Era is a Trojan horse or in this case a Trojan ,tricked out, 56 Impala with spinnin' rims and fuzzy dice on the mirror.

Politics is a sophisticated science, a chess game between 'the haves' and the 'break me off a piece of thats'. Either you are the exploiter or the exploited; a player or gettin' played or a pimp or getting'
pimped. But the powers that be want you to be political but not politically conscious.

Since voting was denied to Black folks for so long, we look at voting as a religious experience instead of a tool to be used on the way to empowerment. Therefore, a trip to the polls becomes a divinely ordained pilgrimage. But the voting booth is not an absolution box and a pull of a lever does not erase sins done against Afrikan people. Voting is a practical means to an end and not vice versa.

The power structure needs to periodically (at least every four years) check the pulse of the Black community. So despite what Bill O'Reilly and 'em say, politicians need Hip Hop more than Hip Hop needs politicians. (I'm sure both presidential candidates are planning a crunk after party at the White House election night.)

It is the M.O. (Method of Operation)  of most politicians to play with the emotions of the masses of people and to manipulate them. Although, they may spend millions of dollars on fancy campaign slogans, their real campaign strategy is based on the simple premise that most people are stupid and their campaign anthem is jacked from the ole Gap Band slow Jam 'We got 'em Goin' Round in  Circles.' The ethnic groups who have realized this have put it into practice and have gone from borrowers to lenders, from employees to employers and from renters to real estate tycoons. Although,  many 'ethnic' groups enter into the 'Beulah Land of Politics'  with specific goals, demands and objectives, Black folks are just 'happy to be there.'

Why doesn't the Hip Hop Nation become a political party? They could use the old PE logo as the party symbol and run Chuck D as prez and Prof. Griff as vice. The Hip Hop community already has enough money and resources to solve 90% of the economic and social problems in the Black community. What they lack is direction. What if all those get out to vote/ Hip Hop summit attending/ multi-millionaires pooled their resources and worked to solve the problems in the communities that they supposedly represent? What if the Black Hip Hop artists used their influence to fight for Reparations or any of the other Black Nationalist issues that have been ignored or dismissed by the so-called mainstream ? What if they joined forces with brothers like Uno and the Hip Hop 4 Black Unity Campaign. Why have we stopped asking why?

Unfortunately our most brilliant young minds are caught in the middle between a Black Nationalist agenda that will leave them unappreciated, poor righteous teachers and a white supremacist system that can make them celebrities over night. Despite the hype, the people in tha 'hood don't need a voter registration form. The people in tha 'hood need food, the people in tha 'hood need jobs, the people in tha 'hood need a way out of their misery. And if a voter registration card is going to lead to that in a very practical and concrete way, fine. But if it is not, election day would be better spent sittin' it tha crib watching 106 and Park, instead of standing in line at the polls.

So if the political process is not the ultimate answer, what is?  The greatest threat to white supremacy has and will always be Afrikan physical, mental and spiritual self determination and everything done by Afrikan people in the name of empowerment must reflect this reality. Voting has its place, but is just a microcosm of the bigger picture and must produce almost immediate and tangible results.

Now lyrics like this won't get you invited to Hip Hop Conferences or Tavis Smiley symposiums  but someone has to follow the teachings of Yeshua the Black revolutionary Messiah and speak the TRUTH  that will make Afrikan people FREE.

Contrary to popular belief, tha streets are not waiting for the next Biggie Smalls or Tupac Shakur. Tha streets are waiting for a voice of TRUTH to lead them out of oppression. That is why any Hip Hop artist who comes around now does not quench the thirst of the masses of Black youth.

Someone has to be willing to go down like the hero of  Countee Cullen's great poem; singing  the hymns of Black Power and flippin' tha last finger in the face of White Supremacy.

 

Once again it's back and updated. Be sure to check out as many of these shows
as possibly because for the most part they're all spinning REAL Hiphop!!!! The *'s
represent how dope a show is (in my opinion) so please don't sleep peoples.. peace

**Old Skool Mix at Noon with Kool DJ Red Alert
Monday through Friday 9 – 10am PST/12 – 1pm EST (1-800-585-1051)
105.1FM WWPR Power 105 – New York, NY
www.power1051fm.com

Illadelements with Chasekillz & King B
Mondays 3 - 5pm PST/6 - 8pm EST (570-941-9877)
95.5FM WUSR University Of Scranton - Scranton, PA
http://academic.uofs.edu/organization/wusr - www.doomsdaypromo.com

**Hard Knock Radio with Davey D (Hiphop Talk Show)
Monday through Friday 4 – 5pm PST/7 – 8pm EST (510-848-4425)
94.1FM KPFA Berkely, CA
www.kpfa.org - www.daveyd.com - www.hardknockradio.com

The Hiphop Spot with Wildman Steve & Johnny Juice
Mondays 6pm PST/9pm EST
www.bringthenoise.com (Archived Shows + Playlists Available)

The Underground Science Show with Teddy King, Hi Q & Chasekillz
Tuesdays 7 – 10pm PST/10pm – 1am EST (973-655-4256)
90.3FM WMSC Montclair State University – Upper Montclair, NJ
www.tpln.net - www.sevenheads.com - www.doomsdaypromo.com

The Over Seize Rap Show with Marnie & DJ Johnny Juice
Tuesdays 8pm PST/11pm EST
www.bringthenoise.com (Archived Shows + Playlists Available)

The Chubby Kids Hiphop Show with Shortee Blitz & Big Ted
Wednesdays 2 – 4pm PST/5 – 7pm EST
100FM Kiss 100 London, UK
www.kissonline.co.uk (Playlists Available)

***Half Time with DJ Eclipse, DJ Riz & DJ Skiz
Wednesdays 7:30 – 10pm PST/10:30pm – 1am EST (212-998-1818)
89.1FM WNYU New York University – New York, NY
http://wnyu.nyu.edu - http://beatdiggaz.8m.com - www.fatbeats.com

*Born In The Break with DJ Hunnicutt
Wednesdays 9 – 11pm PST/12 – 2am EST (204-269-8636)
101.5FM CJUM University Of Manitoba – Winnipeg, Canada
www.cjum.com - http://pub32.ezboard.com/fbreakbreadfrm2

Hiphop 201 with Dialog & At Large
Thursdays 10am – 12pm PST/1 – 3pm EST (204-269-8636)
101.5FM CJUM University Of Manitoba – Winnipeg, Canada
www.cjum.com - www.tpln.net

**Hiphop 120 with Craig Solo & DJ Edzon
Thursdays 1 – 3pm PST/4 – 6pm EST – Amsterdam
www.kinkfm.com - www.fatbeats.com (Playlists Available)
(They Usually Have A NY Update with DJ Eclipse Weekly)

Beats Don’t Fail Me Now “DJ Spotlight Show”
Thursdays 6pm PST/9pm EST
www.bringthenoise.com (Archived Shows + Playlists Available)

Molemen Radio with JR
Thursdays 10:30pm - 12am PST/1:30 – 3am EST
89.3FM WNUR Northwestern University - Evanston, IL
www.wnur.org

**Squeeze Radio with Timm See, DJ Jer2 & Adam Waytz
(Bobbito aka DJ Cucumberslice retired in November 2002)
Thursdays 10pm – 2am PST/1 – 5am EST (212-854-9527)
89.9FM WKCR Columbia University – New York, NY
www.wkcr.org - http://beatdiggaz.8m.com

*The National Rap Show with Tommy Tee & DJ Gordon
Fridays 1 – 4pm PST/4 – 7pm EST
NRK Radio – Norway
www.nrk.no/nrs - www.teeproductions.com

Friday Night Flavas with DJ 279
Fridays 1 – 4pm PST/4 – 7pm EST
96.9FM Choice FM - South London, UK
www.choicefm.net

*Rhyme Time with Sha & DJ Peter Parker
Fridays 2 – 3pm PST/5 – 6pm EST (917-337-4380)
New York City, NY www.futureflavasonline.com

Radio 1 Rap Show with Tim Westwood
Fridays 3 – 6pm PST/6 – 9pm EST
Radio 1 London, UK
www.bbc.co.uk/radio1

*SOL of Hiphop Radio with Nate G, DJ Buddhabong, DJ Naga & the Earl
Fridays 4 – 7pm PST/7 – 10pm EST (714-278-5516)
Cal State Fullerton - Fullerton, CA
www.solofhiphop.com

*In Control with DJ Kev e Kev
Fridays 5 – 6pm PST/8 – 9pm EST (917-337-4380)
New York City, NY www.futureflavasonline.com

In The Mix with DJ Spinbad
Fridays 5 – 7pm PST/8 – 10pm EST (1-800-585-1051)
105.1FM WWPR Power 105 – New York, NY
www.power1051fm.com

The Main Event with DJ Toast
Fridays 6 – 9pm PST/9pm – 12am EST (518-276-6248)
91.5FM WRPI Albany, NY
www.wrpi.org - www.djtoast.com (Playlists Available)

*The Best Of with DJ Lord Sear
Friday’s 7 – 8pm PST/10 – 11pm EST (917-337-4380)
New York City, NY www.futureflavasonline.com

**Hip Hop Flava with DJ X-Cell
Fridays 8 – 10pm PST/11pm – 1am EST (917-337-4380)
New York City, NY www.futureflavasonline.com

***WeFunk Radio with Professor Groove & DJ Static
Fridays 9 – 11pm PST/12 – 2am EST (514-398-4616)
90.3FM CKUT McGill University – Montreal, Quebec
www.ckut.ca - www.wefunkradio.com (All Archived Shows Available)

The Ghetto with The AWESOME 2
Fridays 9pm PST/12am EST
www.bringthenoise.com (Archived Shows + Playlists Available)

*Urban Inner City Experience with M-Smooth
Fridays 9pm – 12am PST/12 – 3am EST (650-723-9010)
90.1FM KZSU Stanford University – Palo Alto, CA
http://kzsu.stanford.edu

*The Best Of Rhyme Time with Sha & DJ Peter Parker
Fridays 10 – 11pm PST/1 – 2am EST
New York City, NY www.futureflavasonline.com

Friday Night Rap with JP Chill
Fridays 10pm – 1am PST/1am – 4am EST (773-702-8424)
88.5FM WHPK University Of Chicago – Chicago, IL
www.tpln.net (A Few Archived Shows Available @ www.dj3rdrail.com)

**divine forces radio (Formerly Seditious Beats) with Fidel Rodriguez,
DJ Counterstryke, DJ Breeze, DJ Curse, the Aurator & DJ Icy Ice
Fridays 10pm – 1am PST/1 – 4am EST (818-985-5735)
90.7FM KPFK Los Angeles, CA www.kpfk.org
www.divineforces.org - www.djicyice.com -
www.beatjunkies.com - www.stacksvinyl.com

Hiphop 101 with Dialog & At Large
Fridays 10pm – 1am PST/1 – 4am EST (204-269-8636)
101.5FM CJUM University Of Manitoba – Winnipeg, Canada
www.cjum.com - www.tpln.net

***Friday Night Flavas with Marly Marl & Special Guest DJ’s
Fridays 11pm - 1am PST/2 – 4am EST (1-800-585-1051)
105.1FM WWPR Power 105 – New York, NY
www.power1051fm.com - www.futureflavasonline.com

***The Fantastik 4our Show with The Fantastik 4our
(Mr. Choc, C-Minus, J.Rocc & Truly OdD)
Fridays 12 – 3am PST/3 – 6am EST (818-845-1059)
105.9FM KPWR Power106 Los Angeles, CA (Stream Is Down)
www.power106.fm/player (www.surfernetwork.com)
www.beatjunkies.com - www.heavyweights.org -
www.chronicavengers.com - www.fatbeats.com

*The Friday Night Vibe with Davey D
Fridays 12 – 2am PST/3 – 5am EST (510-848-4425)
94.1FM KPFA Berkely, CA
www.kpfa.org - www.daveyd.com

The Live and Direct Show with DS, DJ PhenomeJohn & Big Drew
Fridays 1 - 4am PST/10pm - 1am EST (607-777-2137)
90.5FM WHRW Binghampton University - Binghampton, NY
www.whrwfm.org

***Friday Night Flavas Rewind with Marly Marl & Special Guest DJ’s
Saturdays 12 – 2pm PST/3 – 5pm EST (Friday Nights Repeat from Power 105)
New York City, NY www.futureflavasonline.com

Radio 1 Rap Show with Tim Westwood
Saturdays 1 - 4pm PST/4 – 7pm EST
Radio 1 London, UK
www.bbc.co.uk/radio1

*Taking It To The Streets with Nickel “Big” Dee & DJ Music Rocka
Saturdays 2 – 4pm PST/5 – 7pm EST (917-337-4380)
New York City, NY www.futureflavasonline.com

*Basementalism
with Adict, Judgemental, Resonant, inka one, Mung & DJ Thought
Saturdays 3 – 6pm PST/6 – 9pm EST (303-492-3243)
1190AM KVCU University Of Colorado – Boulder, CO
www.basementalism.com (Archived Shows + Playlists Available)

**The Phila Flava Show with DJ Sun, DJ Krisis & Kevlar-3
Saturdays 4 – 6pm PST/1 – 3pm EST (561-297-2842)
91.7FM WOWL Florida Atlantic University – Boca Raton, FL
http://wowl.fau.edu - www.philaflava.com

**The Bushwick Connection with DJ Evil Dee, DJ Bazarro & Butta L
Saturdays 5 – 7pm PST/8 – 10pm EST (917-337-4380)
New York City, NY www.futureflavasonline.com - www.duckdown.com

Suitcase Radio with Chuck D. (Unsigned Artists)
Saturdays 6pm PST/9pm EST
www.bringthenoise.com - www.rapstation.com
(Archived Shows + Playlists Available)

**Anything Goes
with Pete Rock, DJ Premier, DJ Evil Dee, DJ Music Rocka & Guest DJ’s
Saturdays 7 – 8pm PST/10 – 11pm EST
New York City, NY www.futureflavasonline.com -
www.peterock.net - www.gangstarronline.com - www.duckdown.com

***The Last Crate with DJ 3rd Rail
Saturdays 7 – 10pm PST/10pm – 1am EST (312-663-3512)
88.1FM WCRX Columbia College – Chicago, IL
www.wcrx.net - www.tpln.net - www.dj3rdrail.com
(Plenty Of Archived Shows Available)

*The Ready Cee And Walkin’ L Show with DJ Ready Cee
Saturdays 7pm PST/10pm EST
91.9FM WHUT New York City, NY
www.miccheckradio.com - www.nyc919fm.com
(Some Archived Shows Available)

True School Radio with Afrika Bambaataa
Saturdays 8pm PST/11pm EST
www.bringthenoise.com - www.zulunation.com
(Archived Shows + Playlists Available)

In The Mix with Tony Touch (Live From Babalu)
Saturdays 8 – 11pm PST/11pm – 2am EST (1-800-585-1051)
105.1FM WWPR Power 105 – New York, NY
www.power1051fm.com

***Saturday Night Flavas with Marly Mary & Special Guest DJ’s
Saturdays 9 – 11pm PST/12 – 2am EST
104.1 WMRQ Power 104 - Hartford, CT
www.futureflavasonline.com

**Underground Railroad with Jay Smooth,
G-Man, Damali, DJ Monk One, DJ Emskee & DJ 3D
Saturdays 9 – 11pm PST/12 – 2am EST (212-209-2900)
99.5FM WBAI New York, NY
www.wbai.org - http://beatdiggaz.8m.com -
www.hiphopmusic.com (Plenty Of Archived Shows Available)

The Basement with DL & DJ Crossphader
Saturdays 9pm – 12am PST/12 – 3am EST (631-632-9872)
90.1FM WUSB University At Stony Brook – Stony Brook, NY
www.wusb.org (Alternate Weeks)

Off The Top with D Day & AJ Woodson (Formerly of JVC Force)
Saturdays 9pm – 3am PST/12 – 6am EST (516-810-6264)
1240AM WGBB Long Island, NY
www.wgbb.com - http://beatdiggaz.8m.com

***The World Famous King Tech Wake Up Show
with Sway, King Tech, Carmelita & DJ Revolution
Saturdays 10pm – 12am PST/1 – 3am EST
106.1FM KMEL San Francisco, CA www.106kmel.com -
www.wakeupshow.com - http://pub29.ezboard.com/bwakeupshow

