FNV In Today's Issue: December 11 2000

Send comments, questions and concerns to Davey D
The FNV Newsletter
written by Davey D
c 2000
All Rights Reserved


Snoop Dogg rolled through the Bay Area last week to promote his new album 'The Last Meal'. He wound up hanging out at the station and actually doing a full 4 hour air shift. For those who don't know, Snoop has been making a name for himself as a radio host on KKBT in LA with his syndicated radio show. Hence Snoop came across as as seasoned pro when he cracked the mics at KMEL. He spent a lot of time fielding calls and answering all the questions that have been plaguing folks. For example, he was asked how he felt about Suge Knight and Death Row Record prematurely releasing his album for free download on their website. Snoop was dismissive and stated that its apparent that Suge is his biggest fan. He went so far as to thank him on the air for being such a big fan. The sense I'm gathering is that Death Row's controversial tactic may have actually helped bring more attention to Snoop album..

Snoop also spoke about the possibilities of putting together a tour that would bring groups from the east coast, west coast and the South all on one stage. Thus far he is meeting with Jay-Z and Outkast to see about the three going out on tour together. Snoop is also hard at work with his new record label. He noted that Tray Dee and Goldie Loc of the Eastsidaz will be doing solo albums. There is also talk about the possibility of Snoop putting out Richie Rich who has what a new song out called 'I Ain't Gonna Do' which is shaping up to be a Bay Area anthem. Lastly with regards to the recent lawsuit launched by Columbia pictures against Snoop's protege group Doggy's Angels, Snoop's label issued a statement noting that the cover art used by the Snoop's group was nothing more then a parody that pokes fun at American Pop Culture. They also maintained that it doesn't and shouldn't cause confusion to consumers. C'mon Columbia Pictures-lighten up.. you guys already made your millions..

*Bad news for NWA fans. The highly anticipated reunion album has been shelved indefinitely after the group recorded a few tracks that Dr Dre described as disappointing. The fact that the group's various members have pending projects means that it will be sometime before they can all free up their schedules and return to return to the studio and start recording again. Dre told MTV News that Ice Cube is working on a special effects movie and that Snoop who is replacing Eazy E, will be out promoting his album. As for Dre, he is starting work with some of his new artists. I wonder if that includes Rakim who he recently signed?..

While folks lament the fact that NWA won't be recording anytime soon, folks will realize just how good they are after listening to the QB Finest remake of the Straight Outta Compton. The allstar super group which features artists like Nas, Capone, Mobb Deep, Tragedy, MC Shan, Marley Marl, Nature, Cormega and Millennium Thug kicked off their soon to be release album with a remake of the Hip Hop classic Da Bridge. The song was cool so it was great enthusiasm that we came to the show last week to debut their new joint Straight Outta Queensbridge. Maybe its a west coast thing, but listeners were disappointed, especially when we played the original NWA cut right afterwards. As one caller succinctly put it, there are some classics that you just don't touch.. However, with no NWA album anywhere in sight, folks will have to replay the old albums or look for today's groups to deliver Hip Hop remakes.

*As folks get ready for this winter's continuation of HBO's hit TV series OZ, they will have a soundtrack to accompany them. A few months back we had noted that Avatar Records which put together the Panther movie soundtrack was in the process of putting together a stellar line up of artists including, Snoop Dogg, Method Man, Cypress Hill, Pharoahe Monch, Lord Jamar of Brand Nubian, Kurupt, Nate Dogg, Master P, Krazie Bone, Three 6 Mafia, Kool G Rap and Talib Kweli for the OZ compilation. The album is due out the second week in January 2001. The company decided to take things a step further by donating 10 thousand dollars to the Innocence Project which is headed by former OJ defense attorney Barry Scheck. This project has been responsible for securing the release of numerous prisoners throughout the country after proving their innocence through DNA testing.

Avatar records marks the third or fourth record label over the past two years aggressively attack and address the issue of the Prison Industrial Complex. Last year Raptivism records released a landmark album called 'No More Prisons' where proceeds went to aid the Prison Moratorium Project. That was soon followed by Frank Sosa's Unbound Project which focused on the situation surrounding the case of Mumia Abdul Jamal. A couple of months ago Suge Knight and Death Row Records announced that proceeds from their album 'Too Gangsta For The Radio' would be used to help secure lawyers and legal resources for those who feel they were incarcerated unjustly. Hopefully the attention such labels and recording artists are giving to this topic makes a difference in curbing this run away system of incarceration over rehabilitation.

