FNV NEWSLETTER
September 13 2002
In this week's issue
*MTV Censors Public Enemy
*More LA Times Fallout
*Bill O'Reilly Takes On Ed Love & Doctor Dre About Ludacris
*Hip Hop Pioneer Vansilk Says Put Up or Shut up
*Mac Dre & Khayree: Do You Remeber by Mathew Butler
*An Interview w/ K-Solo by Shamako Noble of Hip Hop Congress
*Make Room For Conscious Hip Hop by - Bakari Akil II
*EMpTy V [MTV] ; Blackfaces Reduced to Blackface by Chuck D
*Would U Ride For 2Pac by Davey D {reprint}
The FNV Newsletter c 2002
Send comments to
mrdaveyd@aol.com
peep the websites
www.daveyd.com
www.rapstation.com
=============================
HIP HOP NEWS SHORTS:
MTV CENSORS PUBLIC ENEMY ***Right now we have no choice but to give
low marks to MTV. Initially they decided to ban Public Enemy's video
for their new 'Give the People What They Need' until the group removes
all video and audio references to Mumia Abul Jamal. As surprising as
that was, Chuck's people tried to negotiate and MTV offered a
compromise. They can leave Mumia in.. but they would have to take
out the phrase 'Free Mumia' which is in the hook. Needless to say,
Chuck wasn't going for it and wrote a little something that reflects
his feelings on the matter. Check for that piece later in this issue.
=======================
MORE FALLOUT ABOUT LA TIMES
***The fall out and upset still continues from last week's LA Times
article which suggests that the Notorious BIG had a hand in murdering
2Pac who died 6 years ago today in Las Vegas. As you know Chuck
Phillips the writers says that he spoke with people who can place
Biggie in Las Vegas the night that Pac was killed. He supposedly,
registered under a false name, paid a million dollars to some
disgruntled Crips and provided them with the murder weapon.
The article caused outrage throughout the Hip Hop community with
everyone from Russell Simmons to members of Pac's group The Outlawz
commenting. Now we are seeing Biggie's camp including his mother, Lil
Kim, Lil Cease and entertainment manager Wayne Barrow pulling out
receipts and stating unequivocally that the Notorious BIG was in New
Jersey on September 7th-the day Pac got shot recording a song with Lil
Kim and later watching the Mike Tyson Fight at his crib. I say bring
everyone to court and get everyone to ante up their evidence and put
this thing to rest once and for all.. We'll keep you posted as all
this unfolds.
=============================
BILL OREILLY TAKES ON ED LOVER
***Bill O'reilly continues to make his rounds. The other day he
called into the Ed Lover & Dr Dre show in NY to discuss his position
on Ludacris and Pepsi. Ed kept pressing him about why he came after
Luda while remaining silent when it came to Britney Spears. Oreilly
'modified' his position by insisting that there's a big difference
when it comes to Britney and Ludacris. He feels that while Britney
sexual double entendre is bad it is no where the level of Ludacris
making reference to carrying guns, disrespecting women and smoking
crack. Ed told Lover that Ludacris doesn't make any reference to him
smoking crack in his album. But O'Reilly stuck to his guns and said
he was fighting Ludacris because of the influence he has over easily
influenced, undersupervised 'minority' kids. He referenced some
school teachers who had complained that their kids were calling each
other foul names and quoting lyrics to Ludacris. O'Reilly also
suggested that Ed Lover should not be opposing him, but instead be on
his side because he's fighting harmful effects on young kids in hood.
He also said he's willing to bring Ludacris and his entire family on
the air to jam them up. As for Ludacris who wasn't on the show, he
has noted that he plans on responding to O'Reilly with a campaign of
his own..
If you want to peep out that debate
http://www.daveyd.com/edlovervsoreilly.mp3
Here's some excerpts from what O'reilly wrote..
http://www.worldnetdaily.com/news/article.asp?ARTICLE_ID=28916
--------------------
"To me, comparing Ms. Spears to Mr. Ludacris is like comparing pot to
heroin. Ms. Spears struts around in tight slacks, a bare belly and
store-bought breasts. She sings silly love songs, as Paul McCartney
might say. She does writhe around a lot and looks pouty - and there
is a double-entendre in her Pepsi commercial with the dazed and
confused Bob Dole - but is Britney Spears a danger to the republic?