***The World Famous King Tech Wake Up Show
with Sway, King Tech, Carmelita & DJ Revolution
Saturdays 12 – 2am PST/3 – 5am EST
105.9FM KPWR Power106 Los Angeles, CA (Stream Is Down)
www.power106.fm/player (www.surfernetwork.com)
www.wakeupshow.com - http://pub29.ezboard.com/bwakeupshow

***Saturday Night Flavas Rewind with Marly Mary & Special Guest DJ’s
Sundays 12 – 2pm PST/3 – 5pm EST (Saturday Nights Repeat from Power 104)
104.1 WMRQ Power 104 - Hartford, CT
www.futureflavasonline.com

The Ghettoblasta Show with B-Boy, GabeReal & Sonic D
Sundays 1 - 3pm PST/4 - 6pm EST (909-787-5827)
88.3FM KUCR Univercity Of California - Riverside, CA
http://kucr.org - www.gbradio.net

*In Control (Hip Hop Flava) with DJ Kev e Kev
Sundays 4 – 5pm PST/7 – 8pm EST (917-337-4380)
New York City, NY www.futureflavasonline.com

*The Warm Up Show with DJ Callie Ban
Sundays 5 – 7pm PST/8 – 10pm EST (917-337-4380)
New York City, NY www.futureflavasonline.com

*The Foundation Radio Show with Papa D! & Este Uno
Sundays 5 – 7pm PST/8 – 10pm EST (617-373-2658)
104.9FM WRBB Northeastern University – Boston, MA
http://wrbbradio.org - www.tpln.net - www.brickrecords.com

*Beatsauce with J-Boogie, Raw-B & DJ Wisdom
Sundays 6 - 8pm PST/9 - 11pm EST (415-751-5873)
90.3FM KUSF University Of San Francisco - San Francisco, CA
http://kusf.org - www.beatsauce.com (Archived Shows Available)

*The Drum with Kevvy Kev (Since 1984)
Sundays 6 – 9pm PST/9pm – 12am EST (650-723-9010)
90.1FM KZSU Stanford University – Palo Alto, CA
http://kzsu.stanford.edu

*The 54 Side Radio Show with Born Talent, JayLove & The Avid Record Collector
Sundays 6pm – 9pm PST/9pm – 12am EST (877-723-4644)
Radio Hiphop – New York, NY
www.radiohiphop.com - www.the54side.com (Archived Shows Available)

Street Soundz with DJ B-Mello
Sundays 6 – 8pm PST/9 – 11pm EST (206-903-5397)
90.3FM KEXP University Of Washington – Seattle, WA
www.kexp.org

***Future Flavas 10 Spot & Afterparty (The Spit Factory)
with Marly Marl, Pete Rock, DJ Premier & DJ Evil Dee
Sundays 7 – 10pm PST/10pm – 1am EST (917-337-4380)
New York City, NY www.futureflavasonline.com -
www.peterock.net - www.duckdown.com -
www.gangstarronline.com - www.bbemusic.com
(Archived Shows Availble)

The Countdown Show with Wildman Steve & Gary G-Wiz
Sundays 8pm PST/11pm EST
www.bringthenoise.com (Archived Shows + Playlists Available)

***Dedicated with DJ 3rd Rail
Sundays 10pm – 3am PST/1 – 6am EST (847-866-9687)
89.3FM WNUR Northwestern University - Evanston, IL
www.wnur.org - www.tpln.net - www.dj3rdrail.com
(Plenty Of Archived Shows Available)

*We Came From Beyond with Mike Nardone
Sundays 11pm – 2am PST/2 – 5am EST (310-338-5958)
88.9FM KXLU Loyola Marymount University - Los Angeles, CA
www.kxlu.com


And here’s some Hiphop sites you should already know about..

www.undergroundhiphop.com - www.hiphop-elements.com -
www.hiphopinfinity.com - www.sliceitup.org - www.sohh.com -
www.hiphopsite.com - www.hiphopslam.com - www.b-boys.com -
www.turntableradio.com - www.centralcali.com - www.allhiphop.com -
www.downshiftradio.com - www.thaformula.com - www.true-skool.org -
www.rapattacklives.com - www.turntablelab.com - www.heavybronx.com


 

Info & Petition To Promote Positive Hip Hop
By: Delores, AfriCreations / http://www.africreations.com
http://www.ipetitions.com/campaigns/hiphop
 

We are The Foundation for the Study of Hiphop Consciousness - an
activist group and philosophical think tank dedicated to social
upliftment through Hiphop Culture. Our organization is spearheading
the Strength in Numbers Hiphop petition, created to promote
conscious Rap music.

The debate about Hiphop's influence on our youth is well known. The
materialism, misogyny, violence, and drug references seem to be the
dominant subject in mainstream (meaning that which is played on Top 40/urban pop radio) Rap music. Record companies sign and
aggressively market artists who appear to promote these behaviors in their lyrics and videos; radio stations across the country play
these artists in heavy rotation; and various TV networks air their
videos practically around the clock. It is no mystery that this type
of "entertainment" is promoted and marketed because it is highly
profitable.

The Strength in Numbers petition, through obtaining one million
signatures, is set up to hold the media accountable for promoting
destructive messages via mainstream Rap music as well as to show
that there is a market for conscious Rap music. The industry says
that they are simply supplying the people with the type of
entertainment that they demand but this petition will prove
otherwise. More importantly, this petition will create a database of
progressive minded individuals that independent and unsigned
conscious artists can use to market themselves to without relying on
the mainstream industry which cannot be trusted to act responsibly,
honestly, and in the best interest of the youths. Thus, we the
undersigned, petition for the following:

1) Radio stations, music video shows, and record labels must promote conscious Hiphop artists as aggressively as their mainstream counterparts.

2) The creation of a database via the email address voluntarily
provided from the undersigned which conscious Hiphop artists can use to market themselves with. This will give artists financial
empowerment and creative control without sacrificing their artistic
integrity and social responsibility.

Through this campaign, the mainstream media is given a chance to
recognize its irresponsibility and take steps to rectify the
situation. Whether they accept or reject this opportunity, is yet to
be seen. Whatever their decision may be, we will nonetheless
establish an alternative market and place Hiphop music back in the
hands of those who care about its preservation and the youths
influenced by it.

Spread the word! Email everyone you know a link to this petition.
Check out our website at: http://www.thefoundationonline.net
Email us with any questions or comments at:
info@thefoundationonline.net
 

Gangstaz, Gunz and Half Naked Girlz
 
 Min. Paul Scott
 
 
 Baby Got back, but Baby needs backbone/Get off the video screen and
 put some clothes on
 Brother Khamisi (Revolutionary Son)

 
 
 Back in tha day, a radio program director told me that heavy metal
 was marketed to 16 year old white boys who were mad because they
 couldn t get a girlfriend.
 Fifteen years later, we must ask what is the marketing scheme behind
 Sex Guns and Hip Hop.
 
 I m not saying that some Brotha with a bad rap is somewhere sitting
 alone in his bedroom pumpin G-Unit while throwing darts at a picture
 of his ex girlfriend screamin Take that you slut Westside!!!!! But
 we do have to look at the way sista s are portrayed in videos today
 through the eyes of marketing executives who spend millions of dollars
 psychoanalyzing Brotha s in order to pinpoint our weaknesses and find
 ways to exploit us.
 
 Now be honest, Brothers, if you had to choose between looking at a
 centerfold of the sista from the Outkast video and reading this
 article, which one would you choose? (That s what I thought) So they
 are experts at appealing to our attraction to our Nubian Queens.
 Instead of denying our attraction to beautiful black women we must
 learn to discipline our natural urges.
 In other words we can t let the size of the booty blind us to the
 beauty of Afrikan Brothers and Sisters working together to ensure the
 future of little Black children.
 
 Also, we can never look at any issue concerning Black folks without
 putting the discussion in the context of the battle of Afrikan people
 against the agents of white supremacy. Since the Hip Hop Nation has
 all but called a truce with the white power structure, this issue will
 not be raised from those who view reality from a purely 'hip
 hop-centric' point of view.
 
 Many of the videos today feature a beautiful black woman prancing
 around while 20 Brotha s are rapping, Get off my block before I
 shoot, you , fool ! Those of us who are not sleeping while standing
 up must pose the question what in the world does a half naked sista
 have to do with drug dealin and Brotha s blastin Brotha s? This is
 an obvious attempt to kill two birds with one stone; a case of cross
 promotion of negative stereotypes.
 
 Historically , it has always been a goal of white America to portray
 the sons and daughters of Africa as animals lacking souls, culture
 and moral character.
 So Black women have been portrayed as disparate over sexed, Ho s and
 Black men have been portrayed as blood thirsty rapists and sexual
 predators.
 
 So when a diabolical tool of oppression meets with a billion dollar
 marketing scheme the result is what you get gyrating across your
 favorite music video channel
 24 hours a day.
 
 Back in the day when the 2 Live Crew had Sista s 'movin sometin ' to
 the sound of 'Me So Horny' the excuse was 'Well. What about them
 white girls that be all up in tha videos, HUH?' But in 2004, the white
 video vixen is more or less, a thing of the pass.
 While Heather White has long since traded in her G-string for a
 government job, Shorty Doo Wop is still
 holding down her 9 (PM) to 5 at tha strip joint.

 The reason being that the entertainment industry has found their niche
 market and will exploit it until the well runs dry, until there is no
 such thing as a normal relationship between a Black man and a Black
 woman.
 
 With thousands of Black men in jail , the future of the Black family
 is in danger. Most black men live everyday of their lives with the
 fear of winding up in jail before night fall, whether guilty or
 innocent.
 The music industry has capitalized off of this fear by manufacturing
 the 'we don t love them Ho s mentality.'
 For the Brotha who is looking at twenty years in the slamma a Sista
 becomes nothing but a quick hit while he is out on bail. Why market a
 video concept about long lasting caring relationships when you have
 created an environment where most of your market will be spending 20
 years of quality time with Big Bubba in cell block D ?
 
 Where the saying that made a Sista s blood boil back in tha day was
 women are only good for two places; the kitchen and the bedroom;' in
 Hip Hop, for the ride or die chick, they are also good for hiding a
 crack stash and working the strip club. (How many children out there
 who have to visit their incarcerated mother once a week because she
 caught a conspiracy charge for being in the car with drug Dealin
 Darrell?)
 
 What would happen if we turned this Mother s Day into Black Queen
 Restoration Day ? What if Afrikan Brothers and Sisters across the
 country joined with sisters like those of Spelman College or LaFonda
 Jones (Operation hood Freedom, Durham NC) and demanded more positive
 images in videos.
 
 What if an army of Angela Davis/Assata Shakur, kente cloth head wrap
 wearing Sisters rolled up on rappers like Trina and 'made' them
 understand the damage done to the self esteem of young Black girls
 through songs such as 'Big Ole D@### ?'
 
 As the saying goes, a journey of a thousand miles begins with one
 step. Isn t it time that we started steppin in the name of love for
 Black women?
 
 Minister Paul Scott represents the Messianic Afrikan Nation in Durham
NC. To join the Messianic Afrikan Nation contact (919) 949-4352 email
 minpaulscott@yahoo.com Web site:
http://members.blackplanet.com/THE-MYD
 

Just a thought

  I believe that hip hop is a powerful source for the black community. It has helped alot of brothers out and still remains to the black community. But as I see it the media the marketing the beast of the cooperate machine is not going to let hip hop grow. As hip hop grows and makes money its not going to give life to anything thats ground breaking as much as it is commercial. The problem is this.. They are writing a book and pretty soon they will make sure hip hop dies in the end. You can slowly see it they are pushing Rock and Roll and they are picking underground rock and roll artists where the talent is and they are leaving the hip hop underground heads starving. Pretty soon what will happen is they will pick nothing but gang members with nothing positive to say and reflect that to hip hop. What I am trying to push is underground hip hop the up and coming artists the talented ones that have respectfully earned there positions. If you look at some of the greatest mc's they all come from the underground like busta rhymes tpac jayz rakim notorious big and so on. But the problem is back then the door was open for these artist to come from the underground, now they have shut it down...I am doing my part as opening up a website called www.innerstate5.com where I shed some light on these talented artists because they are stuck in a basement with no light. The site contains hip hop music and house music.. I put the two together because they belong. 

Would love to hear from you guys..

Thanks Albert

Hip Hop Ya Don’t Stop

By Adrian Arceo

What does it profit a man to gain the whole world and lose his soul?  This is the question faced by the current hip hop artist.  As defined by Cheryl L. Keyes, the author of the book Rap Music and Street Consciousness, “Hip Hop is an urban youth arts movement comprised of graffiti, emceeing, disc jockeying, and breakdancing; a street attitude displayed through gestures, stylized dress, and language” (1).  Hip hop was originally birthed in the Bronx during the early 70’s to stop gang violence.  Afrika Bambaataa, deemed the “godfather of hip hop,” was the first to set up artistic battles as an alternative to violent disputes.  Bambaataa himself was a Black Spade Gangster, yet he did this all for the benefit of the community.  Even though there were pushers and thugs present at the hip hop park jams, it was all about positivity and having fun.  Today the hip hop scene is almost the complete opposite.  Artists are claiming to be thugs and gangsters; disrespecting women, glorifying violence, and promoting drug use in their lyrics and videos.  This trend has led to too much media glamorization of thugs and gangsters in hip hop music.    

When someone is known to listen to hip hop, the average “adult” assumes the person listens to the mainstream thug artists.  Most people do not realize there is another type of hip hop available that does not get media attention.  A kind of hip hop where the rappers do not pretend to be thugs.  Where the rappers recite rhymes intelligently and make you think about what they are saying.  This kind of hip hop is unknown to most people.  Instead the thug image has been ingrained into people’s minds as to what people believe hip hop is.                                                                  According to the International Recording Industry hip hop is the fastest rising music market.  In addition to that the Recording Industry Association of America already ranks hip hop as the second most popular form of music.  Given these statistics there is no doubt that hip hop is big a part of American culture.  However the thug image is not hip hop.  In a recent Internet interview, DJ Lord Ron a respected DJ and producer, discredits the thug image in hip hop.

“Where is the validation in being a hooligan, a gangster, a mugger?..It’z a wack validation because REAL thugs move in silence and any real street person who represents being from the streets respects that code of silence na mean.  Now, when I see or hear these artists claiming to be thugs.  I see nothing but followers of a trend just for the dollar bill na mean.  I even heard the bubble gum group ‘B2k’ use the word ‘Thug’… Do you really think these artists are real thugs?…A person can be anything they want to be in this society and to blame others for your actions of being this thug is straight up wack yo!…America is in love with violence & sex it does sell but there are many other topics that these rappers can write about.”

 DJ Lord Ron starts out by saying that real thugs do not go out and boast about the things they do.  The real thugs keep it in the street.  For a real thug to go on an album and boast about the things they have done would basically serve as a confession and would lead to them going to jail.  Lord Ron states that the “thug” image is being followed because it is the current trend; it is what is selling.  The people who are buying into the thug image do not realize the motives behind these artists is strictly money. 

