Well, we all saw the show “Iyanla : Fix My Life,” where spiritual and motivational guru Iyanla Vanzant attempt to help DMX. Well, that didn’t work. DMX said she made it worse for him. Everybody had an opinion and it could have gone either way, depending on your stance. But, it looks like there will be more controversy this week in the show that airs on Saturday.
Why? This woman:
Remember her? No? Yes? She’s one of the Real Housewives of Atlanta, Sheree Whitfield. She is going to be on the next episode of “Iyanla : Fix My Life,” and I am being told that she is upset about the final show. Now, the reasons why are not 100% clear, but there seem to be some similarities in why DMX was upset. She’s on there to repair things with her ex-husband, but the show seemingly goes in a different direction. According to DMX, he agreed to do the show for his apparent addiction to women. Soon, he was reuniting with his son and drugs was the hot button.
Bob Whitfield, her ex-husband, talked about it being a good experience, but said that Iyanla went HARD at Sheree. It seems that this is the crux of the beef.
And there you have it.
They keep us talking, but if we stop talking about them then they should worry! -illseed.]
(AllHipHop News) ESPN basketball analyst Chris Broussard spoke with The Daily Caller about Hip-Hop’s relationship with social issues like poverty, crime, and injustice.
“Hip-Hop is a symptom of the problem,” said Broussard . “It’s not the root cause of the problem.”
As the president of the Christian Men’s Movement K.I.N.G., Broussard has taken on the duty of fulfilling the organization”s mission of healing and empowering men of African descent through the teachings of Jesus Christ.
Part of that objective includes bringing light to systematic racism that still affects the black family and the Hip-Hop community.
“You’ll literally have black people going to prison for crimes that white people are not going to prison for,” said Broussard. “This impacts the family.”
The Sentencing Commission analysis found that black men were sentenced to nearly 20% longer sentences than white men for similar crimes. The gap increased after 2005 when the Supreme Court ruled that federal district judges can use “judicial discretion” in sentencing.
The Brandeis study found a 30% difference in the relative wealth growth between black and white families between 1984 and 2009. With home ownership being the biggest contributor to net worth, the collapse of the housing bubble and the Great Recession of 2008 caused a black-white divide of $85,070 in median net worth in 1984 to skyrocket to a difference of $236,500 in 2009.
White Americans also tend to start off in society at a better financial status than African-Americans. Whites are 5 times more likely to receive a family inheritance than blacks, and 80% of black students graduate from college with debt as opposed to only 64% of white students.
Broussard offers a defense of rap artists as being the voice of those individuals being affected by these government policies and economic inequalities.
“[Young rappers] are writing about the things that they see and may, in some cases, experience in their neighborhoods,” said Broussard. “Poverty, injustice, crime, fatherlessness, family breakdown — because all this exists in their community.”
On the other hand, Broussard also believes that rappers are responsible for the themes and images they display to young listeners who may not have experienced that lifestyle.
“Music that [some rappers] are putting out is reaching people who don’t live in that neighborhood and reality,” said Broussard. “You have young kids who are from nice, two-parent households… and they may be dumbing themselves down to act like the rapper that they idolize.”
Outspoken emcee Talib Kweli has never been shy about sharing his views on the important topics making news in the culture. AllHipHop.com got the opportunity to speak with the legendary Brooklynite about the recent criticism over Jay-Z’s trip to Cuba, Rick Ross’ cancelled partnership with Reebok, the rising Hip-Hop movement in BK, and whether he feels he has gotten his proper respect as a rap veteran.
AllHipHop.com: What is your reaction to Senator Marco Rubio and other republicans’ criticism of Jay-Z’s recent trip to Cuba?
Talib Kweli: One, we should always know which side of the fence the GOP, and anyone who claims to be Republican, is. Republicanism as an ideal is about conservative and small government, but in reality it’s a racist reaction to the Democratic policies of 1964. Once you identify yourself as a Republican, you identify yourself as an enemy of people. That’s not to say Democrats are the greatest. Democrats can be just as bad, but once you say you’re Republican I already know what you’re about. So anything that comes out a Republican’s mouth you gotta look at where the intention is.