*Props go out to San Francisco's Third Eye Movement for the release of their new compilation album called 'Third Eye Movement Presents Soundscapes From The Struggle'. Its been released on their newly founded label called MindzEye Entertainment. For folks who are unfamiliar, Third Eye Movement was one of the leading Hip Hop organizations here in the Bay that helped led the fight against California's infamous Prop 21 [Juvenile Crime Bill]. They had made a mark for themselves by using Hip Hop as a tool to help bring about social change. Over the past couple of years, it has not been unusual to see these cats show with as many as 500 people and shut down a business or spark up a rally. People are still talking how earlier this year, the group came through with close to 300 people and surrounded the Hilton Hotel in downtown San Francisco and shut it down. The owner of the Hotel chain had apparently contributed a bunch of money in support of Prop 21. The evening news casts showed all these people chanting in unison a customized version to the popular rhyme featured in the Sugar Hill Gang classic 'Rapper's Delight'.

Hotel Motel --And The Hilton
If you start a war on youth
You ain't gonna win!

The youth then entered the hotel lobby while still holding up raised fists and began chanting a customized version of the chorus to DMX's 'Ruff Ryder's Anthem'.

Stop! Drop! People Gonna Rise To the Top!
ooh! ooh! Prop 21's Gotta To Go!
Stop! Drop! People Gonna Rise To the Top!
ooh ooh Prop 21's Gotta To Go!

Currently the group is canvassing the streets of North Oakland, monitoring police activity and gathering testimony from residents who feel they have been unfairly profiled.

As for their new album..It's a compilation of songs from various artists both within Third Eye Movement and from around the country. Each song is interspersed with commentary, news clips and interviews about youth issues and the role Third Eye Movement is playing in trying to reshape the Bay Area's political landscape in what they perceive as a growing police state. For folks who are in the Bay Area this Holiday season [Dec 22] they can join Third Eye Movement for their upcoming album release party at 1515 Webster Street in downtown Oakland. There will be performances from artist on the compilation including Renaissance, Duece, Eclipse and Sayyadena from the Bay Area.There will also be special performances from Jahi of Cleveland , Ohio and Luminous Flux of Philadelphia who are also featured on the album.. For more information drop them an email at
mailto:thirdeye_movement@hotmail.com or give them a call at 415-951-4844 ext 23


Ivy League Rap:

Rappers make their voices heard at Harvard
by Aisha Moore

On Friday December 8th about 2000 people gathered in Harvard Law school's Ames Ballroom to hear some of today&Mac226;s most noted hip-hop artists participate in forum on issues of race, police, and the community. The panel discussion, sponsored by the Reverand Al Sharpton & the Source magazine, included David Mayes (CEO and publisher of the Source), Carlito Rodriquez (Editor in Chief of the Source), Ray Benzino of Made Men, Shyne, Treach, Queen Latifah, Master P, Fat Joe, and the RZA. This was an opportunity for the artists to speak about issues affecting the rap industry, hip-hop culture, and communities of color in general.

When asked to say a few words about the current state of hip-hop, Ray Benzino, the most prepared of the group, commented that the monopolization of radio has allowed rap music&Mac226;s audience to expand but, many new listeners do not understand the struggle behind the music. Shyne added to this point that most rap is not going to be about happy things because there is 'nothing for children in the ghetto to smile about'. Queen Latifah expressed that the expansion of hip-hop has been so rapid that the hip-hop community is still playing catch up and as a result has put limits upon itself. David Mayes and the RZA saw this expansion as a large problem in that hip-hop is being encroached up by outside forces. Master P made a very salient point when he touched on how to bridge academics with hip-hop. Knowing that many rappers are not formally education there is room for professionals to provide services to them. He asked that professionals, particularly those of color, use their expertise and join the hip-hop community to make it a success. The hip-hop community needs lawyers, doctors, and accountants also. It was presented as a concrete solution for those who created and were an inspiration for hip-hip to keep control of it.

The panel was asked to speak on their own experiences with racial/hip-hop profiling. Shyne spoke about how radio and video outlets won&Mac226;t play his music because of his gun charge. Contrasting this with Eminem , who also has a gun charge, receives major support and rotation from all of the major media outlets. Queen Latifah had the most interesting perspective in that her father, brother, and uncle were all policeman. She spoke of how policeman would not have to use racial profiling if they had better rapport with the community. This would lead to less mistrust and the police could rely on the community as an ally. Most importantly to her was that racial profiling would always be problematic as long there was racism.