The consumers buy into the thug image as reality.  The people who listen to that music begin to think that it is acceptable to do the things that are being talked about in the songs.  Listening to constant talk about violence and drugs does affect people.  Here is an example of what these people are listening to.  The following lyrics are from one of the more popular rappers Eminem, from his song “Killing” from the Marshall Mathers LP,  “You faggots keep eggin me on til I have you at knifepoint, then you beg me to stop? Shut up! Give me your hands and feet I said shut up when I'm talkin to you You hear me? Answer Me? Or I'ma kill you!"  This violent excerpt is just one of the many examples from Eminem. Eminem clearly relies on shock value to get attention.   Another popular “thug rapper” is 50 Cent, here is the chorus to his hit song “In Da Club”. “You can find me in the club bottle full of bub. Look mami I got the X if you into taking drugs I’m into having sex, I aint into makin love. So come give me a hug if you into getting rubbed.”    This song talks about taking drugs and having sex as everyday things.  Kids are going around singing this chorus as casually as if they were singing the alphabet.  50 Cent is what is wrong with hip hop today, almost like a microcosm of what's wrong with what the general public see as hip hop today.   50 Cent started off as a reasonably talented lyricist.  Then he got shot.  This provided the media with a marketing spark and had him touted as the next Tupac.  Now it is almost impossible to watch music television without seeing 50 Cent promoted in some way.                              Rappers such as Eminem and 50 Cent have taken a firm control over mainstream hip hop.  However, some hip hop artists are doing what they can to make a positive difference.    One example is the group Blackalicious, which consists of members Gift of Gab and Chief Excel.   Gift of Gab addresses the thug scene in the following excerpt from the song “Shallow Days”.  “But music does reflect life and kids look up to what you’re portraying and mimic what you act like.  Its time for a new day an era in rap, conscious styles, makin’ them aware of the happenings but their ears seem more steered towards self-annihilation so then they might laugh and write this off, like I’m out here just blowing wind, maybe label us soft or unreal, something they can’t feel, while they keep yelling murder murder murder, kill kill kill.”  The Gift of Gab starts out by trying to reach the thug rappers and make them realize that kids look up to them and mimic the things they do.  He wants to start a new era in rap with socially conscious lyrics.  However, he knows what is going to happen, he is going to be written off and the people will continue on with their ways. To the mainstream audience the message of positivity is thrown into the “soft” category.  The mainstream audience labels music with positive messages as not “real” when in fact the thug image is what is not real.           A big part of the thug image problem is the media such as MTV, BET and the radio.  The media is a money-making business and decides what is to be popular and who the next superstar artist will be. The media outlets essentially spoon-feed society what to listen to, this in turn shapes the product they are selling.  If the media only plays songs and videos with thugs and gangsters then the new artists coming up will conform to these standards so that they can make it in the business.  An artist that is struggling to survive day by day will naturally get desperate.  In this desperation the artist will do anything for that recording contract which will end his struggles.  In the quest for the recording contract the artist will conform his talents to what is popular so that he may be popular.  This in turn leads to an influx of thug and gangster copycats.  The solution to this cycle is in the power of the fan.  The radio and television stations need a wake up call.  The reason the stations keep playing the same thug music is because they keep getting bombarded by requests from kids.  The fans of good music and people who care about the youth must call in to their radio and television stations and demand quality music.  If enough people call in the media will listen.  The only problem with this solution is that a campaign must be made in order to really pull it off.  Although it will take lots of organization a successful campaign is possible.  In the words of the famous social scientist Margaret Mead, “Never doubt that a small group of thoughtful, committed citizens can change the world.  Indeed, it is the only thing that ever has.”

            The media helps shape the hip hop artist but the individual artist still holds some responsibility for the current state of hip hop. The mainstream artist has been using the same thug cliché for several years.  The repeated use of this formula has cut off the creativity that once drove the hip hop culture.  Hip hop had always been about trying new things before other people could think of it.  Hip hop emphasized creativity.  Now as long as this formula is selling nobody is going to change.  Furthermore, hip hop is losing soldiers.  The pressure for the real hip hop artist to sell out to the masses has never been higher.  To illustrate this point is Krs One; a hip hop pioneer.  Krs One was one of the most respected true hip hop artists and several of his albums are considered by true hip hop fans as classics.  However he lost a lot of respect after working with mainstream artists such as Puff Daddy.  In an interview with ThaFormula.com, Krs One was asked about his change of style that started in 1996, Krs responded with, “I have to compete; this is the whole real issue.  I may not be able to continue my legacy as a classic Hip hop record maker.  It’s like, either I get with the Neptunes and let them produce a hit LP for me or… I don’t know… I am not being supported.” Krs One fell victim to the commercialization of hip hop by tailoring his style to appeal to the masses.  The reason for Krs One changing his style is money.  Krs One noticed that the less talented mainstream artists were making a lot more money and he sacrificed his music to get a piece of that pie.  This has happened to other artists as well and most have been unsuccessful in crossing over to the mainstream.  The mainstream artists hold the biggest responsibility.  What we need for them to do is to make revolutionary changes using the power they wield with their popularity, but as long as the money is being raked in it is doubtful this will happen.  What needs to happen is to get more grassroots artists and organizations striving towards creativity instead of record sales.  The way for this to happen is to support these artists.  One way to support them is to simply spread the word about them.  These artists do not get media attention therefore it is up to the people to let the other people know.  Another step to support these artists is to stop downloading their songs off the Internet.  These artists need the record sales more than a platinum selling artist does.  Although the Internet allows these artists to gain exposure, they also need to be supported financially by people buying the albums.  The financial desperation of some of these artists often leads them to adopting a thug image to attain record sales.

            There is no doubt that America’s infatuation with sex and violence is also to blame for thug glorification.  The reason this image is being sold is because there is a big market for it.  As long as something is not illegal Corporate America will supply it.  Society as a whole has gotten used to this.  In a recent survey people were asked if they were offended by rap music, 70% of the people were not offended.  Society has been numbed and for the most part is not easily offended, but another reason they are not offended is because they do not know the history of the hip hop culture.  If all the people surveyed knew the foundation of hip hop they would be repulsed by what is happening to it.  The people who are going out and purchasing these multi-platinum thug artists’ albums must learn about the history of the culture. Once the people know the foundation of hip hop they will come to realize that what they had been purchasing is not quality music.                                                                                                                                  The change must start with the people we need to decide how we want to be represented in the media..  Corporate America will continue to do anything in their power to make as much money as possible.  The mainstream artists will continue to conform to what corporate America wants them to do.  It is the people that must say that they have had enough.  This is not just going to happen on its own it is going to take a movement.  There are several ways to get involved and the people can start by visiting the forum at Anti-Thug.com. Here the people will find a medium with which to discuss the issues that lie within the mainstream media.  This will allow the people to develop their foundation.  In the words of DJ Lord Ron, “I know my foundation, people, do you know yours?”

Works Cited

Arceo, Adrian.  Personal Survey conducted at Mission Viejo Lake on 15 July. 2003

“Local Repertoire Hits New Highs To Dominate World Market.”  International Recording

Industry.  16 July. 2003 <http://www.ifpi.org/site-content/press/20010906.html>.

Keyes, Cheryl L.  Rap Music and Street Consciousness.  Chicago: University of Illinois Press,

            2002

“Krs One From BDP To Tha Temple.” Tha Formula.com Records. 15 July. 2003                                                <http://thaformula.com/Thaformula.com%20-%20Home%20Page.htm>.

Recording Industry Association of America. 2002 Consumer Profile.  16 July. 2003

            < http://www.riaa.com/news/marketingdata/pdf/2002consumerprofile.pdf>.

Stringer, Michael Laron aka “DJ Lord Ron”.  Personal Interview Conducted through the Internet           on 15 July. 2003 <http://www.DJLordRon.com> 

Management. Caila, Alyssia. Esq., J.S.D., Ph.D.  Global Entertainment & Legal Services.

<Alyssiacaila@yahoo.com>

Survey

Study conducted at Mission Viejo Lake on July 15, 2003.

Survey Question: Do you find rap music offensive? 

             Male                           Female

             Y        N                     Y         N

18-21   0          5                      2          3

22-26   1          4                      1          4

27-32   1          4                      2          3

33-40   2          3                      3          2

41-50   1          4                      2          3

Total    5          20                    10        15

70% of respondents were not offended by rap music.

Interview

            Michael Laron Stringer aka DJ Lord Ron is a member of the Universal Zulu Nation, which is the oldest, and most respected grass roots Hip Hop organization. DJ Lord Ron has been a DJ and has been producing Hip Hop tracks since 1994. DJ Lord Ron has produced tracks for numerous Hip Hop artists such as Lord G (formerly of Militia) and Geographic Empire, just to name a few.
Interview was performed through e-mail.

The following questions were asked:

1.      Are you sick and tired of the same old thug cliché being glamorized in Hip Hop?  Do you consider it real hip hop?

1)       First of all, that "THUG" cliche does not have anything to do with the culture of Hip Hop, plain & simple. It is not real Hip Hop and that is why Hip Hop was birthed in the early 70's by DJ Kool Herc in the Bronx and in 1973, Afrika Bambaataa (A Black Spade Gangster) formed what is internationally known as The Universal Zulu Nation to stop the gang violence.

Bam, Herc and other pioneers from the foundation found a way for people in the community of the Bronx to express themselves through music with nothing but two turntables and a microphone in the name of positivity even though there were gangsters, stick up kids & thugs all present at these "Park Jams"....Now, when I see or hear these artists claiming to be thugs, I see nothing but followers of a trend just for the dollar bill na mean. I even heard the bubble gum group "B2K" use the word "Thug"...Do you really think these artists are real thugs?...It'z just the new slang far as I'm concerned. Real recognize real..Word up.

2.      If you could fill in the missing word what would it be?  There is too much _____ in Hip Hop music today

2) Separatism

3.      Some rappers that portray themselves as thugs say that  they are just reflecting the society they came from.  Do you think this is a valid point?

3) Where is the validation in being a hooligan, a gangster, a mugger?..It'z a wack validation because REAL thugs move in silence and any real street person who represents being from the streets respects that code of silence na mean. A person can be anything they want to be in this society and to blame others for your actions of being this thug is straight up wack yo!...America is in love with violence & sex, it does sell but there are many other topics that these rappers can write about.

4.      Do you think Hip Hop has lost its creativity?  How can we make it so that Hip Hop artists start getting creative again?

4) I don't think it has lost it's creativity in regards to hip hop culture. People just need to check for these dope artists here in the States and around the world. Hip Hop culture is worldwide now and not just here in our cities and backyards. The powers that be are only pushing one element of Hip Hop culture and that is rappin' but there are DJ's, B-Boyz/Girlz, Graf artists here and worldwide who are representin' Hip Hop culture to the fullest. Back to the Powers that be, on a mainstream level, the powers have shut down real Hip Hop. Those days are gone, word up!..The powers did the same thing to Rock, Jazz & Blues. There are plenty of creative Hip Hop artists on the "Underground" who are dope and I'm not going to lie, there are some wack artists also. I would tell people who want to hear some dope Hip Hop, the internet is a good source and to frequent the record stores like "ThaFormula Records" (www.thaformula.com) "Fatbeats" (www.fatbeats.com) "Stacksvinyl" (www.stacksvinyl.com) all of these Record Stores carry Hip Hop jointz...Hip Hop is alive and well.

5.      A lot of real Hip Hop is out there, but most fans do not even know it exists because the mainstream media doesn’t play it.  How do you think we can expose the people to real Hip Hop?

5) Like I stated earlier, mainstream in regards to Hip Hop is dead yo!..Therefore, it's up to artists to become involved in becoming owners of their own music. Start reading books from your local library and educate yourselfs about the music business na mean. The internet is very resourceful in promoting and selling your music, word up!..Get that website..The TRUE Hip Hop artists must grind to book their own shows and to basically be in the streets at the clubs, events, choppin' it up with the fans, I like to call the fans "Peoples"..All of this ownership takes time and years to build and that is the only way the "Peoples" will hear about these True Hip Hop artists..The artists who have a strong team workin' hard together will win in this Hip Hop game because the Powers that be have shut down Hip Hop on a mainstream level.

6.      Most listeners are not educated in the history and knowledge of Hip Hop.  What do you think is one way in which they can gain that knowledge?

6) Dope question...This is the Jewel..I strongly suggest reading this book by Jim Fricke, Charlie Ahearn and a introduction by Nelson George entitled "Yes Yes Y'all" and this dope book is a ORAL history on the beginnings of Hip Hop Culture as TOLD by the pioneers themselves who was there...This book is a must, word up yo!...to the younger generations coming up now, open your 3rd eye and get that true knowledge of what this culture is all about. I have tapes from back in the day and to purchase, visit my website at www.djlordron.com Learn and listen to how a "Park Jam was or to hear a MC "Battle"  like The Cold Crush Brothers v. The Fantastic 5. Go and purchase the dopest Hip Hop movie "WildStyle" because those are not ACTORS/ACTRESSES  but real artists from the Bronx..Peep out "Style Wars" and you can learn about the history from Graffiti Artists themselves...Each one, teach one...Also visit www.zulunation.com

7.      There seems to be some disunity among the real Hip Hop artists, no one seems to want to pull together when Hip Hop is being attacked.  Is this just the way it is or can something be done about it?

7) It seems like when their is some type of unity, it's usually a death of some sort na mean and then everything goes back to normal. I see and read about Russell Simmons trying to have unity amongst the community along with Jay Z, Mos Def, Dead Prez, Talib Kweli, Common but it's going to take the people along with these other artists to participate because Hip Hop and Rap are very powerful. The media just want to focus on the negative. We will always have disunity among Hip Hop & Rap...Too much money involved now.

8.      A lot of people blame the major record labels, saying “hip hop is no longer about what the rappers think, but what their record companies say the public wants them to think”, do you agree with this?

8) There are no more Hip Hop artists on a major..Gangstarr and Dialated Peoples are the only ones left and I say them because they both have DJ's along with MC's who still rock Hip Hop, word!....The majors have shut down Hip Hop, the majors are only focusing on one element of Hip Hop and that is a Rapper. The record labels don't know what's poppin in the streets. These cornball A & R 's want singers on these Rap jointz...Majors paying radio to play the same damn wack ass joint 50 times a day..It'z all a cycle to promote sex and violence, selling a lifestyle that kids can not afford but they think that Blingin' is the way. Fuck the majors with their gimmicks and images na mean..The real Hip Hop is over here, not at the Major Record Labels.

9.      The mainstream media, major record labels, artists and consumers all hold some responsibility but what do you think is the main reason for the lack of quality in mainstream Hip Hop today?

9) U mean Rap music because the last year for True Hip Hop in the mainstream was 1994....Bottom line is it's people who don't have no knowledge of..They are selling out for the dolla bill...I know my foundation..People, do U know yours?

How Hip-Hop Holds
Blacks Back
By John H. McWhorter
City Journal
9-16-3

http://www.city-journal.org/html/13_3_how_hip_hop.html


Not long ago, I was having lunch in a KFC in Harlem, sitting near eight
African-American boys, aged about 14. Since 1) it was 1:30 on a school day,
2) they were carrying book bags, and 3) they seemed to be in no hurry, I
assumed they were skipping school. They were extremely loud and unruly,
tossing food at one another and leaving it on the floor.

Black people ran the restaurant and made up the bulk of the customers, but
it was hard to see much healthy "black community" here. After repeatedly
warning the boys to stop throwing food and keep quiet, the manager finally
told them to leave. The kids ignored her. Only after she called a male
security guard did they start slowly making their way out, tauntingly
circling the restaurant before ambling off. These teens clearly weren't
monsters, but they seemed to consider themselves exempt from public norms of
behavior - as if they had begun to check out of mainstream society.

What struck me most, though, was how fully the boys' musicóhard-edged rap,
preaching bone-deep dislike of authorityóprovided them with a continuing
soundtrack to their antisocial behavior. So completely was rap ingrained in
their consciousness that every so often, one or another of them would break
into cocky, expletive-laden rap lyrics, accompanied by the angular,
bellicose gestures typical of rap performance. A couple of his buddies would
then join him. Rap was a running decoration in their conversation.

Many writers and thinkers see a kind of informed political engagement, even
a revolutionary potential, in rap and hip-hop. They couldn't be more wrong.
By reinforcing the stereotypes that long hindered blacks, and by teaching
young blacks that a thuggish adversarial stance is the properly "authentic"
response to a presumptively racist society, rap retards black success.

The venom that suffuses rap had little place in black popular culture -
indeed, in black attitudes - before the 1960s. The hip-hop ethos can trace
its genealogy to the emergence in that decade of a black ideology that
equated black strength and authentic black identity with a militantly
adversarial stance toward American society. In the angry new mood, captured
by Malcolm X's upraised fist, many blacks (and many more white liberals)
began to view black crime and violence as perfectly natural, even
appropriate, responses to the supposed dehumanization and poverty inflicted
by a racist society. Briefly, this militant spirit, embodied above all in
the Black Panthers, infused black popular culture, from the plays of LeRoi
Jones to "blaxploitation" movies, like Melvin Van Peebles's Sweet
Sweetback's Baadasssss Song, which celebrated the black criminal rebel as a
hero.

But blaxploitation and similar genres burned out fast. The memory of whites
blatantly stereotyping blacks was too recent for the typecasting in
something like Sweet Sweetback's Baadasssss Song not to offend many blacks.
Observed black historian Lerone Bennett: "There is a certain grim white
humor in the fact that the black marches and demonstrations of the 1960s
reached artistic fulfillment" with "provocative and ultimately insidious
reincarnations of all the Sapphires and Studds of yesteryear."