Corporate interests are against Cuba. Cuba was a government that stood up to the United States and decided they were gonna be masters of their own fate. All those people Marco Rubio’s talking about, how did they get so poor? From Batista and his government’s connection with governments like the United States. Say what you want about [Fidel] Castro and Che Guevara, they revolted and gave Cuba back to the people. Is it perfect? No, but does the United States’ embargo and sanctions against them help make it more perfect? No, it doesn’t. It helps to make it worse.
As far as Jay-Z, he’s a grown ass man and he’s a free citizen and he can do whatever the hell he wants to do. I’ve been to Cuba with Black August. Our goal there was to connect with Cuban Hip-Hop artists, and that’s what we did. You can watch the documentary about it on YouTube. But, did I also go on the beach, have fun, and smoke in Havana? Hell yeah, I did. Why wouldn’t I? Now maybe Jay-Z is playing up that image too much, but that’s what he do. He invented “swag.” He said it on the song.
AllHipHop.com: What did you think of Jay-Z’s “Open Letter”?
Talib Kweli:I thought it was pretty good. I always wish Jay would go a little bit more in the depth of what’s he’s talking about. He sort of skims the surface of things, but he approaches it from the perspective of a rich man. That doesn’t mean that the record is not dope. I just sometimes want him to go deeper, but that s### stills sounds fresh.
AllHipHop.com: Do you think that Reebok’s reaction to the Rick Ross lyric controversy will affect the way artists approach writing in the future, specifically, artists that have corporate interest connections?
Talib Kweli:Maybe in the immediate future, but not in the long run. Artists are going to be artists. Look at Rick Ross’ content before this was a controversy. Rick Ross, as talented as an artist he is, was talking a lot about murdering and killing. Just like a majority of rappers who are on mainstream radio. So that wasn’t an issue for Reebok.
AllHipHop.com: So why do you think this particular line sparked such a response?
Talib Kweli:Because the people who were upset about it got to the point where it began to affect [Reebok]. It began to make their radar. I don’t think they did it out any moral obligation. If that was the case they never would have worked with Rick Ross.
AllHipHop.com: There’s been other lyrics in Hip-Hop that have addressed the same topic and other topics that can be seen just as offensive. Why do you think people got so upset about this subject?
Talib Kweli:It’s circumstance. Feminism as a movement in America is organized. It’s organized to a degree where there was an organized response that targeted Reebok. It was an organized group of people that got together and pushed. Same thing happened with Shawty Lo’s show. There were people who got organized and said, “No, we’re not having that.”
But there’s no organization representing young black men being murdered that would step up and be like, “no, we’re not having that.” That’s not to take away anything from any organized group of people. If people want to organize around stuff, we need to organize around all of it.
And I’m very clear about how I feel about artistry. I’m not down for censoring art. I get a lot of flack for saying that. In the face of some of the most despicable things that are said on records, I still defend it, and I get flack for it. When I defend it, I’m not saying that people in the community who have issue with it shouldn’t organize a response to it. Of course they should. That’s the natural response. Just like the artist has the right to say it, you have a right to organize a response to it. And we’ll see who’s stronger. And at that point people got to choose sides, and see who’s side they’re on.
AllHipHop.com: From you perspective, how’s does the depiction of “Hip-Hop” in the media, for example shows like Love & Hip Hop, affect the culture? And does your belief in an artist’s right to express themselves extends to depictions of television?
Talib Kweli:Those things to me are symptoms of the culture. I don’t look at Love & Hip Hop, and be like, “Ah, man. Young girls are gonna start acting like that.” I look at Love & Hip Hop and say, “Our young women are acting like that.” Now we see how corporations are starting to try to profit off of it, because people like to watch drama and the fighting. We need to get the community active to point where you see some b####### like that and you be like, “Nah, I ain’t watching that.”
When that starts to happen and there’s no money in it, then we start to change the tide. You don’t change the tide by attacking the t.v. show. That’s a loosing battle. I’m not saying that you shouldn’t be mad at a t.v. show you don’t like. I’m just saying strategically, how are you going to fight that battle.
My whole focus is always solution oriented. It’s never just complaining for the sake of complaining. What are we going to do about it? That’s why my whole career is based on presenting images and music that provides a counterpoint, that provides a balance to what we see in the mainstream. That’s why I always will work with a mainstream artist, and inject myself into the culture in that way. I realize my place in this culture. I realize that I’m a connector, and I can bring these ideas to the table. That’s just my strategy. Somebody’s else’s strategy might be different.