I believe Ludacris is dangerous. Scores of grammar school teachers in
the inner cities of America have written to me detailing horror
stories spurred on, they say, by rap music. One fifth-grade teacher
told me that it is common in her class for 10-year-old boys to call
little girls "bitches." And those little boys can quote the lyrics of
Ludacris with amazing accuracy."
Another teacher, who works in a Los Angeles ghetto, has a once-a-week
"real talk" half hour in her classroom. She told me that some
eighth-grade girls now say they want to become strippers and some boys
pimps. When asked why, the kids say it looks like fun in the rap
videos. Nobody in her class mentions Ms. Spears at all. Now, I'm
sure there are little girls who can sing Britney's songs about young
love all day long as well. And some of these girls inevitably will
want to dress in a manner inappropriate for their age because of the
Spears influence. That is not good. But it is a million miles away
from a handgun, a crack pipe and selling sex.
The Spears vs. Ludacris argument is deceptive because of its racial
overtones. Many defenders of Ludacris say the criticism of him is
racially motivated. That, of course, is a foolish and insulting
position to take.
Every American should be condemning rap and rock stars that sell
children subversive values. It is tough enough these days for kids to
develop maturity in our confusing society without being told that
selling drugs and carrying illegal guns is fine. And children who
have absent or bad parents are especially vulnerable to corrupters
selling them instant gratification. "
-------------
'Corrupters selling them instant gratification'. I'll be impressed
with the argument when he starts holding some of these program
directors and radio station owner's feet to the fire about what does
and doesn't get played on these airwaves. Somebody let me know when
he has these guys who are most responsible for setting a tone as to
what gets played, on the hot seat explaining the rational for
bypassing 'positive' rap songs that talk about pride, politics,
spirituality love of life etc to play the type of songs 'O'Reilly
deems negative. To me his willingness to stay on them they way he
pressed Jessie Jackson and others will be an indication of how serious
he is. I would love to see him go through a station playlist and call
for his followers to boycott those megacorporations.
=========================
FCC MEETS TO FURTHER DEREGULATE RADIO
***Speaking of radio stations and the influence of media. Let it be
noted that FCC President Michael Powell held a meeting yesterday to
start exploring ways to further deregulate media companies. He wishes
to have a proposal before spring of next year. He's been encouraged
to go out and get community input. We'll see if he takes any of it
seriously. He thinks that greater diversity can come about when a
companies owns multiple stations. Y'all tell me if you seen this
happening in places where companies own the compeitition. All you
have to do is look at a station playlists to see that the station in
Arkansas is playing the same thing as the station in Cali. And almost
everywhere you go you keep hearing local and independent artists being
shut out and shut down. If memory serves me correctly Powell called
for similar meetings last year shortly after 9-11. I gues while folks
are focused on their grief, he's making moves that will inevitably
lead to further media consolidation.
==============================
HIP HOP PIONEER VANSILK SAYS PUT UP OR SHUT UP
Hip Hop pioneer Vansilk has decided enough is enough with all the
recent battles and has stepped up an offer he made to Jay-Z last year.
He wants Jigga and Nas to head into the emcee arena and battle for 2
million dollars. He wants other artists like KRS, Nelly, Beanie
Sigal, Jadakiss, Ja Rule and DMX to battle for a million dollars a
piece.
Van silk notes that he's spoken with some major players to secure the
funds and is set to go.' I want these guys to stop messing around..
Lets pout up or shut up', Vansilk said.
For those who are unfamiliar with Vansilk he is one of Hip Hop's
original promoters. His legacy goes all the way back to the mid
1970s. He's the guy responsible for putting together Hip Hop's first
pay per view shows including 'Rap Mania' and 'Sisters in the Name of
Rap' . He and Don King's son were the first to actually put together
a Celebrity Boxing match.. This was done way before Fox. Folks may
recall that event which featured Mele-Mel, Parrish from EMPD, Kurtis
Blow. Hector Camacho, Tommy Hearns and Larry Holmes.
Below is Vansilk's actual press release.