Early rap mostly steered clear of the Sapphires and Studds, beginning not as
a growl from below but as happy party music. The first big rap hit, the
Sugar Hill Gang's 1978 "Rapper's Delight," featured a catchy bass groove
that drove the music forward, as the jolly rapper celebrated himself as a
ladies' man and a great dancer. Soon, kids across America were rapping along
with the nonsense chorus:

I said a hip, hop, the hippie, the hippie, to the hip-hip hop, ah you don't
stop the rock it to the bang bang boogie, say up jump the boogie, to the
rhythm of the boogie, the beat.

A string of ebullient raps ensued in the months ahead. At the time, I
assumed it was a harmless craze, certain to run out of steam soon.

But rap took a dark turn in the early 1980s, as this "bubble gum" music gave
way to a "gangsta" style that picked up where blaxploitation left off. Now
top rappers began to write edgy lyrics celebrating street warfare or drugs
and promiscuity. Grandmaster Flash's ominous 1982 hit, "The Message," with
its chorus, "It's like a jungle sometimes, it makes me wonder how I keep
from going under," marked the change in sensibility. It depicted ghetto life
as profoundly desolate:

You grow in the ghetto, living second rate And your eyes will sing a song of
deep hate. The places you play and where you stay Looks like one great big
alley way. You'll admire all the numberbook takers, Thugs, pimps and
pushers, and the big money makers.

Music critics fell over themselves to praise "The Message," treating it as
the poetry of the streets - as the elite media has characterized hip-hop
ever since. The song's grim fatalism struck a chord; twice, I've heard
blacks in audiences for talks on race cite the chorus to underscore a point
about black victimhood. So did the warning it carried: "Don't push me,
'cause I'm close to the edge," menacingly raps Melle Mel. The ultimate
message of "The Message" - that ghetto life is so hopeless that an explosion
of violence is both justified and imminent - would become a hip-hop mantra
in the years ahead.

The angry, oppositional stance that "The Message" reintroduced into black
popular culture transformed rap from a fad into a multi-billion-dollar
industry that sold more than 80 million records in the U.S. in 2002 - nearly
13 percent of all recordings sold. To rap producers like Russell Simmons,
earlier black pop was just sissy music. He despised the "soft, unaggressive
music (and non-threatening images)" of artists like Michael Jackson or
Luther Vandross. "So the first chance I got," he says, "I did exactly the
opposite."

In the two decades since "The Message," hip-hop performers have churned out
countless rap numbers that celebrate a ghetto life of unending violence and
criminality. Schooly D's "PSK What Does It Mean?" is a case in point:

Copped my pistols, jumped into the ride. Got at the bar, copped some flack,
Copped some cheeba-cheeba, it wasn't wack. Got to the place, and who did I
see? A sucka-ass nigga tryin to sound like me. Put my pistol up against his
head - I said, "Sucka-ass nigga, I should shoot you dead."

The protagonist of a rhyme by KRS-One (a hip-hop star who would later speak
out against rap violence) actually pulls the trigger:

Knew a drug dealer by the name of Peter - Had to buck him down with my 9
millimeter.

Police forces became marauding invaders in the gangsta-rap imagination. The
late West Coast rapper Tupac Shakur expressed the attitude:

Ya gotta know how to shake the snakes, nigga, 'Cause the police love to
break a nigga, Send him upstate 'cause they straight up hate the nigga.

Shakur's anti-police tirade seems tame, however, compared with Ice-T's
infamous "Cop Killer":

I got my black shirt on. I got my black gloves on. I got my ski mask on.
This shit's been too long. I got my 12-gauge sawed-off. I got my headlights
turned off. I'm 'bout to bust some shots off. I'm 'bout to dust some cops
off. . . . I'm 'bout to kill me somethin' A pig stopped me for nuthin'! Cop
killer, better you than me. Cop killer, fuck police brutality! . . . Die,
die, die pig, die! Fuck the police! . . . Fuck the police yeah!

Rap also began to offer some of the most icily misogynistic music human
history has ever known. Here's Schooly D again:

Tell you now, brother, this ain't no joke, She got me to the crib, she laid
me on the bed, I fucked her from my toes to the top of my head. I finally
realized the girl was a whore, Gave her ten dollars, she asked me for some
more.

Jay-Z's "Is That Yo Bitch?" mines similar themes:

I don't love 'em, I fuck 'em. I don't chase 'em, I duck 'em. I replace 'em
with another one. . . . She be all on my dick.

Or, as N.W.A. (an abbreviation of "Niggers with Attitude") tersely sums up
the hip-hop worldview: "Life ain't nothin' but bitches and money."

Rap's musical accompaniment mirrors the brutality of rap lyrics in its
harshness and repetition. Simmons fashions his recordings in contempt for
euphony. "What we used for melody was implied melody, and what we used for
music was sounds - beats, scratches, stuff played backward, nothing pretty
or sweet." The success of hip-hop has resulted in an ironic reversal. In the
seventies, screaming hard rock was in fashion among young whites, while
sweet, sinuous funk and soul ruled the black airwaves - a difference I was
proud of. But in the eighties, rock quieted down, and black music became the
assault on the ears and soul. Anyone who grew up in urban America during the
eighties won't soon forget the young men strolling down streets, blaring
this sonic weapon from their boom boxes, with defiant glares daring anyone
to ask them to turn it down.

Hip-hop exploded into popular consciousness at the same time as the music
video, and rappers were soon all over MTV, reinforcing in images the ugly
world portrayed in rap lyrics. Video after video features rap stars flashing
jewelry, driving souped-up cars, sporting weapons, angrily gesticulating at
the camera, and cavorting with interchangeable, mindlessly gyrating,
scantily clad women.

Of course, not all hip-hop is belligerent or profane - entire CDs of
gang-bangin', police-baiting, woman-bashing invective would get old fast to
most listeners. But it's the nastiest rap that sells best, and the nastiest
cuts that make a career. As I write, the top ten best-selling hip-hop
recordings are 50 Cent (currently with the second-best-selling record in the
nation among all musical genres), Bone Crusher, Lil' Kim, Fabolous, Lil' Jon
and the East Side Boyz, Cam'ron Presents the Diplomats, Busta Rhymes,
Scarface, Mobb Deep, and Eminem. Every one of these groups or performers
personifies willful, staged opposition to society - Lil' Jon and crew even
regale us with a song called "Don't Give a Fuck" - and every one celebrates
the ghetto as "where it's at." Thus, the occasional dutiful songs in which a
rapper urges men to take responsibility for their kids or laments senseless
violence are mere garnish. Keeping the thug front and center has become the
quickest and most likely way to become a star.

No hip-hop luminary has worked harder than Sean "P. Diddy" Combs, the wildly
successful rapper, producer, fashion mogul, and CEO of Bad Boy Records, to
cultivate a gangsta image - so much so that he's blurred the line between
playing the bad boy and really being one. Combs may have grown up
middle-class in Mount Vernon, New York, and even have attended Howard
University for a while, but he's proven he can gang-bang with the worst.
Cops charged Combs with possession of a deadly weapon in 1995. In 1999, he
faced charges for assaulting a rival record executive. Most notoriously,
police charged him that year with firing a gun at a nightclub in response to
an insult, injuring three bystanders, and with fleeing the scene with his
entourage (including then-pal Jennifer "J. Lo" Lopez). Combs got off, but
his young rapper protege Jamal "Shyne" Barrow went to prison for firing the
gun.

Combs and his crew are far from alone among rappers in keeping up the
connection between "rap and rap sheet," as critic Kelefa Sanneh artfully
puts it. Several prominent rappers, including superstar Tupac Shakur, have
gone down in hails of bullets - with other rappers often suspected in the
killings. Death Row Records producer Marion "Suge" Knight just finished a
five-year prison sentence for assault and federal weapons violations.
Current rage 50 Cent flaunts his bullet scars in photos; cops recently
arrested him for hiding assault weapons in his car. Of the top ten hip-hop
sellers mentioned above, five have had scrapes with the law. In 2000, at
least five different fights broke out at the Source Hiphop Awards - intended
to be the rap industry's Grammys. The final brawl, involving up to 100
people in the audience and spilling over onto the stage, shut the ceremony
down - right after a video tribute to slain rappers. Small wonder a popular
rap website goes by the name rapsheet.com.

Many fans, rappers, producers, and intellectuals defend hip-hop's violence,
both real and imagined, and its misogyny as a revolutionary cry of
frustration from disempowered youth. For Simmons, gangsta raps "teach
listeners something about the lives of the people who create them and remind
them that these people exist." 50 Cent recently told Vibe magazine,
"Mainstream America can look at me and say, 'That's the mentality of a young
man from the 'hood.'" University of Pennsylvania black studies professor
Michael Eric Dyson has written a book-length paean to Shakur, praising him
for "challenging narrow artistic visions of black identity" and for
"artistically exploring the attractions and limits of black moral and social
subcultures" - just one of countless fawning treatises on rap published in
recent years. The National Council of Teachers of English, recommending the
use of hip-hop lyrics in urban public school classrooms (as already happens
in schools in Oakland, Los Angeles, and other cities), enthuses that
"hip-hop can be used as a bridge linking the seemingly vast span between the
streets and the world of academics."

But we're sorely lacking in imagination if in 2003 - long after the civil
rights revolution proved a success, at a time of vaulting opportunity for
African Americans, when blacks find themselves at the top reaches of society
and politics - we think that it signals progress when black kids rattle off
violent, sexist, nihilistic, lyrics, like Russians reciting Pushkin. Some
defended blaxploitation pictures as revolutionary, too, but the passage of
time has exposed the silliness of such a contention. "The message of
Sweetback is that if you can get it together and stand up to the Man, you
can win," Van Peebles once told an interviewer. But win what? All Sweetback
did, from what we see in the movie, was avoid jail - and it would be nice to
have more useful counsel on overcoming than "kicking the Man's ass." Claims
about rap's political potential will look equally gestural in the future.
How is it progressive to describe life as nothing but "bitches and money"?
Or to tell impressionable black kids, who'd find every door open to them if
they just worked hard and learned, that blowing a rival's head off is
"real"? How helpful is rap's sexism in a community plagued by rampant
illegitimacy and an excruciatingly low marriage rate?

The idea that rap is an authentic cry against oppression is all the sillier
when you recall that black Americans had lots more to be frustrated about in
the past but never produced or enjoyed music as nihilistic as 50 Cent or
N.W.A. On the contrary, black popular music was almost always affirmative
and hopeful. Nor do we discover music of such violence in places of great
misery like Ethiopia or the Congoóunless it's imported American hip-hop.

Given the hip-hop world's reflexive alienation, it's no surprise that its
explicit political efforts, such as they are, are hardly progressive.
Simmons has founded the "Hip-Hop Summit Action Network" to bring rap stars
and fans together in order to forge a "bridge between hip-hop and politics."
But HSAN's policy positions are mostly tired bromides. Sticking with the
long-discredited idea that urban schools fail because of inadequate funding
from the stingy, racist white Establishment, for example, HSAN joined forces
with the teachers' union to protest New York mayor Bloomberg's proposed
education budget for its supposed lack of generosity. HSAN has also stuck it
to President Bush for invading Iraq. And it has vociferously protested the
affixing of advisory labels on rap CDs that warn parents about the obscene
language inside. Fighting for rappers' rights to obscenity: that's some kind
of revolution!

Okay, maybe rap isn't progressive in any meaningful sense, some observers
will admit; but isn't it just a bunch of kids blowing off steam and so
nothing to worry about? I think that response is too easy. With music
videos, DVD players, Walkmans, the Internet, clothes, and magazines all
making hip-hop an accompaniment to a person's entire existence, we need to
take it more seriously. In fact, I would argue that it is seriously harmful
to the black community.

The rise of nihilistic rap has mirrored the breakdown of community norms
among inner-city youth over the last couple of decades. It was just as
gangsta rap hit its stride that neighborhood elders began really to notice
that they'd lost control of young black men, who were frequently drifting
into lives of gang violence and drug dealing. Well into the seventies, the
ghetto was a shabby part of town, where, despite unemployment and rising
illegitimacy, a healthy number of people were doing their best to "keep
their heads above water," as the theme song of the old black sitcom Good
Times put it.

By the eighties, the ghetto had become a ruleless war zone, where black
people were their own worst enemies. It would be silly, of course, to blame
hip-hop for this sad downward spiral, but by glamorizing life in the "war
zone," it has made it harder for many of the kids stuck there to extricate
themselves. Seeing a privileged star like Sean Combs behave like a street
thug tells those kids that there's nothing more authentic than ghetto
pathology, even when you've got wealth beyond imagining.

The attitude and style expressed in the hip-hop "identity" keeps blacks
down. Almost all hip-hop, gangsta or not, is delivered with a cocky,
confrontational cadence that is fast becoming - as attested to by the
rowdies at KFC - a common speech style among young black males. Similarly,
the arm-slinging, hand-hurling gestures of rap performers have made their
way into many young blacks' casual gesticulations, becoming integral to
their self-expression. The problem with such speech and mannerisms is that
they make potential employers wary of young black men and can impede a young
black's ability to interact comfortably with co-workers and customers. The
black community has gone through too much to sacrifice upward mobility to
the passing kick of an adversarial hip-hop "identity."

On a deeper level, there is something truly unsettling and tragic about the
fact that blacks have become the main agents in disseminating debilitating -
dare I say racist - images of themselves. Rap guru Russell Simmons claims
that "the coolest stuff about American culture - be it language, dress, or
attitude - comes from the underclass. Always has and always will." Yet back
in the bad old days, blacks often complained - with some justification -
that the media too often depicted blacks simply as uncivilized. Today, even
as television and films depict blacks at all levels of success, hip-hop
sends the message that blacks are... uncivilized. I find it striking that
the cry-racism crowd doesn't condemn it.

For those who insist that even the invisible structures of society reinforce
racism, the burden of proof should rest with them to explain just why
hip-hop's bloody and sexist lyrics and videos and the criminal behavior of
many rappers wouldn't have a powerfully negative effect upon whites'
conception of black people.

Sadly, some black leaders just don't seem to care what lesson rap conveys.
Consider Savannah's black high schools, which hosted the local rapper
Camoflauge as a guest speaker several times before his murder earlier this
year. Here's a representative lyric:

Gimme tha keys to tha car, I'm ready for war. When we ride on these niggas
smoke that ass like a 'gar. Hit your block with a Glock, clear the set with
a Tech... You think I'm jokin, see if you laughing when tha pistol be smokin
- Leave you head split wide open And you bones get broken...

More than a few of the Concerned Black People inviting this "artist" to
speak to the impressionable youth of Savannah would presumably be the first
to cry out about "how whites portray blacks in the media."

Far from decrying the stereotypes rampant in rap's present-day
blaxploitation, many hip-hop defenders pull the "whitey-does-it-too" trick.
They point to the Godfather movies or The Sopranos as proof that violence
and vulgarity are widespread in American popular culture, so that singling
out hip-hop for condemnation is simply bigotry. Yet such a defense is
pitifully weak. No one really looks for a way of life to emulate or a
political project to adopt in The Sopranos. But for many of its advocates,
hip-hop, with its fantasies of revolution and community and politics, is
more than entertainment. It forms a bedrock of young black identity.

Nor will it do to argue that hip-hop isn't "black" music, since most of its
buyers are white, or because the "hip-hop revolution" is nominally open to
people of all colors. That whites buy more hip-hop recordings than blacks do
is hardly surprising, given that whites vastly outnumber blacks nationwide.
More to the point, anyone who claims that rap isn't black music will need to
reconcile that claim with the widespread wariness among blacks of white
rappers like Eminem, accused of "stealing our music and giving it back to
us."

At 2 AM on the New York subway not long ago, I saw another scene - more
dispiriting than my KFC encounter with the rowdy rapping teens - that
captures the essence of rap's destructiveness. A young black man entered the
car and began to rap loudly - profanely, arrogantly - with the usual wild
gestures. This went on for five irritating minutes. When no one paid
attention, he moved on to another car, all the while spouting his doggerel.
This was what this young black man presented as his message to the world -
his oratory, if you will.

Anyone who sees such behavior as a path to a better future - anyone, like
Professor Dyson, who insists that hip-hop is an urgent "critique of a
society that produces the need for the thug persona" - should step back and
ask himself just where, exactly, the civil rights era blacks might have gone
wrong in lacking a hip-hop revolution. They created the world of equality,
striving, and success I live and thrive in.

Hip-hop creates nothing.