Lastly they were all asked to comment on how their music effects adolescent&Mac226;s perceptions of violence and persons of the opposite sex. Fat Joe clearly stated, what he does is entertainment, although it is based on the past experiences of himself and those close to him. As role model, he felt that it was his personal responsibility to go back to the Œhood and speak with and motivate the youth. Joe even admitted that he tells kids that he graduated from high school although he did not. He felt it was important to show the importance of education to the youth. Shyne also commented about how his perception of life was changed through reading. Being the only female on the panel Queen Latifah spoke about male-female images in hip-hop. Latifah stated that the image of rappers having several women creates mistrust towards men among women. Conversely, the notion that all women are hoes out to get money also creates mistrust toward women among men.

Overall the consensus was that these issues are all bigger than hip-hop. They stem from a poor educational system, racist police training, and the disenfranchisement of felons and people of color. This forum gave the artist an opportunity to speak with out having to be in a defensive setting. Each of the artists gave very emotional and sometimes personal statements. Many of the artists were able to tell their stories and the audience was able to see beyond the entertainer. Rev. Sharpton and Dr. Olgotree, of Harvard University, announced that there would be similar dialogues taking place all over the country over the next few months. It is my hope that these dialogues can move into action. This was a testament to the fact the hip-hop community will not be ignored. Hopefully these dialogues will lead to action to address the issues that concern and affect the artist, their communities, and fans.

by KRS-One


R-10 BREAKIN: (The study of Martial Arts).
Commonly called "Breakdancing," it's origins lay in the James Brown dance moves of the early seventies. It now includes up-rocking, pop-locking, jailhouse or slap boxin', Double Dutch, Electric Boogie, and Capoiera martial arts.
1 Breakin moves are commonly used in aerobics and other exercises that refine the body. Its practitioners are called "B-Boys," "B-Girls," and "Breakers." It is also commonly referred to as "freestyle street dancing." Break-dancing -- acrobatic style of street dancing. Popularized by the Rock Steady Crew, The New York City Breakers, and others.

R-11 EMCEEIN: (The study of Divine Speech).

Commonly referred to as "Rappin" or "Rap." The Emcee is a mass controller who directs and moves the crowd by rhythmically rhyming in spoken word.

1 The word "Emcee" comes from the abbreviated form of "Master of Ceremonies" (M.C.). In its traditional sense to "Emcee" (M.C.) meant to host an event.

2 Early Hiphoppas transformed the traditional character of the M.C. to include crowd participation routines. Today, the Emcee seeks to be a master of the spoken word, not just the best Rapper.

3 Emcees also deliver poetry readings, lectures and other forms of public instructions. Most Emcees pride themselves on the ability to tell a good story. Its practitioners are known as "Emcees" or "Rappers.". Popularized by Grandmaster Caz (Cold Crush Four), Cowboy. Melle Mel (Furious Five) and others.

R-12 GRAFFITI ART: (The study of Color, Light and Handwriting).
Commonly called "Aerosol Art," "Life Art," "Pieces," "Burners," and "Urban Murals." Other forms of this art include "Bombin" and "Taggin."

1 Today, Graffiti artists seek to be masters of handwriting, not just great artists. Graffiti artists pride themselves on the ability to write, and/or draw, a good story. Its practitioners are known as "writers" and "Graffitist." Graffiti -- writing or drawing that is scribbled, scratched, or sprayed on a surface. Popularized by Phase Two, Seen, Cope2, TAT's cru and others.

R-13 DEEJAYIN: (The study of Music production and Radio Broadcasting).

Commonly refers to the actions of a disc jockey. Hiphop's disc jockey doesn't just play vinyl records, tapes, and compact discs. He or she interacts artistically with the performance of a recorded song by "Cuttin," "Mixin," and "Scratchin" the song in all of its recorded formats. Its practitioners are known as "Turntablists" "Deejays," "Grandmasters," "Mixologists," "Mixmasters," "Jammasters," "Funkmasters" and "Blastmasters." Disc Jockey -- presenter of recorded pop music. Popularized by Grandmaster Flash, Afrika Bambaataa, Jam Master Jay, Kid Capri, Red Alert, Marley Marl, the Awesome Two and others.

R-14 BEATBOXIN: (The study of Mind and Body Health).

Commonly refers to the act of creating rhythmic sounds with various parts of the body, particularly the throat, mouth, and hands.

1 Philosophically, Beatboxin is about seeing the body as an instrument. Earlier versions of this expression included "Handbone" or "Hambone." It is the act of imitating early electronic drum machines.

2 These machines were some of the original beat boxes and imitating them was called "Beatboxin." Its practitioners are known as "Human Beatboxes" or "Human Orchestras." Popularized by Doug-E Fresh, DMX (Just-Ice), Biz Markie, Emanon.