===============================
PRESS RELEASE: 'CLASH OF THE TITANS PT1'
HIPHOP PIONEER VANSILK BATTLE OFFER TO JAY Z & NAS
AS OF LAST YEAR THE OFFER WAS OUT FOR THE JAY Z & NAS BATTLE FROM
HIPHOP PIONEER VANSILK..THE ORIGINAL OFFER WAS 2 MILLION DOLLARS..NOW
JAY -Z IS ON THE RADIO WANTING TO DO PAY PER VIEW.. OFFERING THAT NAS
AND JAY Z PUT UP 1 MILLION EACH..WELL BEING THE FIRST ONE TO DO PAY
PER VIEW WITH 'RAPMANIA 'AND 'SISTERS IN THE NAME OF RAP'...THIS IS MY
OFFER TO THE FOLLING RAPPERS:
THE SHOW IS CALLED 'CLASH OF THE TITANS PT 1' WINNER TAKE ALL.
JAY Z VS NAS-2 MILLION DOLLARS
JA RULE VS DMX-1 MILLION DOLLARS
BEANS VD JADAKISS-1 MILLIONS DOLLARS
NELLY VS KRS1-1 MILLION DOLLARS..
THIS IS A REAL OFFER IF ALL PARTIES ARE SERIOUS...I FEEL THAT ALL
THESE RAPPERS WILL UNDERSTAND THAT IT EITHER PUT UP OR SHUT UP..WHEN I
WANTED TO DO THIS YEARS AGO..EVERYONE WAS SCARED..BIG DADDY KANE VS
RAKIM WAS DENIED,EVEN THOUGH RAKIM WAS WILLING...KOOL MOE D WAS
WILLING,LL COOL J DENIED THE OFFER FOR 1 MILLION..PERSONALLY LL WOULD
HAVE DONE IT..BUT AT THE TIME HIS FATHER WAS MANAGING HIM AND TOLD HIM
TO HANG THE PHONE UP...
ALL I HAVE TO SAY IF THEY ARE WILLING ..THEN LET'S MAKE IT HAPPEN..THE
STAGE WILL BE SET...IF NAS AND JAY-Z ARE WILLING THEN THEY NEED TO GET
WITH DJ KAYSLAY AND HE KNOWS HOW TO GET IN CONTACT WITH ME...LET'S SEE
IF THESE GUYS ARE REALLY SERIOUS..
HIPHOP PIONEER
VANSILK
=======================
MAC DRE & KHAYREE DO YOU REMEMBER?
by - Mathew D Butler
In the early 1990s, a Bay Area rap artist named Mac Dre became
illustrious. Dre released a series of hit singles under a record
company entitled Strictly Business Records. What set Mac Dre's music
apart from other local rap acts was a distinct musical sound that
consisted of original compositions. While many rap artists of this
era used sampled music, it was Dre's producer, Khayree Shaheed, who
painted a picture behind the vocals. Khayree used his own innovative
creativity, as well as a long background of musical experiences, to
provide a certain kind of opus that coincided well with Dre's verbal
syntax and articulation.
After five years of not working with Mac Dre, Khayree returned to the
studio to create a remix album of Mac Dre. The title of the album is
appropriately Do You Remember?, as it provides listeners with a
recollection of the time when Bay Area rap had value, quality, and
integrity. Khayree designed eleven tracks that establish perfection -
eight songs that have been reinvented into entirely new entities, two
unreleased songs, and an introduction that is suitably titled "Another
Dose." The theme of the album cuts across space and time, bringing
new experiences to listeners from tracks that were earlier recorded in
a different context. As a whole, the album brings back the
transcendence of Khayree and Mac Dre in unison.
Khayree's production for Do You Remember? epitomizes the work of a
true artist. He takes a song that was previously produced a
particular way, and although the same vocals are used, he transforms
it to evoke a whole different listening experience. The song "Livin
That Life" is an example; while originally the song was recorded with
a slow orchestration that induced a calmative listening approach, the
remix to the song becomes a new body of work that immediately makes a
listener move to the beat. The song's hook also changes from singing
to a melodic guitar that is equally powerful.
The remix song "Back to My Mission," is also a piece of astonishing
transformation. The new version contains two bass lines that
correspond with each other to embody ideal harmony. A keyboard
provides pure elation. However, although this is a remixed song,
Khayree makes sure to return a guitar riff from the original. He
places the familiar guitar riff at the conclusion of the song, as a
way to remind listeners of its original composition. Many listeners
that are familiar with Khayree's style of production will recognize an
abundance of Mac Breakdowns in Do You Remember?.