Copyright The Manhattan Institute

http://www.city-journal.org/html/13_3_how_hip_hop.html


Comment
From Morgan Klein
9-17-3

Regarding the 'hip hop holding blacks back' article, while what is written
is all true, the author does not consider that as like attracts like. Those
inclined to already view the world from such a position as the disenchanted
black youth will seek the rap artists that validate a violent perspective.
However, those who are more intellectually/spiritually oriented will
naturally gravitate toward the hip hop artists that center more around those
views and positivity, and there are plenty of them out there. There is a
whole culture of positive hip hop that decries most of the values associated
with the rap culture of which the author speaks, and ultimately it falls
into the responsibility of the individual to either accept what facets of
hip hop culture the mainstream media has chosen to popularize, or to hunt
for something with more profundity. Blaming rap for the black kids in KFC's
rude behavior is like blaming the tobacco industry for an individual's
decision to smoke.

Comment
Alton Raines
9-17-03

Rap is a culture -- not a musical art form. If it were merely music, a
pastime, a diversion... it would not have anywhere near the impact it has on
people, black or white. We have suburban white kids now "pimping" and
walking and dressing and talking and emulating "Gangsta" and "Hip Hop" and
"Rap" inner-city CULTURE and its icons and overlords, and that includes the
drugs, the demeaning of women and an attitude of self-destruction disrespect
for authority and aggrandizement of ignorance and personal failure otherwise
utterly foreign to the suburban white communities, so it's no leap of
rationale to realize what its doing to the black community. The culture of
rap/hip hop is a culture of apathy, spawned by the welfare state, and like a
sexually transmitted disease, it's spreading itself and infecting others in
different strata. There's nothing redeeming about it, nothing artistically
unique or worthy. Its gutter trash and it makes people into gutter trash.
It's not a fad, or a phase. It's a disease, or better yet, the symptom of a
disease.

COMMENT

9-17-03

Peace and respect My Brothers and Sisters from Emile YX? of Black Noise Hip
Hop Group in South Africa

Previously, I have written about the need for alternative information being
circulated by the elders who know how to counter the bullshit that gets
publishes in places of so-called learning around the world about hip hop
culture. Perspectives from fools with diplomas and thus used as points of
reference for future studies on hip hop. Why, just because they have a
degree or can justify the bullshit that the system or status quo puts into
effect.

This article refering to rap being the cause of the black situation
globally, shows the little that this person knows about the power of the
media and who chooses what gets played on MTV and what get placed on radio
around the world. Did he think about the upright , stiff necked, money
hungry suites that decide to play this bullshit, one sided version of hip
hop music. They also choose to not balance it out with the positive image of
hip hop ... the reason, they get to get us to kill ourselves and do their
job for them. They get us to loose our African tradition and culture that is
inherant to native people throughout the world. They get to gain from that
and get to sell us all that shit we don't need  but using rap and their
version of hip hop gets that job done. It has become the perfect tool for
them to get what they want and hide behind rap as the excuse.

I am so tired of so-called intellectuals writing about something they are
trapped within and they are too ignorant or blind to see that they are also
working for the enemy. Reporters or rappers ... I know they should be called
mcs, but they dont deserve that title ... you know what I am talking about.
These people who were euro-cated to think like them and talk for them and
defend the information they force on the world about us. They are praised
and and told how amazing they are as intelectuals because they dont question
the cause of our situation as black people globally and they dont see that
they are just porns being used by the same system. It is also stupid of us
to think that we will ever be allowed our rightful place in the sun as the
amazing ZULU NATION and with all that Bam and The rest of the ZULUs have
done for youth globally with bringing hip hop together. NO , they will never
give that credit to the positive power of hip hop. I studied and taught as a
school teacher in South Africa and hip hop has taught me more about myself
than all that euro-cation put together. It has taught me that money is less
important than morals and that I will not betray the legacy of my ANCESTORS
by degrading my people. So, what this man writes about these youths
behaviour, is not what hip hop has caused, but what socialisation and media
mind fucking has caused. BY WHO ... let him do that as a research topic, who
owns the media and why do they not play our positive stories and role
models. Why is it bias to the detriment of Black people... I think he will
find the answer and maybe along the way also find himself as I have through
hip hop.

Thanks to hip hop culture I am a proud African and have to fight the battle
daily to not sell my beliefs for their cash. For me it is not bigger than
hip hop , because my version of hip hop expands daily and encompasses all
facets of life itself. Real Hip hop is how you experiment and learn and live
life everyday to become the magnificent human that we all can become if we
search beyond what MTV and the general media forces us digest.

Much love and respect to all our elders and ANCESTORS for their inspiration
and teaching
I continue to learn more every single day thanks to the real hip hop
Emile YX?
Black Noise
South Africa

COMMENT

9-18-2003

Although the writer makes some valid points about the degradation of hip-hop
culture, the writer unfortunately characterizes Rap Music as the sole cause
for the deviant behavior of urban teens.

Yes, it's true that Hip-Hop's communal message of violence, drugs, and
poverty has been over-saturated by media outlets on a global scale to the
point where songs  emanating out of the urban community seem stuck on
generating overused images of rage, sex, and diamonds.  But the problems
within the urban community can't be blamed on Rap music alone.

The problems of the urban community such as poverty, crime, drugs, and
single parent households would not change one iota if the images spawned by
Rap culture were only positive.  Rap is a reflection of the community it
does not create the community's problems, although I will agree with the
writer that Rap music recording artists and the executives behind the music
are doing nothing to change the economic and political issues that are
holding back the community that the culture reflects.

Musically yours,

Rocky Bucano,  MBA/TM


 

DEF SHAM

Russell Simmons - New Black Leader?

By Amadi Ajamu

The emergence of Hip Hop entrepreneur Russell Simmons as an establishment-endorsed political leader of the new generation of Blacks gives me pause.  Being a member of this new generation, I think this should be put on the table for discussion.

Why have mainstream media's political pundits given Russell Simmons an open mic?  He's a guest on Charlie Rose; he's become a constant feature in
the New York Times, Newsweek Magazine and many other newspapers and magazine across the country.  Hailed as among the one hundred most influential African Americans by Crain Magazine, can helicopter to Albany for private meetings with New York Governor George Pataki on the Rockefeller drug laws. He has organized fundraisers for senators Hillary Clinton and Charles Schumer, works closely with former HUD Secretary Andrew Cuomo, teams up with democratic presidential candidate Al Sharpton to register new voters, and dines with Shimon Peres, Israel's former Prime Minister discussing a possible Middle East youth summit.

Either the king makers have peeped Simmons' ability to use his influence over urban youth as leverage in his business and political ventures and they
want to control him, or the severity of the US economic recession deems it time to send in the clowns.

Russell Simmons and his Hip Hop Summit Action Network have orchestrated several very high profile, massive political rallies in New York City, using
his connections in the entertainment industry to get mega-stars like P.Diddy, Mariah Carey, 50 cent, LL Cool J, Jay Z and Alicia Keys to attend and
draw thousands of Black youth. But it was painfully clear that the majority of youth in attendance were more interested in getting a glimpse of their
favorite rap artist than in the city budget cuts in education or draconian drug sentencing laws that send many of our peers to prison for decades.
Simmons and his star-studded entourage put on a good show but have yet to present a clear political program of action and vision for Black people.

Black youth have a tremendous amount of unused political power.  Young people represent the most revolutionary force in all movements for social
justice around the world.  We have the energy and tenacity to fundamentally change our conditions, and we have nothing to lose.  That's why leadership
is so important. 

Black youth in the United States are under attack from all quarters. Police brutality, failing schools, mass unemployment, foster care,inadequate health care, and the exploitation of a criminal justice system by large scale corporations all simultaneously attack us in order to break our
natural spirits of resistance.  But the most pervasive and unrelenting attack against us has been conducted by the multi-billion dollar entertainment industry with its overt and covert manipulation of Black Hip Hop culture.

Culture is a weapon.   Like a double-edged sword, culture can be wielded in the interest of oppressed people to further our struggle for self-determinations or in the interest of our oppressors to keep us enslaved. 

Originally, Hip Hop was a source of strength in our community. Created by young grassroots people on the streets, it defied the status quo. From seemingly nothing, no money, no musical instruments, no multi-national conglomerates or political connections, it emerged as an international cultural force.  Hip Hop exemplified our peoples innate creativity, social consciousness, and self-determination. It was our voice of resistance.

Now that Hip Hop is totally controlled by giant international corporations, "artists" promoted by industry and media executives, including Russell
Simmons, reflect a superficial petty criminality and a vulgar individualistic materialism that erodes our collective struggle.  The systematic degradation of Hip Hop is an example of the use of our culture to
further the interests of our oppressors -- the wrong side of the double-edged sword.

Russell Simmons' Hip Hop cultural credentials are key to his ability to influence this "new generation" on political and economic issues.  The
phenomenal rise of Def Jam Records in the 1980's with groups like Public Enemy and RUN DMC made Simmons and his partners Lyor Cohen (son of Israeli immigrants) and Rick Ruben very wealthy.  In 1999 they sold Def Jam to Seagrams Universal Music Group for $130 million.  Universal was subsequently
acquired by Vivendi to form the international entertainment behemoth Vivendi Universal.  Lyor Cohen was named Chairman and CEO of the Island Def
Jam Music Group and Simmons named Chairman of the Def Jam Records division.  The brash B-boys that burst on the music scene are now corporate
executives towing the company line.

In an effort to ignite young people to social action, many Black grassroots community leaders have reached out to Hip Hop artists and impresarios
for assistance.   Sometimes these efforts are fruitful and solid relationships are forged based on mutual respect and in the interest of our
collective struggle.  Hip Hop maverick Tupac Shakur had intimate ties to respected political leaders like Dr. Mutulu Shakur and was a living example of a
successful cultural / political link.  Tupac was the co-founder of The Code Foundation, a youth organization involved in the current struggles
against racism, police brutality, and drug abuse, human rights and reparations.  His untimely and unresolved murder is a reflection of the work that needs to be done to make our generation aware of our collective political power and the power of our culture as a mechanism to spark the fire.

Individual artists with consciousness like Chuck D, Mos Def, Common, Dead Prez, and others have also forged links with grassroots leaders and
committed their creative skills to our collective struggle against oppression

But when grassroots political activists reach out to Russell Simmons there is a recurring disappointment.  When organizers of the Millions for
Reparations Rally in Washington DC met with Simmons, after going through an obstacle course of handlers, Simmons said "Wait till next year, I'll do it
and I even let you all speak."  Rally organizers declined and decided to do it the hard way - without the superstars, media access, and strings attached.

Simmons also launched a special "reparations" sneaker brand in his clothing line.  Advertisements for it have proclaimed that a percentage of the
proceeds from the sneakers would be donated to the reparations efforts. When a youth organization working on reparations issues contacted sales
executives at Phat Farm about donations, they were told that a larger percentage of the proceeds were applied to advertising the sneakers so that
the idea of reparations is being exposed.  This maneuver is the extent of company's contribution to the struggle for slavery reparations.

When Pepsi Cola dropped Ludracris, a black Def Jam recording artist, from its television commercial because of his profane and sexually explicit
lyrics, Simmons threatened to organize a boycott citing Pepsi's use of the equally vulgar, but white Ozzie Osbourne.  Imagine boycotters chanting
"Equal opportunity vulgarity!"  Nevertheless, Pepsi,
acutely aware of the political and economic power of Black youth, acquiesced and agreed to donate
millions of dollars to unspecified youth organizations.

Like Pepsi, Courvoisier Cognac is strengthening its ties to the new generation of Blacks through Simmons, the Hip Hop power broker. GlobalHue
Advertising Agency named Mr. Simmons its Vice Chairman and Senior Team member of the Courvoisier Cognac Team, which pushes the cognac for Allied
Domecq Spirits of North America.

Simmons's aggressive business style often rears its head in his attempts at coalition grassroots political campaigns.  The hostile take-over of
the "Drop the Rock" (Rockefeller drug laws) coalition may be the most telling. For the past 30 years, the draconian mandatory sentencing guidelines
incorporated into the NY state drug laws by former Governor Nelson Rockefeller, have sent hundreds of thousands Black and Latino youth to prison for decades for minor drug offenses.  These laws have
contributed significantly to the rapid development of new state prisons and the corporate exploitation of prison labor.  A broad coalition of families,
lawyers, ex inmates, students, churches, unions, civil right organizations, community activists, clergy, elected officials, and others waged a
long and intense battle to repeal the laws.  In recent years, they had been gaining considerable ground and the drug laws became a pivotal issue in the 2002 campaign for New York State Governor.

In an effort to galvanized Black and Latino youth, coalition members requested the assistance of Russell Simmons.  Then Simmons, at the urging of
his friend and failed democratic gubernatorial candidate Andrew Cuomo, staged another star-studded massive rally at New York's City Hall drawing
thousands.  Cuomo was the Master of Ceremonies.

Thereafter Simmons began meeting with the New York Governor Pataki without informing or inviting veteran grassroots coalition members to attend.
Negotiations between Simmons, Pataki, and two leading members of the state legislature ensued.  In the end Russell Simmons, who had audaciously
appointed himself HNIC (head negro in charge) of the coalition, compromised their mission.

Republican Governor George Pataki called a press conference and stood side by side with Russell Simmons and democratic presidential candidate, Al
Sharpton.  Together they joyfully announced cosmetic changes to the drug laws affecting a tiny percentage of its victims.  All of them praised Pataki's proposed changes, which left the mandatory sentencing
guidelines that lock up thousands of young Black and Latino men and women every year, intact.  Some people now call them the "Simmons Drug Laws."

According to a Newsweek report, when asked about the ramifications of his actions, Simmons said. "I'm not running for anything.  I don't give a f-k.
I did what I thought was right."

New Black leader?

Russell Simmons, Inc. has reaped enormous profits from the new generation of Blacks through his position and salary as Chairman of Def Jam Records
and Vice Chairman of GlobalHue Advertising Agency, Rush Communications, Phat Farm Fashions, Baby Phat, Rush Visa, Simmons-Latham Media and other
capitalist ventures.  He has aligned himself with the corporate class and works in their political and economic interest.  More often than not, these
interests are diametrically opposed to the interests of the majority of Black people.

Simmons's rebirth as a political activist is entirely manufactured. Wrapped in stylish Hip Hop packaging, displayed on top shelf media outlets,
and presented to the new generation of consumers as the new and improved Black leader.  He is a product of corporate America, and we shouldn't buy it.

The corporate imposition of Simmons as a "leader" is an affront to our people and should be exposed at every turn.   Leaders come from the people
and their skills are sharpened and honed through struggle with the people. Our fight for human rights and self-determination demands principled leaders
who are willing to sacrifice their own self-interest for the genuine political and economic development of us all.

Russell Simmons' leadership can only be defined as --Def Sham.
   

 VICTORY FOR HIP HOP

2 Live and Die 4 Hip Hop:
          A Hip Hop Eulogy

                         Min. Paul Scott

I recently attended a funeral for a young  brotha who
was murdered. I'll spare you the gory details but I
will say that not even a dog should go out like that.
Although, I was cool with the family, all I knew about
the brotha was what was read during his brief eulogy;
21 years old/left behind a couple of kids/had dreams
of being a freestyle rap artist. No, the brotha wasn't
killed as a result of a freestyle battle gone bad but
if Hip Hop is indeed the music of the streets, this
scenario is blasting through the pavement of too many
hoods across the country.

As I took that long , walk from the back of the church
to the casket to pay my respects , I was feeling a
thousand emotions. I was angry that another potential
black leader was gone and ashamed that with all the
Black history  books that I had read in my life, I
could not find a solution within those pages to stop
our young people from killing each other. As  I
approached the casket,  I could only look at the
brotha's shoes, too ashamed to look in his face. By
the time I reached the awkward part of greeting the
family, who were quietly sobbing on the front row,
including a the daughter who seemed oblivious to the
fact that daddy wouldn't  be coming home anymore, my
mixed pot of emotions had gelled into a deep guilt. As
I passed the family, all  I could get out was a barely
audible "I'm sorry."  But for me, it was more than
just something you say at funerals. It was a solemn
confession that no matter what I had done over the
years in the name of stopping the violence/saving
Black people/keepin' hope alive or the other hundred
catch phrases that activists use, if young  brotha's
in my city are still being murdered, I had not done
nearly enough.

As I walked past a sea of young people , all with
faces of sadness and confusion, I wanted to do an
about face, bum rush the pulpit and turn the funeral
into an impromptu rally where we all made a vow that
this would never happen again. But the thought of
"this is not the time or place" coupled with the fear
of being accused of exploiting a sad situation to make
a "political" statement  kept me heading out the door
past a congregation of people all trying to
rationalize ways to justify their own inaction..