AllHipHop.com: Speaking of working with mainstream artists. Do you feel like people put you in a box and don’t see you going outside of that box when you work with certain artists, and that’s what kind of throws them off when you do?
Talib Kweli:It’s not just me. They’re putting whatever artist I’m working with in a box. They’re putting themselves in a box. People are used to dealing with things in packages. Everything we buy is pre-packaged. When you listen to Hip-Hop it’s all on the radio. It’s all on t.v. It’s used in commercials for advertisements.
Most people in Hip-Hop today don’t remember a time when they had to search and fine Hip-Hop in order to be down with it. Now you can be down with Hip-Hop just by turning on the computer. [Turn on] CNN and there’s a Hip-Hop beat playing in the background. You go on some blog and leave a comment and you’re Hip-Hop. You don’t even have to leave your house. You can be Hip-Hop in fifteen minutes. They have nothing truly invested in it. Matter fact they’re not even buying it, but they have all these opinions on it. So it’s an interesting relationship you have with the artist and the music. You don’t revere it. That’s something that artists who are making it now, who remember it like that, have to realize. You have to adapt or die.
AllHipHop.com: There seems to be a new renaissance in Brooklyn Hip-Hop happening right now. You have a lot of young artists starting to emerge from the Borough like the Pro Era crew, Troy Ave, Nitty Scott, and Flatbush Zombies. What’s you take on these artists?
Talib Kweli: Because it’s still Brooklyn, I’m still hearing a lot of street elements in the music especially with some of the artists you’ve named. But it’s refreshing to me, because what I see happening is that artists are realizing that they don’t have to take their cues from what’s going on in the mainstream. The way they’re marketing and promoting themselves is creative.
Mr. MFN Exquire, Troy Ave, Pro Era Crew, Flatbush Zombies, I think all that sh*t is fly. What I respect the most about it is that they’re not making industry moves. They’re moving as artists, and they’re serious about they s###. They’re making sure that they’re Soundcloud, YouTube, Tumblr, everything be in sync. They make the relationships they suppose to make. The fact that they’re names are even coming up in interview with me, and none of these people even get record deals, is a testament to how powerful they’re movement really is.
AllHipHop.com: Do you think that the era we’re in now allows indie artists to grow at a much faster pace or reach a greater audience…
Talib Kweli:I don’t think it just allows. I think it encourages. I don’t think there’s any other way of being successful. There are no more gambles in the music business. If you hear about an artist getting a deal on a label that’s because that m########### already got 20 million YouTube hits on each of his videos.
AllHipHop.com: Do you think a major is even necessary at this point?
Talib Kweli:I wouldn’t say necessary, but I would say it still can be a useful tool in terms of you spreading your craft. I think Kendrick [Lamar] used a major distribution situation to his advantage. Black Hippy and TDE used it to their advantage. You got Ryan Lewis and Macklemore who are killing it. With the moves they’re making they don’t have to go on a major at all right now. It would be in their benefit to be independent right now.
AllHipHop.com: You’ve been in the game a long time. Created classic albums. Do you feel like you’ve been given the proper respect or been properly appreciated for the work you put it?
Talib Kweli:I got no complaints. I’m sold to the media, to the labels as the underdog, under appreciated, and underrated and all that, but what I’ve focused on is what people give me credit for. I think that people don’t see all of what I do, but I don’t put that on people. I put that on myself. I think that I’m way more dynamic of an artist that I’m given credit for, but do I complain about it? No, I’m very blessed. My focus has been on lyricism, so no one can ever say nothing about me lyrically.
That’s one thing people can ever take away from me no matter whether they like me or not. If you say that I’m not a good lyricist then you probably just don’t know what the f### you’re talking about. But if you’re just like, “I don’t like his music, I don’t f### with him,” that’s just personal preference. But to me, I’ve established the fact that I’m a top-tier lyricist. So I think I get that respect from all across the industry and across the board. But I do think I have way more to offer than what people think I do, but I place that responsibility on my shoulders.
Last night a lot happened in New York and it was all caused by the cast from the show “Love & Hip-Hop Atlanta.” Mona Scott-Young and the reality show crew hosted a screening of the first show in front of a bunch of writers and bloggers. So here is a break down of what happened.