The term Mac Breakdown was named after Khayree's friend and musical
partner Michael Robinson, aka The Mac. The Mac Breakdown is distinct
from other breakdowns in rap music. There is a point of rupture in
the music's former context, but instead of bringing about the
underlying elements of a song, the entire beat virtually becomes
something new. The Mac Breakdown is clearly exhibited in the remix
song "Gift 2 Gab." In the new version, Khayree provides a repetitive
musical foundation for a Mac Dre song that, gratifyingly, never seems
to pause for a chorus or hook. Then, Khayree places some Mac
Breakdowns appropriately in the song so that listeners are taken for a
non-stop musical ride with many twists and turns.
An outstanding facet of Do You Remember? is that Khayree completed
the remix album in two weeks. What is fascinating is not Khayree's
ability to make an album in such a short period of time, but that it
is extraordinarily good. This explicates his veteran status as a
producer, and makes one critically look at current rap music producers
that release music quickly at inferior quality. Today, many rap
albums, especially in the Bay Area, are thematically monotonous.
However, Do You Remember? provides listeners with a multitude of
subject matters. The album creates a balance, with songs that contain
social-political commentary and songs that allure to the street. Each
song on Do You Remember? seems to fit together perfectly with the
others, like pieces to a puzzle. Astoundingly, Khayree includes two
unreleased songs, that were recorded in another era of Hip Hop, and
manages to make them fit accordingly.
The album is scheduled for release on September 10, 2002. Although
this is still not the actual conception of Mac Dre and Khayree working
in the studio together, this album may satisfy many music fans who
have been waiting for the reunification of the duo who revolutionized
Bay Area rap. Do You Remember? is the closest thing to having Mac
Dre and Khayree work in the studio again. However, if the time ever
comes for a new Mac Dre and Khayree collaboration, it will be a
milestone for Bay Area hip hop.
written by Mathew Butler
=====================================
AN INTERVIEW WITH K-SOLO .......By Shamako Noble
*[Please note this interview contains explicit language]*
Shamako: First, it's been a while since we've seen you around. What's
been going on in your life since your last album and how has that
effected where you're going today?
K-SOLO: Man, I don't know where to start. There has been a lot going
on with me, both musically and mentally. I think taking the time out
has been a blessing. Hip hop in the mid 90s was getting watered down
too much. Too many motherfuckers coming out in one time copying this
gimmick or the next, taking form some of the older artists and pawning
it off as new and fresh, just because they got a million dollar video.
I am not that type of cat, ask any motherfucker that knows me. I
don't get down like that. I have always been different, done my own
thing and basically been kicking it, getting my mind right, so when I
do drop motherfuckers are gonna know that this takes time to come off
like I do. So I have been doing a little of everything since my time
off. Writing a lot, listening to new music and some old shit, working
out, reading, smoking blunts, eating right, you know basically getting
my body and my head ready to come out fighting.
Shamako: Having been gone for a while, you've had the opportunity to
create a lot of material. Have you been creating like mad or just
mellowing out on the reflective tip?
K-SOLO: I 've done both, but anyone that knows me, knows that it is
impossible to get me to settle down. I just have the hyper energy
where I need to always be pushing the envelope. I need to always be
creating or my mind goes crazy or some shit. I get too amped if I am
not creating music and coming up with ideas, finding out shit about
life. I take time off to spend some time with my kids in New Haven,
CT (big shout to all of Southern Connecticut) but mostly I have been
working on material. I have like books filled with shit. I have like
a 200 page pad filled with shit. I have enough shit for like 10
albums, the hard shit is figuring out what to keep and what to save
for some next time shit.
Shamako: You're a boxer. Describe how the mentality of a boxer has
effected your experience within Hip Hop?
K-SOLO: Boxing has created my mentality. I am a boxer, when I was
locked up that's what got me through, not rhyming. Fuck that, it was
the fact I can throw down and beat a motherfuckers ass, that is what
held me down. These other rappers who I hung out with in the pen
couldn't do that, they did what they had to do to get by in there, but
it wasn't fighting. So boxing taught me how to fight for everything
in life. Nothing is going to be handed to me, I wasn't hanging out on
the corner waiting for my opportunity, I fucking fought for it. I
take every chance on the mic as my chance to shine, to out-do the
next, to beat up the opponent. I want mother fuckers to feel like
they just got knocked in the head when they hear my shit. I want the
weak minded to feel hurt beat up, beside physically beating you up I
want to mentally do it.