For the last few years, the topic of the condition of
Black men has not been on the agenda of "mainstream"
America. Not since the Rodney King Rebellion era, when
white America was faced with the fear of an army of
angry young Black men storming City Hall and setting
up an Afrikan nation in exile at the corner of Main
Street and Martin Luther King Blvd have the airwaves
been filled with conversations about how to save the
lives of young Black men.  But since the media has
done a good job of de-politicizing Black people, for
most white folks, the Black man in 2003 is only a
threat to other Black men.  And while white America
has moved on to bigger and better things, like saving
the ozone layer, so have the minds of Black folks, who
are so dependent on the white media that they will not
even take an umbrella outside in a hurricane unless
the white man tells them that it is really raining.
For many black folks the issue has been replaced by
conversations about wars, Star Search and the latest
Ja Rule vs. 50 cent drama.

So when I look at our current condition and those who
help to perpetuate it,  my guilt and frustration turn
into righteous rage! I get mad. I am mad at you white
America for stripping my ancestors of their culture
and turning the descendents of Kings and Queens into
thugs and gangtsa's. I am mad at you Hip Hop magazines
 who promote "beefs" between Black men by putting
rappers on their  covers like a Hip Hop/Wild Wild West
 Wanted Dead or Alive Poster and not expecting the
same thing that happened in the mid nineties to Biggie
and Pac to happen again. I am mad at you Hip Hop
artists who could undo our psychological damage
overnight if you wanted to but instead you brag about
doing "fly bys" in your private jets while little
black children are dying from drive bys because you
have made them believe that dying for something is
nothing and dying for nothing is something..

Those of us in the struggle must channel our anger and
frustration into a quest to find a solution to the
problems facing Afrikan people. We must have an
unconditional, undying love that keeps us trying to
reach those who don't want to be reached, teach those
who don't want to be taught and FREE those who don't
want to be FREE.

So through it all we will keep on trying.  We will
never stop and we still got love for ya 'till the last
casket drops.
--
Min. Paul Scott represents the Messianic Afrikan
Nation.  He can be reached at minpaulscott@yahoo.com
Website: http://members.blackplanet.com/THE-MYD

Open Letter to Russell Simmons

from Project Islamic H.O.P.E.'s Najee Ali


please refer to Jigsaw's interview with Russell Simmons @
http://allhiphop.com/hiphopnews/?ID=1829


        In the name of Allah, The merciful Benefactor, the merciful
Redeemer...

My name is Najee Ali, National Director of Project Islamic H.O.P.E. Our 
organization is one of Los Angeles, Ca  leading civil rights organizations.
Mr. Simmons I pray that this letter finds you in good health and good 
spirits.

Recently you took it upon yourself to slander my name and discredit our
organization's position on the new T.V. show “Platinum.”  While we at
Project Islamic H.O.P.E. felt that the show was shot and cast well, we feel
it unfortunately it played into many unhealthy stereotypes of the Hip Hop
community. We openly suggested that the integrity of the writing be 
heightened, you openly supported the show, which is your choice.


For the record, our intention was never to boycott the show outright. We
suggested a meeting with the producers of the show, so that we might
communicate to them our concerns in hopes that they would honor them in
upcoming episodes. We further suggested that if indeed the same stereotypes
continued that possibly, a boycott might be in order. You decided to
transgress all bounds of balanced speech by saying, "I don't need that one
ni**a to debate with…We don't need them. That just makes  it seems as if
there is some following or agreement with him,"  you said.  "There are very
few supporters."


For the record our organizations e-mail address is packed with letters of
support against the show "Platinum." 
Nevertheless I was both shocked and offended to hear you speak like that
about me and my organization. I am no N!@#. I am however, a young Black man
who provides leadership to many in the city of Los Angeles.  Your speech
calling me the N-word violates your supposed “yogic centeredness”  you often
boast of.  Let's be honest Mr. Simmons, your probably still upset with the
boycott we suggested on your magazine “ONEWORLD”, after you had the female
rapper Lil Kim on one of your covers mocking the Islamic dress code.


We will never apologize for our position on that issue and we still demand an
apology from you for your disregard for Muslim woman. The bottom line is that
virtually all of your political, and moral decisions are clouded by your
personal aspirations.  For instance, you admitted in a statement to
Allhiphop.com saying, "I had the script a long time ago. I thought the script
was over the top, but they calmed it down. I had the script when it was
called "Empire" years ago. I  passed on it. I didn't want to do that work."
So why would anyone in Hip Hop expect you to NOT to back "Platinum?  You are
clearly close to the people who created the show.


When you have political aspirations, you want people to vote (so eventually,
they can vote for you). When you have aspirations to go into soda ventures,
you tried to steal Pepsi drinkers (by using Ludacris/Bill O'Reilly Pepsi
fiasco) so that you could make money “in the name of hip hop.”  You sell off
Hip Hop culture part and parcel in the name of “Black business”  but the
main one who always gains financially is you. I, on the other hand, have no
record label, no clothing company, or magazine. I only want people to know
that Hip Hop can still be entertaining, be fun, be  educational and have
integrity at the same time. I just want them to be inspired to live peaceful,
cleaner lives. That is my duty to the people of  Hip Hop and humanity, as a
Muslim.


The truth is that you buy most of your alliances, while mine are authentic
relationships. I have no monetary stake in Hip Hop. My only goal is to help 
uplift and educate the people in hope that they might incline toward the
better things in life.


For this, you call me a N!@#?. Often you use your close relationship with
Minister Farrakhan of the Nation of Islam as a shield. You mock Muslims on 
magazines with your name on them and then run and hide behind the Nation Of
Islam and the Final Call newspaper with a claim of allegiance to Minister
Farrakhan.


Many in the Islamic community are tired of seeing you do that. Understand
something though. Minister Farrakhan and I, we pray in the same direction. We
embrace the Qu’ran, the  Bible and Torah as divine books and it is through
those books, and the God that made them possible, that we work to uplift the
Black race and all communities.


Since you are so close to Minister Farrakhan please ask him if he thinks that
the violence, gangsterism, misogyny, alcohol and drug use on the T.V. show
“Platinum” is healthy for young urban minds?  Ask him if it portrays Black
people in a favorable light? Ask him if, by the Islamic standard, the Holy
Qu’ran, is our organization justified in its  position against the show
“Platinum..” as well as your magazine "One World"  which mocked Muslim
women.

Let's take it a step further ask Rev, Jesse Jackson and Rev, Al Sharpton if,
by Biblical standards, this is acceptable? You see, I do what I do not for 
votes, not for T.V. deals or soda sales, I do what I do for God, in hopes
that I am able to help the people of this world see a better day in their
lifetime.

Ask Minister Farrakhan about what the Honorable Elijah Muhammad's position on
redeeming the Black woman is.  I suggest you read “Message to the Black Man”
and find out for yourself.


My leader and father in law, Imam W.D.Mohammed the son of the Honorable
Elijah Muhammad has encouraged his community to respect women. Ask him if his
 father, and teacher would agree with me, or with you on the anti-Islamic
issue ONEWORLD, and the show “Platinum.”


I will not try to demonize you, and engage you with immature name calling. As
you have chosen to do. It will not bother me if you to continue trying to
slander my name and attack my organization. Our work is well known nationally
and respected by  many black leaders we have the support of  Rev Jackson, Rev
Sharpton, and many others.  Our work speaks for itself. Our supporters are 
the people we serve and help nationally.   The reality is your verbal insults
on me and our organization. Demonstrates the anger and rage you have inside
yourself. I'm sure when you sit down in the comfort of your home … You know
that man to man, and mind to mind, you cannot deal with, Project Islamic
H.O.P.E. And  our principled stands for our community .


 I would like to encourage you to contact me if you have a problem with our
views. Real  men and leaders attempt to have an intelligent conversation when
there is a difference of an opinion on issues with other leaders.


I look forward to hearing from you.

with hope,

-Najee Ali National Director Project Islamic HOPE (323)769-5267 PO box
43-A-122 L.A.CA 90043

<A HREF="www.projectislamichope.org">www.projectislamichope.org</A>


"The Ink of the scholar is more holy than the blood of a martyr"  Prophet
Muhammad (Peace be Upon Him)
 

JUST THINK IF THIS WOULD HAPPEN

WHO REALLY OWNS HIP HOP?
 USE THE TERM 'HIP HOP' & PAY A LICENSING FEE
by Davey D

It looks like the Hip Hop community now faces its biggest challenge.
Forget police task forces or discriminating night club owners, folks
will now have to gear up to do some serious battle with a Los Angeles
businessman named Richard Gonahangya and his company America Media
Operative Inc.  For those who don't know AMO Inc is a little known
company that specializes in lobbying Congress and advising government
officials on media policy.  They yield a lot of influence over the FCC
and other agencies that determine policy.  The word around town is
'what they say goes'.

Gonahangya a staunch conservative, held a small press conference in
Compton, Ca yesterday to announce that his company AMO Inc had
recently trademarked and brought the rights to the word/phrase 'Hip
Hop'.  As a result they will soon start charging a licensing fee for
anyone who wishes to use the word in a commercial/ for profit project.

Taking advantage of a provision in the recently amended Millennium
Copyright Act of 2001, Gonahangya explained that he and his company
have all the legal ammunition and clearance to own the rights to the
phrase 'Hip Hop'.  He noted that the Hip Hop industry has generated
over 20 billion dollars last year in the United States alone.  The
phrase Hip Hop is now a powerful marketing tool and his company is
posed to profit handsomely in 2003 from its 'proper' usage.  The new
licensing fee is estimated to net AMO Inc a whooping 5-8 billion
dollars a year.

"Any business including record labels, videos, radio stations or
television shows that use the phrase 'Hip Hop' in the title or
marketing body of their work will have to pay AMO Inc a licensing
fee", Gonahangya told reporters.  'We are not attempting to stifle
free speech or muzzle popular culture..  we have no legal grounds from
preventing anyone who wishes to use the word in everyday speech,
however if you are using the word in a manner that associates you with
a salable product, then we fully intend to collect our fee".

Gonahangya went on to explain that what he is doing is not unusual.
There are many popular words that are used in everyday conversations
that are trademarked and cannot be used in commercial ventures without
permission.  'The word 'Xerox' is often used interchangeably with
'copy'.  The word 'Vaseline' is used interchangeably with lotion or
grease.  he also explained that the word Rock-N-Roll is trademarked by
a major label record executive who at the time could not charge a
licensing fee.

Gonahangya laid out his company's strategy for 2003.  He explained
that AMO Inc is giving record labels and performers a one month grace
period to get their business affairs in order.  Starting in May
letters will be sent out to anyone who is using the term 'Hip Hop'
explaining that the word is now trademarked and that if they wish to
continue to use it in the body of their work, they will have to
register with his company and be assessed a licensing fee.  Letters
have already been sent to several Hip Hop internet websites with more
to come.  He estimated the average fee will be anywhere from 2-5
thousand dollars plus residual fees per project.  Permission to use
the word will be on a case by case basis.  In addition any future
projects released using the term ' Hip Hop' will have to have the 'TM'
symbol next to the word.

When asked if he felt AMO Inc was being exploitative and attempting to
blackmail a viable popular culture, Gonahangya bluntly stated; 'This
is not about culture.  This is about business...  The laws have been
set up for anyone and everyone to use.  Our company took advantage of
what was on the books for almost a year and that what we are doing is
now perfectly legal...  Hip Hop is a big multi-billion dollar a year
business.  I was surprised that a big executive like Russell Simmons
or Clive Davis or even business savy rappers like Jay-Z, P-Diddy or
Eminem never trademarked the phrase.  Everyone in America knows that
you don't do business without protecting your assets.  It's just plain
stupid not to leave yourself this wide open..  If the Hip Hop
community is that dumb when it comes to business then too bad.  Don't
make me out to be the bad guy".

When asked if he intends to share any of the profits from licensing
the word 'Hip Hop' with any of Hip Hop's pioneers including Lovebug
Starski who first coined the phrase back in the lates 70s or Afrika
Bambaataa who popularized and spread the word, Gonahangya laughed.  'I
never heard of a Mr Starski and as for sharing profits with people
from Africa..No my people are originally from Denmark, Norway.

When another reporter told Gonahangya that Afrika Bambaataa was
someone's name, Gonahangya shrugged it off and said he had no
intentions of sharing the profits with anyone but his company and his
family."  However, he did offer a discounted licensing fee for Starski
and Bambaataa since they coined and helped popularized the term.

When asked if there would be any sort of criteria set up to determine
who will and will not be allowed to use the phrase 'Hip Hop',
Gonahangya explained that for most part if a company has the money and
a viable revenue stream for residual payments then it should be a
'piece of cake'.  As for criteria, Gonahangya explained that he has
very little tolerance and respect for individuals and companies that
are attempting to use the phrase Hip Hop for political gain.

"Recently the term 'Hip Hop' has been positioned as a
progressive/liberal movement.  That's unfair and a totally one-sided
approach to what is an American institution.Hip Hop is for everyone.
It is not a slick political campaign tool for Jesse Jackson, Al
Sharpton or Hillary Clinton.", he retorted

Gonahangya became evasive when asked if he would allow the term Hip
Hop to be used by any of the conservative organizations that he
regularly associates with and lobbies for.  " To be honest we have not
ruled them out.  We believe that Hip Hop needs to be politically
balanced.  For years Hip Hop has been associated with liberal causes
that have totally undermined the moral fiber of this country.  We will
be very selective as to how Hip Hop will be used politically", he said

Gonahangya continued; "I will assure you this...  In the future you
will not be seeing billboards or magazine ads with the words 'Hip Hop'
and Reparations, 'Hip Hop' and Affirmative Action or even 'Hip Hop'
and Black Power anytime soon.  If it hasn't come through our offices
and been granted a licensing fee then its existence will be in
violation of the Millennium Copyright Act of 2001 and we intend to
aggressively go after any violators and prosecute.  This about
political integrity and money".

Some our speculating that Gonahangya intends to use his ownership of
the now trademarked term 'Hip Hop' to quiet down any sort of political
movement that has been organizing around the term in time for the 2004
elections.

We caught up with Greg Watkins webmaster of the popular site
allhiphop.com and he noted that he had received a letter from
Gonahangya's AMO Inc company earlier this month.  "He told us in the
letter that we were in violation of his this trademark law and that me
and my partner Chuck would have to pay licensing fee if we wanted to
keep the word 'Hip Hop in our name.  We checked with our lawyers and
found out that we were safe because we are allhiphop and not just 'hip
hop'.  It's obvious these guys are serious about collecting their
money".

We caught up with long time Bay Area writer and Hip Hop deejay Billy
Jam who does the Hip Hop Slam radio show and has the website Hip Hop
Slam.  "Yeah this attorney contacted my attorney and said I would have
to take the 'Hip Hop' out of Hip Hop Slam or pay a fee if I want to
continue doing business.  At first I thought it was a joke and then
days later I received a subpoena to show up in court.  I was told if I
don't remove the word Hip Hop from Hip Hop Slam or pay a licensing fee
then I could lose my house, my car and my prized record collection".
Normally I don't give a damn about such things, but I can't afford to
lose my records", Billy Jam said

We caught up with popular Bay Area rapper /writer JR The Rap Slanger
out of East Oakland.  He said: " Look man, this country's always been
about business and fools is gonna try and collect their paper.  But
this is straight up bullS%$T.  How's this fool gonna try and trademark
a word and collect a fee?  Brothas need to rise up and retaliate and
put a foot in his ass.  But let's be honest, me personally I don't
have to worry because I'm not really Hip Hop.  I rap.  I'm a rapper.
There's a difference between rap and Hip Hop.  I guess Hip Hop is
gonna die but rap is gonna go on forever!  He didn't trademark the
word Rap did he?  "

As far as I can tell the word rap is not trademarked.  Nor can it be
because of it's long standing everyday usage.

We checked with famed NY copyright attorney Arnold Esquire Sullivan
and he soberly explained that the new provisions that have been added
does indeed give AMO Inc the right to trademark and collect a
licensing fee for use of the word Hip Hop and any other coined
'unique' phrase.  If the word is made up or unique to the American
lexicon then it can be trademarked and people will have to pay a fee
if they wish to use it in any sort of business endeavor.

Sullivan explained the new amendment went through around the same time
they were crafting the Patriot Act.  "It's a shame people went to
sleep on this.  I hate to say this but Negroes had better wake up and
start smelling the coffee.  These people in Washington are not
playing".