First of all, there was heavy security. All the cast members were well protected by at least one personal bodyguard. Joseline had a couple.
So, after the screening of the show, they did a Q&A and Joseine was missing from the stage. It seem that Stevie J upset her and she left. But, he simply complimented the mother of his child, Mimi. Guess people can’t say their baby momma looks good now.
As usual Stevie J was the star of the show. He was funny. He revealed he’s got a book deal in the works.
K. Mitchell revealed she is nearly finished her album but has one more joint to do with R. Kelly. She also revealed that she’s the first woman to get a Hookah endorsement deal! Black History! She also dissed the stuffing out of Bossip and one of the writers representing them at the event. She hated how they report on celebs, particularly when they are doing good.
Erica was just up there looking pretty. She said Scrappy couldn’t be there because he’s got a pending legal situation. Maybe it was that report on garnished wages but it seemed like something else.
Mimi was chilling too. She was going back and forth with Stevie J and dissing Joseline. She made it clear that she’s not a maid, but owns a cleaning company.
Mona Scott-Young was up there too. She revealed there’s a reality show with Bravo in the works, something we knew.
Ed Lover was in the house as well as Jeff Robinson, Alicia Keys former manager.
The crew from the Gossip Game were there too. Ms. Drama and Angela Yee were interviewing people on behalf of AllHipHop and Power 105. The rest of the crew seemed to be chill for the most part.
Editor’s note: illseed didn’t write this one.
They keep us talking, but if we stop talking about them then they should worry! -illseed.
(AllHipHop News) A Louisiana judge has issued an arrest warrant for Houston rapper Lil Flip. The “Game Over” performer did not show up to a scheduled court hearing and was held in contempt of court according to a report by TMZ.
Flip was originally arrested in December of last year after police in Mansfield, Louisiana pulled him over for speeding. Authorities then found a Bushmaster AR-15 assault rifle and allegedly marijuana in his vehicle.
Shortly after being released from jail Flip took to Instagram to address the situation and denied that he had anything illegal in his possession when he was stopped by police that night.
“#FRESHOUT???? GOOGLE OFFICER#9845 DENNIS, BUCKINGHAM IN MANSFIELD ,LOUISIANA I HAVE A GUN LICENSE..????” said Flip. “AND BLACK N MILD GUTS AIN’T GANJA???? ME SAVAGE BEEN OUT SINCE YESTER DAY…IF MY GUN WAS A PROBLEM WHY IS IT STILL IN MY TRUNK.. IT’S ALL GOOD.”
Flip later sent TMZ a copy of his Texas concealed handgun license and claimed that it is valid in Louisiana and 21 other states.
He also told the website, “I know they don’t mess around in Louisiana, and I wouldn’t do anything to make me go to the big house.”
In February, Flip pled not guilty to the charges of possession of a firearm, possession of a schedule 1 narcotic, and speeding.
Apparently, Flip was unaware of the most recent court hearing and is working with his attorneys to settle the matter.
Safe to say if the average person heard those phrases they would not think about marijuana. Amalgam Digital CEO turned filmmaker Anyextee’s newest documentary Harvest Season is set to change that and delve into the medicinal, horticultural, political and recreational culture of marijuana.
The film, which includes commentary from Hip Hop marijuana enthusiast Curren$y, takes the viewer into some of the grow fields in Northern California, Jamaica, and Mexico.
The film debuts on 4/20 at 4:20pm live from the High Times US Cannabis Cup in Denver, Colorado. For updates on the documentary follow it on Twitter @HarvestSeason_ and at www.facebook.com/HarvestSeasonFilm
(AllHipHop News) In these past two weeks, Jay-Z has started a sports agency, signed Robinson Cano, began his application to become a sports agent and now has relinquished his minority stake in the Brooklyn Nets.