Shamako: Who are you really digging in the game right now? Who did
you collaborate with on the album? K-SOLO: I am feeling my whole
Sharp Shooter click, but the motherfuckers I am collaborating with is
my boy Juice, who I'm sure you know who that is, and this new cat
Benny Whitewolf who is just a talented white boy from Chicago. I
think motherfuckers will be feeling Benny Whitewolf, that dude is ill.
I wish I had more time to listen some of the other artists shit, but
the albums I heard and liked were like Scarface, El-P, Kool G Rap,
Nas, Common, Roots, Stevie Wonder. But basically I feel that the more
you listen to what other people are doing, the more you will shoot
yourself in the ass. I try to do my own shit, not watch what's hot
now and do my own shit. I want to be in my own world and focus on
what I have to do.
Shamako: You were affiliated with Def Jam, EPMD, Redman, etc. Where
are your relationships with these people now. Are you still in
contact and will you be working with them on any upcoming music?
K-SOLO: Nah, I basically have cut all relations with Def jam, EPMD and
Reggie and all those guys. It's not like I have any hard feelings
with them, but I felt that their were certain situations with certain
individuals that could have been handled better. I just want to make
music and not deal with the bullshit that comes along with it, and
making bubble gum commercials or movies or whatever, that shit is not
me. Like I said Reggie is someone I grew up with. I mean we have the
same birthdays and shit. We're cool, but its not like I'mcalling him
asking him what he thinks or vice versa. I look back on the EPMD days
as fun and shit, kind of like a prologue to a long ending book.
Motherfuckers want to think that EPMD and the Hit Squad is the end of
the road for me. In this day if you don't put out a record every
other week, then motherfuckers think you fell. That's not the case.
I did what I had to do to separate myself from the bullshit industry
shit, and let me stand on my own two and make myself money and not
other people. That's it. So to answer your questions, you wont see
me working with them but I ain't got any hard feelings towards them.
Shamako: Did 9-11 effect your music at all?
K-SOLO: It more fucked with my head, which I guess does fuck with my
music. I have peoples out there. I am from Jersey, and my kids are
on the east coast, so yeah I was fucked up a little. It showed me
that the fucking underdog can win, it showed me that you can come out
of nowhere and take the world over. It showed me that we are not
untouchable. Nobody is untouchable and when you start thinking that
way, that's when you get knocked. So now I don't rest, I don't take
shit for granted, I don't fucking let shit pass by or half ass
anything, everything to the tee is precise and how I want it.
Shamako: The industry has a way of taking careers and tossing them
around like salads. But you seem to be positioned to make a huge
impact. What would you say people coming up about what to look for in
this industry and what did you have to do to survive?
K-SOLO: It's the basic rules of the streets, and your friends could be
your enemies. Watch them the closest, people that you think you are
cool with. Get shit in writing, fucking get an attorney, not your
boy's attorney but your own. Get an accountant. Do your own shit and
make sure to keep money away from friends, it will kill you everytime.
When you get on top, plan to fall, plan for downtime, keep your money
secure so no matter what happens you and your family are straight.
The more independent you are, the less people you have to trust and
when it comes to money, get shit it writing by lawyers and
accountants. To survive in this shit you have to take the pluses with
the minuses and don't let anything knock your confidence. I had to
take every bad situation and find something good out of it. Like when
I felt someone did me wrong, understand why that shit happened, then
find out how that shit did happen so it will never happen again. Its
like the 9-11 shit, find out how to use that to motivate you, find
whatever it is you're going through to motivate you and make your head
stringer, your music and self better.
Shamako: Do you freestyle? If so how often? Do you feel like
freestyle is a necessary skill of the emcee or is it just something
fun to have?
K-SOLO: You know it is definitely a skill to have, my nigga Juice is
like the best freestyler out there. I think it is a skill but I don't
really do it to often, other then fucking around. I can do it and I
have fun with it, but I am a musician, I create music, and I need to
sit down and think about concept, pitch, tone, beats. I need
everything to be just right for me to put my name on it. When I come
off the dome, it's fun like I said, I can do it, but I'm here to make
albums and that needs to be written, arranged and produced. Ail the
freestylers that do it well I respect, nothing worse then a bad
freestyle, but I make albums.
Shamako: How have you been surviving all this time if you haven't been
in the music game. Where is your livelihood?
K-SOLO: I have been doing all types of shit making loot, not really
much that I am looking to get into. Lets just say the Sharp Shooters
click is holding it down.
Shamako: What do you want people to know, or understand as you
re-emerge on the Scene?