Sullivan concluded by noting that failure to comply with the new
trademark laws can result in serious economic repercussions and a
stiff 5 year prison sentence.  He noted that the stiff prison sentence
came after music industry executives and software companies lobbied
congress for harsher penalties for bootleggers and other 'copyright'
thieves'.  "Unfortunately this new trademark law as it pertains to the
phrase Hip Hop can potentially land people in jail if they try to make
a profit off it', Sullivan noted.

At the end of the press conference Gonahangya explained that he is
currently in negotiations with a major broadcast company so that they
will have the exclusive rights to the word 'Hip Hop'.  Gonahangya
declined to name the outlet that he is dealing with, but he did note
that should everything work out according to plan this media outlet
has vast resources and will set up offices throughout the country and
help determine which projects and products will be allowed to use the
term 'Hip Hop'.  Gonahangya refused to say whether or not it would be
an outlet like Clear Channel, Viacom or Emmis that would be
determining who can or cannot use the word 'Hip Hop'.  "It would be
premature for me to give out that information", he said

It is clear that big corporations and government lobbyist now own Hip
Hop.

Gonahangya also reiterated the fact that he is extending a month long
grace period.  He also used the occasion to pitch his new licensing
service.  In what appeared to be a real cheesy move he stated that he
was offering a one time discount for the next two weeks.  He explained
that he understands that there are a lot of non-profits that use the
phrase Hip Hop in literature and other marketing schemes and as a
result they will be granted a one time 500 dollar processing fee and
will subjected to the similar constraints of their 501 non profit
status.  That means they can not use Hip Hop as a political marketing
arm.

Non political Independent record labels and artist can obtain a
lifetime license to use the word Hip Hop for 500 dollars.  Gonahangya
explained that he believes in doing things for the community and this
is his way of giving back.

"Let it not be said I don't care for the underdog", he said.  AMO Inc
is all about helping the downtrodden.  We normally charge on average
of 5000 thousand plus lifetime residual fees, but because we care
about the little people we will offer Hip Hop [TM] for 500 dollars
licensing fee for the next two weeks.

If anyone wishes to fill out an application to see if you qualify to
use the term 'Hip Hop' in your product or if you want more information
on AMO Inc call them at 1-800-233-456

or  Go to their webpage.
http://pub12.ezboard.com/fpoliticalpalacefrm14.showMessage?topicID=3.topic

 or drop me a line at misterdaveyd@earthlink.net

                                           AN open letter to RUSSELL SIMMONS

As I sit and watch Showtime t.v.this friday night promoting JAY_Z concert as a 1st for hiphop is a HIPHOP Lie. Russell Simmons has done hip hop a diservice by lying to the world of rap fans and all of interest. If he is about keeping HIPHOP TRUE and HISTORY in tact in telling the truth of past events that has happened in HIPHOP, then he should do so.We are the same age and I can remember what has happen in HIPHOP since the BEGINNING.Or is the age of 45 years old is catching up with him and we are the same age.. Jay-Z upcoming concert is not the 1st rap concert to be televised lived. Not even showned lived.

The 1st NATIONAL TELEVISED hiphop concert, was produced and created by HIPHOP PIONEER VANSILK. RAPMANIA,the 15th anniversary of HIPHOP which featured 55 ACTS is the first hiphop televised concert event which aired in MARCH of 1991. The 2nd event was SISTERS IN THE NAME OF RAP Which featured 25 of the HOTTEST FEMALE RAPPERS at the time of it showing.. Lets think back and remember that M.C HAMMER also did a live event for Pay Per View T.V. Both shows VANSILK produced and created were HIPHOP historical events.For Russell Simmons & Lyor Cohen to sit on showtime t.v promoting this as a 1st is one reason why HIPHOP is the way it is now.When you tell the HIPHOP listener false statement, and those who were not even fans at the time because of age, then you alters history. To be even more assure of this for RAPMANIA in 1991 we used 13 of DEF JAM or RUSH productions managed artists for the show.The only RUSH managed acts that did not perform at RAPAMANIA was PUBLIC ENEMY due to the statement of Proffessor Griff at the time.I was told if PUBLIC ENEMY performed that RAPMANIA  would not be carried in certain state or aired. And STETASONIC did not perform because of reson not to be discussed.I Feel that after depositing at that time $228,000.00 in escrow for the Russell, Rush & and Def Jam acts paying all top rappers $12,500.00 FOR ONLY 10 MINUTES.And not remembering that RAPMANIA is the 1st hiphop televised concert is wack.But what make it even more crazy, they didn't pay any of their artists that performed for RAPMANINA telling them all, that this was a free & promtional event.

To be honest every rapers was paid for RAPMANIA with our talent budget exceeding $465,000.00 and the show costing 1.2 millions dollars. Most of the artists were not paid by their management.Russell need to wake up, and stop lying about HIPHOP history and events.For years  has kept HIPHOP SEPERATED,he has lost his edge to the streets by refusing to meet with AFRIKA Bambaataa an myself.Especially when he organizedthe HIP HOP action network.how can you make up a organization without including those of high interest for the CULTURE.

The Zulu Nation could have been very instrumental in this for the purpose you couild have gotten all the pioneers of hiphop together to help the caused. Then with the world wide clout of the nation in many countries we could have united the whole Universe.BUT for some reason Mr Simmons refuse to communicate with us, but you didn't have that problem back in the day when you needed us, or when Dj Afrika Islam & Grandmaster Mele Mel  was really the main reason why LYOR COHEN came to New York, lets not forget LYOR you was promoting parites in CALI, and you jocked Mele Mel & Afrika Islam about geting down and working with them.But you betrayed them and jumped ship to Def JAM.This is not about HATIN, but about how some are keeping HIPHOP apart.

All I know is that RUSSELL you have been approached by us, and we will keep letting you know the BULLSHIT you are doing.You are still my man, but you changed on those who help you.We all could have worked together.You tell Bill Adler that myself and Bambaataa have something against you. Well since you don"t read email this was a way to get at you.All I want you to do is wake up and respect those who did for you. Meaning the pioneers of this game or CULTURE.I'm not asking you for anything personally, because I'm ok, and have always been. But to keep this real and save face, tell the truth and stop FRONTIN.

You remember that saying..You are a highly respected by many, and I respect that you are the chosen one.So who has a problem with that.But you arethe chose one for RAP music,not HIPHOP.You know that records or cd's can't represent the 5 elements ofthis CULTURE.Have you taken the time to explain, since you are in the media all the time that the record companie and music industry have twisted the wording and name HIPHOP.You personally keep HIPHOP twisted, but have you really reach out to Kurtis Blow and help him with the project he wanted to do to coinincide with the HIPHOP,EXCUSE me the RAP ACTION NETWORK which it really should be called. Remember, no one is asking you for anything but UNITY.

Kurtis Blow was your ticket to HIPHOP.Bambaataa was your ticket, JAZZY JAY your ticket, not RICK RUBIN or that fraud ANDRE HARELL. We let you be down, we promoted your acts when you was starving.You know this can get deep, and I PERSONALLY will give you major props for your work in helping build this CULTURE, but in the same vain you are part of the DESTRUCTION. Nothing will be settled until you sit with us, and lets bring the world and universe of HIPHOP together, if you from the old school. We all grew up on EACH ONE,TEACH ONE. Money is not the ISSUE, UNITY IS! Because some nut will read this and think that we are HATIN on you, or there is some kind of Hate.This is about HIPHOP and the truth.

SINCERLY

VANSILK

HIPHOP PIONEER/STILL LIVING

TELL NO LIES, THE PIONEERS OF THIS CULTURE ARE STILL ALIVE!!!!

VAN SILK  VS. RUSSEL SIMMONS DEBATE

This is directed to RUSSELL SIMMONS & ALL HIPHOP.COM,as we move into
the 30th year of hiphop, I VANSILK-HIPHOP PIONEER has offered RUSSELL
SIMMONS to be part of a one on one HIPHOP DEBATE. Knowing that he
really lack the KNOWLEDGE of something he claim to be the GODFATHER
of. We the true skool,know that everyone looks up to him as if he was
JESUS CHRIST. But his former label DEF JAM that he use to own is the
main reason why RAP music is the way it is now.

Russell you have shitted on mad people on your way up, I"m not
speaking for me, but for the people who gave you a way to be in this
business, the same people who never disputed your lies of your
contribution from the early days of HIPHOP. And Kurtis BLOW can't
help you on this one. You call Tavis Smiley a sellout when he had his
show on B.E.T. But You Been Sold HIPHOP out a long time ago. You
refuse to deal with my family the ZULU NATION in fear of them letting
you not lie.It was not you who introduce HIPHOP to the world. And you
know this within your heart. At one time you was real cool,we all
struggle back in the day.. But when you needed help, you came to us..

Personally I DON'T NEED YOU,Money is not the issue.So you can tell
all your PUBLICITY PEOPLE FORGET IT. Let's keep it honest,and not the
streets, because you know where I can go. And I know our lives are
worth more than some street shit. But I'm the only one with ballS to
speak my mind on you, for one people like you and STEVE RIFKIND,who
basically licked MELE MEL NUTS TO LEARN WHAT HIPHOP is really have no
street knowledge. And STEVE know he can't say shit about this, so he
needs to be quiet on this, and yes I'M CALLING HIM OUT.

You have
divided HIPHOP along time ago,and now you guys want to stop all the
infighting among artists today. Well who going to stop this one
especially when you hide like a RAT.
This is not about ME or YOU or the ZULU NATION or the PIONEERS, THIS
IS bout Honesty and Truth,in the end HIPHOP. But I'm THE ONLY ONE WHO
CAN CHALLENGE YOU TO A ONE ON ONE HIPHOP DEBATE.
And I know you will come up with all kind of reasons not to expose
yourself. I CAN GIVE 2 SHITS ABOUT PHAT FARM, BABY PHAT and all that
fag shit you put yourself into. I'm proud of you as a black man
making paper,I can never hate..But all I want everyone to hear from
your mouth that you are not what everyone build you up to be in this
cultural artform of HIPHOP. That's the only thing important, when the
industry find out that you are a fraud, Like your man ANDRE HARELL
then we all can live in peace.

Then you started the Hiphop Action network,and try to build a nation
with out the true elements and people who built this culture over the
last 30 years.You try to keep the blackball lists going on forever,
and you know in your heart I can bust you down any day of the
week.That why whenever you see me, your facial expression change to
bitch mode. Don't ask me no stupid shit like how much money you got,
ask me some shit like what going on. You did foul shit to KURTIS
BLOW,and you tried that shit with CHUCK D. The only group that made
DEF JAM WHAT IT IS TODAY.Is that why CHUCK CALL IT DEF SCAM? I always
gave you props, but not once have you ever said anything good about
me..You was on some jealous shit when I did the first HIPHOP CONCERT
for NATIONAL T.V called RAPMANIA in 1991 spending 1.2 million dollars
on a rap show Which Featured 55 Rap Acts, AND 13 OF THOSE ACTS WAS
YOUR ACTS. You went and brought the front cover of BRE MAGAZINE,You
couldn't see a brother shine,I had mad respect for you and that non
rappping DR Jeckyll. I never dissed you, you gave love and so did
I.Just like when I did the RAP AWARD IN THE ROXY and held down THE
roxy'S EVERY friday night you and ANDRE DIDN'T HAVE $20 DOLLARS TO GO
HOME. WHO GAVE IT YOU? VANSILK

It's not about hatin, I'm a Congraulator,. So I challenge you on
HIPHOP KNOWLEDE and HISTORY. Since you want to act like you did this
all by your self.
And you still do not know what this is all about, again TRUTH &
HONESTY..When ever you decide to meet the prophet, I'm here..Outside
of this if you refuse to take this challenge, then we all know you
are not really the CHOSEN ONE.
But in love and respect for those who you fooled,

LET YOUR SOUL, NOT
LET YOU CONTINUE TO LIE..
TO KNOW HIP HIP, YOU MUST HAVE KNOWLEDGE

VANSILK
 

THE POLITICS OF "CONSCIOUS RAP" AND "NEOSOUL"
-> A TRIBUTE TO JOE STRUMMER
-> BEST OF 2002
+++++++++++

BLOG: http://cantstopwontstop.blogspot.com

********************
'STAKES IS HIGH': "Conscious rap", "neosoul" and the hip-hop generation
********************

[in the January 13, 2003 issue of The Nation]
http://www.thenation.com/doc.mhtml?i=20030113&s=chang

Fifteen years ago, rappers like Public Enemy, KRS-One and Queen Latifah were
received as heralds of a new movement. Musicians--who, like all artists,
always tend to handle the question "What's going on?" much better than "What
is to be done?"--had never been called upon to do so much for their
generation; Thelonious Monk, Aretha Franklin and Stevie Wonder were never
asked to stand in for Thurgood Marshall, Fannie Lou Hamer or Stokely
Carmichael. But the gains of the civil rights and Black Power movements of
the 1960s were being rolled back. Youths were as fed up with black
leadership as they were with white supremacy. Politics had failed. Culture
was to become the hip-hop generation's battlefield, and "political rap" was
to be its weapon.

Today, the most cursory glance at the Billboard charts or video shows on
Viacom-owned MTV and BET suggests rap has been given over to
cocaine-cooking, cartoon-watching, Rakim-quoting, gold-rims-coveting,
death-worshiping young 'uns. One might even ask whether rap has abandoned
the revolution.

Indeed, as the central marker of urban youth of color style and
authenticity, rap music has become the key to the niching of youth culture.
The "hip-hop lifestyle" is now available for purchase in every suburban
mall. "Political rap" has been repackaged by record companies as merely
"conscious," retooled for a smaller niche as an alternative. Instead of
drinking Alizé, you drink Sprite. Instead of Versace, you wear Ecko. Instead
of Jay-Z, you listen to the Roots. Teen rap, party rap, gangsta rap,
political rap--tags that were once a mere music critic's game--are literally
serious business.

"Once you put a prefix on an MC's name, that's a death trap," says Talib
Kweli, the gifted Brooklyn-born rapper who disdains being called
"conscious." Clearly his music expresses a well-defined politics; his rhymes
draw from the same well of protest that nourished the Last Poets, the Watts
Prophets and the Black Arts stalwarts he cites as influences. But he argues
that marketing labels close his audience's minds to the possibilities of his
art. When Kweli unveiled a song called "Gun Music," some fans grumbled. (No
"conscious" rapper would stoop to rapping about guns, they reasoned, closing
their ears even as Kweli delivered a complicated critique of street-arms
fetishism.) At the same time, Kweli worries that being pigeonholed as
political will prevent him from being promoted to mass audiences. Indeed, to
be a "political rapper" in the music industry these days is to be condemned
to preach to a very small choir.

"Political rap" was actually something of an invention. The Bronx
community-center dances and block parties where hip-hop began in the early
1970s were not demonstrations for justice, they were celebrations of
survival. Hip-hop culture simply reflected what the people wanted and
needed--escape. Rappers bragged about living the brand-name high life
because they didn't; they boasted about getting headlines in the New York
Post because they couldn't. Then, during the burning summer of the first
Reagan recession, Grandmaster Flash and the Furious Five released "The
Message," a dirge (by the standards of the day) that seethed against the
everyday violence of disinvestment. Flash was certain the record, which was
actually an A&R-pushed concoction by Duke Bootee and Melle Mel, would flop;
it was too slow and too depressing to rock a party. But Sugar Hill Records
released the song as a single over his objections, and "The Message" struck
the zeitgeist like a bull's-eye. Liberal soul and rock critics, who had been
waiting for exactly this kind of statement from urban America, championed
it. Millions of listeners made it the third platinum rap single.

Through the mid-1980s, Melle Mel, Afrika Bambaataa and Soul Sonic Force,
Run-DMC and others took up the role of the young black lumpenrapper
opposition, weighing in on topics like racism, nuclear proliferation and
apartheid. And just as the first Bush stepped into office, a new generation
began to articulate a distinctly post-civil rights stance. Led by Public
Enemy, rappers like Paris, Ice-T, X-Clan, Poor Righteous Teachers and Brand
Nubian displayed the Black Panther Party's media savvy and the Minister
Louis Farrakhan's nationalist rage. Politics were as explicit as Tipper
Gore's advisory stickers. As the Gulf War progressed, Paris's "Bush Killa"
imagined a Black Power assassination of Bush the Elder while rapping, "Iraq
never called me 'nigger.'" (Last year, he returned to cut an MP3-only
critique of the war on Afghanistan, "What Would You Do?") Rappers' growing
confidence with word, sound and power was reflected in more slippery and
subtle music, buttered with Afrodiasporic and polycultural flavor.