R-15 STREET FASHION: (The study of Human Behavior).
Commonly refers to the clothing trends of the inner-city. However, Street Fashion deals with all trends and styles of Hiphop Kulture, what's in and what's out regardless of the expression.
1 Self-expression through Street Fashion is an important way to present Hiphop's identity and ideology to society. Street Fashion also represents the presentation of all Hiphop kultural codes, forms and customs. Its practitioners are known as "Hiphoppas," "models" and "role models." Popularized by Dapper Dan, Ron 125th, Karl Kani and others.

R-16 STREET LANGUAGE: (The study of Communication).

Commonly referred to as "Black English," "Urban Slang," and "Ebonics." It is Hiphop's language and linguistic codes, the verbal communication of the "streets." 1 Advanced Street Language includes the correct pronunciation of ones native and national language as it pertains to life in the inner-city. Its practitioners are known as "Hiphoppas." Popularized by Hiphoppas.

R-17 STREET KNOWLEDGE: (The study of Universal Law).

Commonly refers to the basic common sense and accumulated wisdom of inner-city families. It consists of techniques, phrases, codes and terms used to survive and the ability to reason soundly with or without the ideas or validation of the mainstream. Its practitioners are known as "Sister," "Brother," "Goddess," "God," "Earth," "Mother," "Father," "Teacha," "Queen," "King," "Princess," "Prince," "Lord," and "Divine." Streetwise -- knowing how to survive modern urban life. Popularized by Chuck D (Public Enemy), KRS-ONE, Rakim Allah, Poor Righteous Teachas and others.

R-18 STREET ENTREPRENEURIALISM: (The study of Trade and Business Management).
Commonly referred to as "having game," "The Natural Salesman," "the smooth diplomat who creates business opportunity." It is the readiness to engage in the creation of a business venture that brings about grassroots business practices. Many of Hiphop's kultural apprenticeships are included here as well. Its practitioners are known as "Hustlers," and "Self Starters." Entrepreneur -- person who undertakes a commercial venture. Popularized by Russell Simmons, Sean "Puffy" Combs, Luther Campbell and others.

In its true essence, Hiphop cannot be (and should not be) interpreted or described fully in words. It is a feeling. An awareness.

1 Intellectually, it is an alternative behavior that enables one to transform subjects and objects in an attempt to describe and/or change the character and desires of ones being.

2 Hiphop is a unique inner-city awareness that enhances ones ability to self-create. It is a "sight."

3 In the past Hiphop was spelled "hip-hop." True Hiphoppas are advised to spell Hiphop with a capital "H," as it is the name of our collective consciousness and our kulture.

4 Hiphop, spelled "hip-hop," means (hip) trendy, (hop) jump or dance. We are not just a "trendy dance" however, those that spell Hiphop like this (hip-hop) usually approaches Hiphop like a trendy dance or music.

5 In addition, Hiphop's kultural unity is established by spelling Hiphop as one word, "Hiphop," unless the term "Hiphop" is being displayed as art or in public advertisement.

6 Those that spell Hiphop, "hip-hop" are undermining Hiphop's kultural unity and demeaning the importance of what Hiphop really is.

7 Know this. Hiphop spelled "Hiphop," is not only the code for writers that participate in Hiphop's preservation, generally it is a matter of respect!

Hiphop Kulture is Hiphop's character. Hiphop is the consciousness, Hiphop Kulture is the collective character of the Hiphop consciousness. It is the consciousness in action.

1 There is Hiphop, Hiphop's kulture and Hiphop's elements. For the sake of convenient conversation, Hiphoppas are allowed to use the term "Hiphop Kulture." But in reality, it is Hiphop's kulture that is called "Hiphop Kulture." True Hiphoppas spell culture with a "K" signifying the "self-aware" Hiphop Kulture.

2 Hiphop Kulture spelled with a "c" (culture) represents those that regard Hiphop as a product (the "hip-hop" culture).

3 Hiphop Kulture spelled with a "K" also represents Hiphop after the year 2000. Hip-Hop culture spelled with a "c" represents "hip-hop" culture before the year 2000.

A Hiphop element is one of the contributing factors that express Hiphop's kulture. It is an aspect of Hiphop's kulture. 1 By itself it is not the totality of the kulture, it is a representation or an introduction to Hiphop's kulture. It is a skill that reflects the character of Hiphop's kulture.
2 An "element" is usually created when the Hiphop "sight" is applied to a subject or object. Presently Hiphop's elements are: Breakin, Emceein, Graffiti art, Deejayin, Beatboxin, Street Language, Street Knowledge, Street Fashion, Street Entrepreneurialism.


========END OF NEWSLETTER================

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written by Davey D
c 2000
All Rights Reserved

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