K-SOLO: I want people to know that with this next album tentatively
called, "There Will be Hell to Pay," that there is no joking matter to
this. That I am not here to joke around and have a good time with
this shit, this is serious and what I have to say is something
serious. If you think I'm m going to come back and make a weak ass
album, you are fucking crazy. It fucks you up to see these people on
MTV or BET talking in interviews like a little 16 year old kid, then
get on the mic and have my baritone voice and style. I want people to
know that I can hold down both fucking coasts, I was with EPMD when
they were the biggest and Dr. Dre and Suge when they was the biggest.
That this album is for real, and your not gonna see me on MTV doing
duets with some 18 year old hoe screaming Baby or whatever. Your not
gonna see me popping Cris and holding my chain, you're gonna see a
real street nigga with years of experience.
written by Shamako Noble of Hip Hop Congress
mailto:freshcoasttrippin@yahoo.com
==================================
MAKE ROOM FOR CONSCIOUS HIP HOP
by - Bakari Akil II
There is a lot of negative publicity concerning Hip Hop these days.
It seems as if every week for the last few years, hip hop artists have
made headlines due to troubles with the law, warranted or unwarranted.
In addition, many of these artists, who enjoy levels of money, fame,
and companionship most people crave, constantly associate themselves
with the world of drugs, guns, violence and misogyny.
Whether the images that most popular hip-hop artists portray are real
or made for TV, most will never know. However, for those who love the
music but could do without the negative lyrics and lifestyles that are
usually associated with the art form, the question arises: Is there
room for positive/conscious (PC) listeners in hip-hop? It is easy to
write or comment about the negative aspects of hip-hop music because
controversy and infamy has proven to be a hot seller in this society.
But, hip-hop artists who rap positively or about political, social or
economic empowerment receive scant attention.
As a young man I lived and breathed hip-hop. Starting with my
father's Sugarhill album and later in my teenage years growing up on a
daily dose of Rap City with Chris Thomas and later Yo MTV Raps with
Fab Five Freddy, Ed Lover and Dr. Dre, hip-hop has been and still is
an integral part of my existence. In fact, as I reached my teenage
years, rhythm and blues and any other form of music slowly faded from
my life.
At the same time I started to listen solely to rap music, the overall
climate of rap changed as well. In the late 80s and very early 90s
lyrics dealt mainly with the elimination of drugs, violence, poverty
or having a good time and bragging for fun. It quickly evolved to
lyrics promoting gang violence, glorifying drugs and bragging about
how you can ruin a party through nonsense and saying you are the
greatest and being serious about it.
The world of hip-hop had suddenly changed. No longer a teenager and
quickly accepting the roles of adulthood, the new era of hip hop
slowly but surely left me feeling isolated where previously, I totally
identified with it. As a young man in the army and then later in
college I began to question the value of listening to lyrics promoting
guns, drugs, violence and the disrespect of women. Especially, when
that lifestyle was in total opposition to the one I was trying to
create.
The more I questioned myself, the less I listened to hip-hop, even
though the beats and music held the same fascination for me that it
had when I was a teen. By 1995, it eventually reached a point where,
except for the purchase of a KRS or Goodie Mob tape, my buying and
listening to hip hop slowed to a crawl. The only way I heard rap
music was by listening to old tapes, through a pop hip hop song on the
radio or when bypassing MTV/BET on television.
Although you had artists such as KRS, De La Soul or the occasional
group such as the Refugees creating PC music, the release dates were
so far away that it was nearly impossible to maintain a constant
supply of positive hip-hop.
Today, that excuse is no longer valid. Positive/Conscious hip-hop
artists are coming out more often and their styles and topics are
diverse and broad ranging. Their beats are just as infectious as any
other brand of hip-hop and they are bringing a sense of balance and
reality that has been missing for a while.
Although most conscious hip-hop artists still do not receive the
attention they deserve, many artists or groups such as The Roots, Mos
Def or Common are gaining mainstream attention, which does not hurt
when they are promoting positive values. In addition, with the influx
of R&B artists such as Erykah Badu, India Aire and Musiq Soulchild who
also promote positive conscious lyrics, PC hip-hop is gaining even
more credibility and force.
For those who have given up on finding hip-hop that promotes growth
and moving in positive directions or parents who are concerned about
the music your children listen to, don't "jump ship" just yet.