Many of these artists had emerged from vibrant protest movements--New York
City's resurgent Black Power movement; the swelling campus
antiapartheid/multiculturalism/ affirmative action movement; local
anti-police brutality movements. In each of these, representation was the
cry and the media were a target. Rap "edutainment" came out of the
convergence of two very different desires: the need for political
empowerment and the need to be empowered by images of truth. On 1990's "Can
I Kick It?," A Tribe Called Quest's Phife Dawg captured the mood of his
audience sweetly and precisely: "Mr. Dinkins, will you please be our mayor?"
But while Mayor Dinkins's career quickly hit a tailspin, hip-hop rose by
making blackness--even radical blackness--the worldwide trading currency of
cultural cool.

In the new global entertainment industry of the 1990s, rap became a hot
commodity. But even as the marketing dollars flowed into youth of color
communities, major labels searched for ways to capture the authenticity
without the militancy. Stakes was high, as De La Soul famously put it in
1996, and labels were loath to accept such disruptions on their investments
as those that greeted Ice-T and Body Count's "Cop Killer" during the '92
election season. Rhymers kicking sordid tales from the drug wars were no
longer journalists or fictionists, ironists or moralists. They were
purveyors of a new lifestyle, ghetto cool with all of the products but none
of the risk or rage. After Dr. Dre's pivotal 1992 album, The Chronic, in
which a millennial, ghettocentric Phil Spector stormed the pop charts with a
postrebellion gangsta party that brought together Crip-walking with
Tanqueray-sipping, the roughnecks, hustlers and riders took the stage from
the rap revolutionaries, backed by the substantial capital of a quickly
consolidating music industry.

Rap music today reflects the paradoxical position of the hip-hop generation.
If measured by the volume of products created by and sold to them, it may
appear that youth of color have never been more central to global popular
culture. Rap is now a $1.6 billion engine that drives the entire music
industry and flexes its muscle across all entertainment platforms. Along
with its music, Jay-Z's not-so-ironically named Roc-A-Fella company peddles
branded movies, clothing and vodka. Hip-hop, some academics assert, is
hegemonic. But as the social turmoil described by many contemporary rappers
demonstrates, this generation of youth of color is as alienated and
downpressed as any ever has been. And the act of tying music to
lifestyle--as synergy-seeking media companies have effectively done--has
distorted what marketers call the "aspirational" aspects of hip-hop while
marginalizing its powers of protest.

Yet the politics have not disappeared from popular rap. Some of the most
stunning hits in recent years--DMX's "Who We Be," Trick Daddy's "I'm a
Thug," Scarface's "On My Block"--have found large audiences by making whole
the hip-hop generation's cliché of "keeping it real," being true to one's
roots of struggle. The video for Nappy Roots' brilliant "Po' Folks" depicts
an expansive vision of rural Kentucky--black and white, young and old
together, living like "everything's gon' be OK." Scarface's ghettocentric
"On My Block" discards any pretense at apology. "We've probably done it all,
fa' sheezy," he raps. "I'll never leave my block, my niggas need me." For
some critics, usually older and often black, such sentiments seem
dangerously close to pathological, hymns to debauchery and justifications
for thuggery. But the hip-hop generation recognizes them as anthems of
purpose, manifestoes that describe their time and place the same way that
Public Enemy's did. Most of all, these songs and their audiences say, we are
survivors and we will never forget that.

The "conscious rap" and "neosoul" genres take up where 1970s soul
experimentalists like Marvin Gaye and Curtis Mayfield left off. At their
best, they are black-to-the-future havens of experimentation that combine a
grandiose view of pop music's powers, an earnest hope for a better world and
a jaded insider's disdain for rote commercialism. Crews like Blackalicious,
the Coup, Jurassic 5, Zion I and dead prez have attained modest success by
offering visions of twenty-first-century blackness--hypertextual rhymes,
stuttering rhythms and lush sounds rooted in a deep understanding of
African-American cultural production and ready-made for a polycultural
future. The Roots' album Phrenology stretches hip-hop's all-embracing
method--the conviction that "every music is hip-hop" and ready to be
absorbed--to draw from a palette as wide as Jill Scott, Bad Brains, James
Blood Ulmer and the Cold Crush Brothers. Common's Electric Circus takes cues
from Prince and Sly Stone in reimagining the hip-hop concept album.

Tensions often spring from the compromises inherent in being given the
budget to build a statement while being forced to negotiate the major
label's Pavlovian pop labyrinth, and others have left the system to, as
Digital Underground once famously put it, do what they like, albeit for much
smaller audiences. Public Enemy has gone to the Internet and to indies in
order, they say, to "give the peeps what they need," not what they think
they want. After spending more than a decade in unsuccessful efforts with
major labels, rapper Michael Franti now records on his own Boo Boo Wax
imprint. It's hard to imagine his latest effort, "Bomb Da World"--whose
chorus goes, "You can bomb the world to pieces, but you can't bomb it into
peace"--passing muster in the boardrooms. Berkeley-based rapper Mr. Lif cut
two of the most funky and politically challenging records of the year, the
Emergency Rations EP and I Phantom LP, for the indie Definitive Jux. The
EP's clever conceit--that the rapper has literally "gone underground" to
escape angry Feds--is easily the wittiest, most danceable critique yet of
the USA Patriot Act.

Hip-hop has been roundly condemned within and without for its sexist,
misogynistic tendencies, but it has also created room for artists like
Me'shell N'degeocello, Mystic, Lauryn Hill, Erykah Badu, Jill Scott, Goapele
and Angie Stone to mix up and transform both rap and r&b. "Neosoul" has been
especially attractive to women and post-young 'uns. Its hip-hop feminist
critique came into sharp relief last year. After years of flying high, rap
sales crashed by 15 percent, leading an industrywide plunge. But
multiplatinum newcomers Alicia Keys and India.Arie were garlanded with a
bevy of Grammy nominations. Keys and Arie celebrated "a woman's worth" and
were frankly critical of male irresponsibility. India.Arie's breakout hit
"Video"--in which she sang, "I'm not the average girl from your
video"--stole the music that had once been sampled for a rap ode to oral sex
called "Put It in Your Mouth."

Hip-hop feminism has been articulated by Joan Morgan as a kind of loyal but
vocal, highly principled opposition to black (and brown and yellow) male
übermasculinity. In the same way, neosoul dissects the attitudes and ideals
projected in the hip-hop mainstream. Me'shell N'degeocello's compelling
Cookie: The Anthropological Mixtape opens with the line, "You sell your soul
like you sell a piece of ass." The most commanding of the neosoul artists,
Jill Scott, imagines reconciliation, no longer having to love hip-hop from a
distance. On "Love Rain" she sings of meeting a new man: "Talked about Moses
and Mumia, reparations, blue colors, memories of shell-top Adidas, he was
fresh like summer peaches." But the relationship ends badly, "All you did
was make a mockery of somethin' so incredibly beautiful. I honestly did love
you so."

Neosoul personalizes struggles, but the approach has its limitations.
India.Arie's Voyage to India, for instance, suffers from reducing black
radical conviction to self-affirmation mantra. At the same time, the genre
mirrors a deeply held conviction of the hip-hop generation: Revolution does
not come first from mass organizations and marching in the streets, but
through knowledge of self and personal transformation. "Back in the '60s,
there was a big push for black senators and politicians, and now we have
more than we ever had before, but our communities are so much worse," says
Talib Kweli. "A lot of people died for us to vote, I'm aware of that
history, but these politicians are not in touch with people at all. Politics
is not the truth to me, it's an illusion." For a generation that has made a
defensive virtue of keeping it real, the biggest obstacle to societal change
may simply be the act of imagining it.

These are the kinds of paradoxes the silver-tongued Kweli grapples with on
his second solo album, Quality, as masterful a summation of the hip-hop
generation's ambivalent rage as Morgan's book, When Chickenheads Come to
Roost. On one of his early songs, Kweli synthesized 1960s militancy and
1990s millenarianism in a phrase, rapping about the need for "knowledge of
self-determination." At one point on the Nina Simone-flavored "Get By," he
sees the distance his generation still needs to cover: "We're survivalists
turned to consumers." Echoing Marvin Gaye's "Right On," he measures the
breadth of his generation--from the crack-pushers to the hip-hop activists.
"Even when the condition is critical, when the living is miserable, your
position is pivotal," he concludes, deciding that it's time to clean up his
own life.

Kweli never fails to deliver fresh, if often despairing, insights. On "The
Proud," he offers a sage reading of the impact of 9/11 on the 'hood--"People
broken down from years of oppression become patriots when their way of life
is threatened." Later in the song, he cites California's Proposition 21--the
culmination of nearly two decades of fears of gangs, violence and
lawlessness--and ties it to the intensifying nationwide trend of profiling
and brutality against youth of color. But he scoffs at a revolution coming
at the ballot box. Of the 2000 Florida elections, he angrily concludes,
"President is Bush, the Vice President is Dick, so a whole lotta fucking is
what we get. They don't want to raise the baby so the election is fixed.
That's why we don't be fucking with politics!"

But politicians can't stop fucking with rap and the hip-hop generation.
Senator Joe Lieberman regularly rallies cultural conservatives against the
music. Michael Powell's corporate-friendly, laissez-faire FCC has censored
only the white male rap star Eminem and the black feminist hip-hop poet
Sarah Jones. Texas Republican John Cornyn overcame African-American Democrat
Ron Kirk's November Senate bid by linking him to police-hating (and,
interestingly, ballot-punching) rappers. When Jam Master Jay, the
well-respected, peace-making DJ of rap group Run-D.M.C., was murdered in
October, police and federal investigators intensified their surveillance of
rappers while talking heads and tabloids like the New York Post decried the
music's, and this generation's, supposed propensity for violence and
lawlessness.

Now a hip-hop parent, Kweli hopes to steel his young 'uns for these kinds of
assaults. "I give them the truth so they approach the situation with
ammunition," he raps. "Teach them the game so they know their position, so
they can grow and make their decisions that change the world and break
traditions." While he critiques his elders for failing to save the children,
he knows his generation's defensive b-boy stance is not enough: "We gave the
youth all the anger but yet we ain't taught them how to express it. And so
it's dangerous."

Here is the hip-hop generation in all its powder-keg glory and pain:
enraged, empowered, endangered. The irony is not lost: A generation able to
speak the truth like no other before is doing so to a world that still
hasn't gotten the message.


********************
OVERPOWERED BY FUNK
How Joe Strummer rocked the world.
********************

Coming this week in the San Francisco Bay Guardian
http://www.sfbg.com

He was born John Graham Mellor into a family that served the Crown. His
grandfather was a functionary for the Indian Railway, and his father moved
through posts in Turkey, Mexico, Malawi, and Iran. The boarding school boy
left to the suburbs of London grew up to be Joe Strummer, and he spent his
life purposefully undoing everything his forebears stood for.

Strummer would describe 1976 as his own personal year zero. Across the
globe, the arc of the revolution was falling. The Baader-Meinhof gang and
Patty Hearst were on trial. The Weather Underground and the Young Lords
Party were in the final stages of violent implosion. The Khmer Rouge were
filling their killing fields. Washington bullets were destabilizing Jamaica.
In London, as in New York City, capitalism¹s crisis had left entire blocks
and buildings abandoned. Here Strummer came of age as a radical squatter and
a spirited pub singer. In a welfare line, he met Mick Jones and Paul Simonon
and they invited him into the intensely charged musical sect they would come
to call The Clash.

Strummer fast affected his mates. Mick¹s tune, "I¹m So Bored With You"
became "I¹m So Bored With The USA". While their punk contemporaries flirted
with Nazi imagery and ideology, they romanticized the Jamaican roots reggae
rebels. When Strummer, Simonon, and manager/advisor Bernie Rhodes
white males
against the police, the band found its footing. Rhodes had images to
contextualize the band¹s defiance. Strummer found an opening to explore
radical whiteness. "White Riot" distilled his awakening into a 2-minute
breakneck, ear-splitting call for England¹s fair-skinned sons and daughters
to join in striking back against the Empire: "Black people gotta lotta
problems but they don't mind throwing a brick. White people go to school,
where they teach you how to be thick."

The record also captured the essence of the Strummer¹s philosophy: "Are you
taking over or are you taking orders? Are you going backward or are you
going forwards?" These are the fundamental questions Strummer bequeathed his
successors
Strummer epitomized the conviction that progressive politics ought to fire
progressive music
folk but progressive music of the most fevered imaginationBR risky /> that inspired less awe than love, more noise than silence, music that moved
down the street with the people and knew when to toss a brick.

Triangulating the First and Third World across the Atlantic in the sunset of
the Empire, London Calling was a perfect album, an endlessly mesmerizing
reading of American and Jamaican music and myth through English eyes. It¹s
probably the last great record of the rock era. Many would have been happy
if the Clash had stayed there forever and indeed, who knows how many more
gems there were to mine. But unlike the generation of indie rockers (and now
indie rappers) that followed, the diplomat¹s son was not content to repeat
"Train In Vain", much less "Capital Radio", over and over. Instead, he would
turn his eye to the emerging world
after rock.

Perhaps Strummer¹s background gave him a unique insight into the waves of
change that were about to be unleashed on the world, or maybe he just had a
good instinct for getting to the right place at the right time. Just as
deftly as "Clampdown" had dissected the rise of the National Front,
"Bankrobber" captured multiracial alienation inna Thatcherite time. Then
"The Call Up" somberly reflected on the working classes¹ prospects amidst
rapidly militarizing geopolitics. (Now heard next to the Hitchens-esque hit
"Rock The Casbah", the tracks offer a dissonance, a clash, if you will, of
anti-war and anti-fundamentalism ideals that seems unusually timely for
today¹s conflicted left.)

Where to go next? New York City. By 1981, hip-hop was pushing through the
walls of resegregation erected in the previous decade. The band that once
couldn¹t see past 1977 would become the hinge between the rock and the
hip-hop eras. When city officials tried to pre-emptively squash their
seven-night stand, they unwittingly sparked a riot in Times Square. With
permits in hand and seven gigs stretched to sixteen, they introduced
Grandmaster Flash and the Furious Five to their audiences and egged confused
punkoids into their own cup-tossing mini-riot. Later they would frequent the
downtown hip-hop club, Negril, as fans, soaking up vibes with Afrika
Bambaataa, the graffiti elite, and the Rock Steady Crew. Now the Clash were
pulling their audiences by their leather dog-collars out of their self-made
ghettos into the real ones where the future was being made.

Over the years, *Sandinista* has taken its lumps. But in these days of
routine double-CD releases, it¹s hard to understand why. *Sandinista* sounds
more like the 21st century than any rock made in the past two decades. Its
incessant forward motion is a welcome contrast to the revival-minded
micro-faddism that passes for most of today¹s allegedly edgy rock. Alongside
the dub and rap and rock, the Clash took on ambient noise, kiddie karaoke,
twisted muzak, whistling carnival calypso (echoes of Notting Hill),
roof-raising gospel, and the odd fiddle jig. Over it all, Strummer and
colleagues tried to give voice to the people of Kingston, Havana, Hanoi,
Tehran, and Managua. "The reign of the superpowers must be over", they sang
on "Charlie Don¹t Surf". "So many armies can¹t free the earth."

From the ashes of the sixties, Strummer and the Clash moved toward a kind of
musical multilateralism, consensus by connecting-the-dots. *Sandinista*
marks the point where they sketch a map of the new musical and political
world, where rock myth topples into hip-hop¹s corner soul, where the
trumpets of polyculturalism collapse Jericho¹s imperialism. And Strummer
characteristically kept moving. In a short July 2001 guest DJ set with WFMU
(http://www.wfmu.org/playlists/shows/321), he revealed where his expansive
curiousity and compassion was still taking him. He moved from a
scintillating collaboration between Ernest Ranglin and Baaba Maal through
Algerian rai, Sudanese soul, South African mbaqanga, and Colombian cumbia,
ending with Cornershop¹s Indofuturist pop. The prophetic stance he
articulated in his life and music falls somewhere between Paul Wellstone and
Jam Master Jay, a romantic, hopeful, inclusionary vision of progressivism
and a cultural globalization that we¹ve only just begun to see swelling in
the streets at the turn of the century.