In a statement posted on his Life+Times website, Jay-Z gave his thanks and states he’s now focusing on “building the brands of professional athletes”. The diverse entrepreneur says an NBA mandate requires him to relinquish his stake in the Brooklyn Nets in order for Roc Nation Sports to fully flourish:
Being a member of the Nets organization surpassed some of my greatest ambitions. It was never about an investment; it was about the NETS and Brooklyn. My job as an owner is over but as a fan it has just begun. I’m a Brooklyn Net forever. It’s been an honor to work with Mikhail Prokhorov, Dmitry Razumov, Christophe Charlier, ONEXIM Sports and Entertainment, Brett Yormark and all the wonderful people involved in making the Nets first class. My sincerest thanks goes to Bruce Ratner, who first introduced the idea of moving the Nets to Brooklyn. A thank you and deepest appreciation goes to the fans. You are the lifeblood of any team.
The Nets have made their mark on the NBA and as they enter a new era, Roc Nation does as well; as we embark on Roc Nation Sports. Our newest endeavor is committed to building the brands of professional athletes as we have done for some of today’s top music artists. For Roc Nation Sports to function at its full potential, NBA rules stipulate that I relinquish my ownership in the Brooklyn Nets. It was a tough decision but as I stated earlier, it’s not about ownership. Congratulations to The Nets on a great season and making the playoffs! I will always be a Brooklyn Net.
Rumors suggest that Mr. Carter is trying to get the sports agent application process over with in order to be able to participate in this year’s NBA draft which begins on June 27th.
SOOOOOO….yesterday was crazy! I know some of you don’t care about the god Afrika Bambaataa, but there are some of us that do. That includes ya boy ‘seed, who used to boogie to Planet Rock. So, the rumors were alarming. I will say this and this is just being honest. Some of the rumors in circulation have been in circulation for a long time. It was good to hear people speak up on Bam’s behalf to refute them. As far as the stabbing rumor, it seems to be unclear as to what really happened. Some of the most respected people in the game say he was stabbed weeks ago, but is now OK. And there is his management that totally refutes the notion. They say he had chest pains and was admitted to the hospital. I think I believe them to be honest. But, I find it interesting that these sensational rumors came out on Bam’s 56th birthday. There may be something on the horizon! Beware!
Famed photographer and Zulu Nation member Brother Ernie Paniccioli said: “Never underestimate the Devil.”
These rumors are definitely crazy.
I’m out.
They keep us talking, but if we stop talking about them then they should worry! -illseed.]
(AllHipHop News) It seems that Miley Cyrus’ New Years resolution was to enter Hip Hop. In his interview with MTV Hive, the Moroccan rapper confirms that the two have been in the studio together.
According to the rapper, the pair linked up at Clive Davis’ Grammy party back in February and united over shared inebriation:
That’s my dog. That’s my peoples. We became friends at the Clive Davis Grammy party. I was sitting there with Puff. She was sitting there with Wiz [Khalifa]. She just kept looking at me laughing, I kept on looking at her laughing. I said, “What you laughing at?” She said, “I know you high like me.” After that, we became mad cool. I went over to the studio, just kicking it.
Montana also reveals that the video for his upcoming collaboration with The Weeknd, entitled “Lifted” will begin shooting next week. His collaboration with Wale, “Back to Ballin” off Wale’s Folarin mixtape will be released soon and is reportedly shot by comedy collective Funny or Die.
The MMG-affiliated MC also spoke on Reebok’s recent decision to remove Ross as their spokesman:
I feel like a lot of people did worse than that and people didn’t judge them. They could’ve taken it light on him, understanding that it was a mistake. People make mistakes; we all human. That’s about it. As far as Ross, I know him personally. I know he’s a great guy. He’s like a big brother to me and I’m a big fan of Reebok. I can’t wait for them to cut me one of them big checks.
French Montana’s Bad Boy debut album, Excuse My French is set to be released on May 21st.
1. Once In a While (Feat. Max B)
2. Trap House (Feat. Birdman & Rick Ross)
3. Ain’t Worried About Nothin
4. Paranoid (Feat. C.A.S.H.)
5. When I Want
6. F**k What Happens Tonight (Feat. DJ Khaled, Mavado, Ace Hood, Snoop Dogg & Scarface)
7. Gifted (Feat. The Weeknd)
8. Ballin Out (Feat. Jeremih & Diddy)
9. I Told Em
10. Pop That (Feat. Rick Ross, Drake & Lil Wayne)
11. Freaks (Feat. Nicki Minaj)
12. We Go Where Ever We Want (Feat. Ne-Yo & Raekwon)
13. Bust It Open
14. Drink Freely (Feat. Rico Love)
15. Throw It In the Bag (Feat. Chinx Drugz)
16. Marble Floors (Feat. Rick Ross, Lil Wayne & 2 Chainz)
17. Ocho Cinco (Feat. MGK, Los, Red Cafe & Diddy)
18. If I Die
(AllHipHop News) Former Def Jam Records Mixshow Manager Kendell “Young Sav” Freeman has been appointed the Vice President of Maybach Music Group effective immediately.