Positive/Conscious hip-hop is not often promoted on your average TV
show, radio station or hip-hop magazine, but with a little
investigation it can be found. There are more than enough PC artists
to keep hip-hop in heavy rotation in your CD changer or to convince
your child that "nice beats" can also be accompanied by even nicer
lyrics.
Some Positive Hip Hop Artists
KRS One (Social/Political/Spiritual/Economic)
De La Soul (Positive/Social)
Mos Def (Spiritual/Political/Social)
Dead Prez (Political/Social/Economic)
The Roots (Positive/Social)
Lauren Hill (Positive/Social)
Wyclef (Positive/Social)
Common (Spiritual/Social)
Paris (Political/Economic/Social)
Kam (Political/Economic/Social/Spiritual)
Talib Kweli (Positive/Social)
Afu-Ra (Spiritual/Social)
Black Eyed Peas (Positive)
Bakari Akil is an editor for GlobalBlackNews.com and can be reached at
GlobalBlackNews@hotmail.com
=============================================
EMpTy V ; BLACKFACES REDUCED TO BLACKFACE SILENTLY DESIGNING A DUMBED
GENERATION IN AMERICA
By Chuck D
The aftermath of the MTV Video Awards carries a business as usual
stench across the ever influenced cultural uh, black planet. The new
power elite in america the selection board of MTV. If I closed my
eyes and ears and went back in time it would've been an oily
Rockefeller gathering in the 20s,or a scotch and politic driven
Kennedy gathering in the 40s. The new power breed of selectors who
govern images to feed to the world youth, invisibly anonymous to most,
while being the choosers of who, what, when, why, and how.
In the words of my friend Kyle Jason we've ( black people on screen )
been reduced to comedy. As an artist I ve been fighting all my career
in a genre that has been hijacked by 'culture bandits', simply cats
who've used rap music and hip hop as a personal whatever without
putting anything back where they've got it from in the first place.
That s the ongoing complaint by the figureheads that started this
thing and I don't blame them. The lack of image balance is killing
us.
Cutting to the chase, in this so called business I've overstood the
bullsh#t, navigating the lunacy as much as possible to the masses and
cats within. But here's the deal, MTV standards ( whoever this
roundtable of culture caretakers are all I got was a cat by the name
of Tom Calderone who waffled so much on the issue I swore he was
swimming in syrup.) has clarified to my people both at KOCH and
SLAMjamz records that the 'Gotta Give The Peeps What They Need' video
would have to delete all affixed logos (a policy to not promote gear,
although I've long thought this to be ridiculous..but whatever I've
conceded that this is their little thing to keep situations from
making the money they make) and the thing that has myself going to
war..and that's to vanish ALL AUDIO AND VISUAL references to Mumia Abu
Jamal..the Free Mumia lyric. This is serious. In a climate where
they're playing the hell out of Nelly and Khia dumbing american kids
(17 and under..like who else is gonna be fanatical about adult life
requesting videos?) down to 'its so hot imma take my clothes off' down
from 'my neck to the crack of my ass' with a 'shot of courvosier' .No
offense to the prior two artists, because I really don't think they
know any better. I'm pulling the race card here because MTV has
admittingly reduced black faces to blackface. . This time the
control factor is the intangible grip over a designed generation, 3
generations across since the MTV span since my 21st birthday in 1981.
Well you have designer clothes, designer cars, designer drugs, and
designer mentality for a designer generation. MTV has successfully
tailored a generation through the thread of popular culture ,to pied
piper itself to detach itself from a past while blurring a future,
thus dumbing them to the american way of weighing people based on
quantity as opposed to quality.
Quantity is the measurement needed for the almighty bottom line ala
the corporate dollar. Blackface at its dumbest makes a lotta money
for VIACOM. On also owned BET peeps know BRUCE BRUCE more than
newsman ED GORDON, reducing us as blackfolk to comedy where we think
americas laughing along with us in reality they re laughing at us.
It's the same reason I left DEF JAM ..we start off rebelling against
the one sided control ways of the establishment, only to find that it
eventually becomes a worse establishment itself. A joke in the
shadows of making money 'holla!