Freeman, who has worked closely with Ross on his solo projects in the past at Def Jam Records, will oversee all MMG operations out of the company’s New York office. In a press release, Young Sav expresses his gratitude for the new position:
“I am extremely excited to embark on this new path in my career. I appreciate Ross for noticing my grind, work ethic and giving me a major opportunity to not only be apart of this label, but also help execute his vision. It’s going to be a privilege to work with the brand and assist in taking it to the next tier. All of the artists on the roster are amazing. I’m ready to get to work.”
In the press release for the announcement, Ross touched on his personal relationship with Sav and his work ethic:
“Feels great calling one of the hardest workers and few people I consider a close friend the new VP of MMG.”
Shawn “Pecas” Costner, the Senior Vice President of Def Jam Records describes Sav as “one of a kind” and asserts that his “talent and knowledge helped redefine the lifestyle approach to marketing and promoting some of the biggest names in Hip-Hop.” Besides Ross, Sav has worked on projects by artists such as Jay-Z, Trinidad James, Big Sean, Lil John along with an extensive list of other high profile artists over the past decade.
Freeman will continue to collaborate with Def Jam Records on Rick Ross’ solo projects.
The greatest hip-hop album ever was made 25 years ago this month.
Its title alone speaks volumes: It Takes A Nation Of Millions To Hold Us Back.
At the time, it was a metaphor for African-American people, a nod to the systemic racism plaguing America, but for others, it also represented the uphill battle Public Enemy faced.
The album was crafted at a time, 1988, when hip-hop had no boundaries and every landmark album was groundbreaking. But Public Enemy broke ground that went clear through to the other side of the world when they made It Takes A Nation Of Millions To Hold Us Back. The album is what we call a Magnum Opus (Latin for ‘great work’).
The beginning of Public Enemy’s world dominance
PE’s second album, It Takes A Nation boasts one of the slickest intros, but it forecasted what was to come — world domination.
It Takes A Nation kicks off from a recording in London, while the Long-Island-born group toured the world on the 1987 Def Jam tour. They were informing America that they had already been approved by the world and now it was America’s turn.
Of course, hardcore hip-hop heads had already embraced their first album, Yo! Bum Rush The Show, but this was special.
Since the beginning, hip-hop has hinged on endless circular discussion of “Who is the best?” “Who had the best album?” or “Who is the best emcee ever?” They echo to this day. Pondering the best is a true cornerstone of hip-hop and opinions are fact to the person who holds them.
So, let’s discuss this album in that regard. At the time if its release, the album was heralded as the best album of 1988 by the Village Voice‘s celebrated Pazz & Jop Critics Poll, a first for a rap album. It was also ranked number 48 on Rolling Stone magazine’s 2003 list of the 500 greatest albums ever made. No other rap album was held in higher regard.
Additionally, NME, Vibe, and AllHipHop.com also agree: This is the one. Across all musical barriers, the album is beloved. Twenty-five years doesn’t diminish this classic.
It Takes A Nation means different things for different people.
For the hip-hop audience, it represented a musical revolution and an insurrection of the mind of its listeners as well. Suddenly, hip-hop morphed into something that offered socially-relevant content that was overt, brash, abrasive, and jarringly proactive. That was Public Enemy. “Bring The Noise” was like a call to action, as front man Chuck D bellowed “Bass! How low can you go?” on the album’s lead song. Other songs pushed themes of Black Nationalism, community unity and offered an overall smorgasbord of rebellion. This was bigger than hip-hop.
Middle-class white kids looking for an outlet were also attracted to the Public Enemy movement thanks to It Takes A Nation. Gradually, they pushed it to platinum status over a year after its release. In the 80s, many of those kids were impressionable and hip-hop, a fairly new phenomenon, helped open them up to different ideologies and thinking. But this perfect storm cannot truly be discussed without delving into the music.
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