Really it ain't about playing the Public Enemy video. So be it. I do
art and songs to provoke and not be a joke. It would've been simple
as hell for them to rather say they didn't like the video. But as a
black M-A-N it's the NERVE of them judging what's acceptable coming
out of a blackface. If they think having a political viewpoint in
music is irrelevant, it's because they've taken the nazi approach in
censoring it themselves. Deep down.. rap to these standard people is
disposable romper room sh#t that will never resonate to the LED ZEPs,
BEATLES, NIRVANAS,AEROSMITHs, FLEETWOOD MACS,BON JOVI status they
still uphold in their hearts and minds. But based on the ridiculous
yet influential decisions they make while in bed with their big
business partners (major labels) is unacceptable as far as my
community is concerned. Judging that anonymous circle of people in
the standard department I feel, think and ultimately know they would
rather reduce us into a screen of swinging monkeys, and retreat to
their tri-state bridge and tunnel confines.
Thus it always seems I exist in a twist of paradox. I refuse to edit
out the MUMIA audio AND visual, that's crazy and they must be out of
their f#cking mind. And since then eMpTy V has recended a bit by
saying that the visual images can stay in and the names but the word
FREE would have to be removed. It's getting funnier by the week
,that's something to never say to a black person (maybe why they would
never understand DEAD PREZ's Lets Get Free
This is 2002, so much insanity swirling around Manhattan itself its
ridiculous NOT to make a statement about things like this. The
paradox is..that the fight completely vanishes the visibility. The
edit allows the video to be seen, but compromised and weakened, which
music is supposed to hurdle anyway. They didn't mention the H RAP
BROWN part which befuddles me for he's accused of the same thing.
Maybe they're so unfamiliar and dumb that they don t know WHO he is
and think I'm talking about some Brown rappin cat or something. I
play the race card for real in this case. The charge of VIACOM/ MTV
reducing us to comedy through images forces me to flip that card out.
Would MTV News cover this story ,especially one in which they're
guilty within?
write Chuck D at mistachuck@rapstation.com
======================================
WOULD YOU RIDE FOR 2PAC
by - Davey D
[This article is reprinted from Spet 13 2000]
Today Sept 13 will mark four years that Hip Hop lost one of its best
and most provocative, when 2Pac Amaru Shakur died as a result of
gunshot wounds in the city of Las Vegas. Like him or not one thing
everyone agreed upon about 2Pac was the fact that he truly touched a
lot of people. From here in Oakland Cali to Johannesburg South
Africa, 2Pac is admire, loved and studied. Two years ago it was just
UC Berkeley offering a course in which 2Pac's writings would be
studied and discussed. Nowadays we've lost count. Not only are there
2Pac classes all over the globe, but there are now 2Pac conferences
and even a 2Pac play. There have been an incredible book of 2Pac's
poetry released in the past year called ' The Rose That Grew From
Concrete'. This was not only the title to 2Pac's book but also a
metaphor he often used to describe his life. Soon to be released is
an album that will feature all sorts of people like; Mos Def, Reverend
Run, Ahmad, K-Ci & JoJo, actor Danny Glover, actress Jasmine Guy,
producer Quincy Jones, poet Sonya Sanchez and his Godfather Geronimo
Pratt will be featured on this new album in which they will provide
their own interpretive recitals to his many poems.
Another strong testament to 2Pac's Legacy is the formation of the 2Pac
One Nation Committee here in Oakland. Not only have they put on the
2Pac conferences but they were also major participants in the fight to
stop the passage of California's Juvenile Crime Bill- Prop 21. It's
important to note that not long before his untimely demise 2Pac held a
press conference with MC Hammer and Snoop Dogg in which he pledged
that he would 'politicize' his huge fan base. He wanted to to see
brothas and sistas from around the way rise up and start checking'
some elected officials and make sure they paid attention to their
wants and needs. Hence seeing the efforts put forth by the 2Pac One
Nation Committee underscored what Pac was hoping to do..
Question of the Day.. What sort of things should we be doing to pay
tribute to the late 2Pac? What sort of things are you doing now to
keep his legacy alive..? I ask this question in the context of what
Chuck D said in an interview over the weekend about 2Pac. He said
that a lot of cats have overlooked that 2Pac there was a political
side to 2Pac and while he did get caught up in thugging, he never
waivered from wanting to uplift and ideally change some of the
conditions effecting folks from the hood. During that press
conference 2Pac had with Snoop and Hammer, he spoke about wanting to
open up youth centers and establish athletic leagues for kids in the
community.. With that in mind, what does it mean to be a true rider
for 2Pac? Hit me off with your letters at mailto:Mrdaveyd@aol.com.
==============================
The FNV Newsletter c 2002
Send comments to
mrdaveyd@aol.com
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