(AllHipHop News) Julio Acevedo is wanted for allegedly murdered a pregnant woman and her husband in a hit-and-run accident and was already a murderer before that unlucky incident.
Acevedo is also the man who murderede Brooklyn gangster Kelvin Martin, better known as the original “50 Cent”.
According to police reports, the 44-year-old was allegedly speeding in a 2010 BMW at double the speed limit and crashed into a cab with Nachman and Raizel Glauber along with their unborn child on Sunday (March 3rd).

Williamsburg photographer Shimon Gifter was on the scene and told the New York Post that Acevedo returned to the crash site after initially fleeing once helped out the mangled BMW:
“It was absolutely freezing, and this guy was wearing a sweater, smoking a cigarette. He looked very nervous. He just looked at the crash and went back the same way he came, up Kent Avenue. He just disappeared.”
The Hassidic Jewish couple died in separate hospitals as Nachman passed away from head injuries at Beth Israel Medical Center and Raizel was sustained long enough for doctors at Bellevue Hospital to deliver a C-section before she eventually died. The newborn baby died the following day (March 4th) on what would have been his 21 year old mother’s 22nd birthday.
Acevedo was arrested a few week prior on February 17th at 3:15 A.m. for drunk driving in a separate BMW.
His rap sheets extends past drunk driving and includes drug possession, reckless endangerment, robbery and the infamous 1987 murder of the original “50 Cent” which he served over a decade for in prison.
“You waited 13 years, what’s two more hours.”-Questlove
The perpetually jovial Hip-Hop historian/drummer/everything Questlove said this around 11 pm to hundreds of people who had been standing in sardine formation for hours waiting for a 9pm show to start. Mick Boogie did an exceptional job entertaining the near riotous crowd with an expert blend of old school cuts from almost any and every artist that ever participated in the Soulaquarian movement. However, with no opening act and the crowd body heat reaching critical levels people began to plan exit plans. Some concert goers were even overheard giving the reclusive genius until 11pm to materialize or he would be replaced with DVR viewings of “Girls”.
Once the 5’6, 38-year-old phenom emerged dressed in all black like The Omen with Questlove in tow (sporting a “Free P#### Riot” shirt) disgruntled sighs quickly turned to jubilant yells. Before his ravishing opening cover of Sly and the Family Stone’s “Let Me Have It All”. Before his beautifully controlled wailing high notes on Voodoo‘s “The Root”. Before the show really started, all there was were two men and hundreds of cheers.
Then history began.
Unofficial moderator Questlove informed the crowd from the beginning this performance will resemble the numerous jam sessions him and D’angelo have when recording music. That feel permeated every facet of their performance. Whether it be the unspoken back and forth joking between two longtime friends during songs such as The Funkadelics’ “Cosmic Slop” or how each song bled into the next, the performance always retained this organic feel.
The set list took the gleeful spectators through classics from D’angelo’s two masterful albums 1995’s Brown Sugar and 2000’s epochal game changer Voodoo and also covers of bands that influenced the brilliant singer. D’angelo’s vocal command was as crisp as ever with only a few spots during a cover of The Ohio Players’ “Our Love Has Died” showing signs of rust natural with such a prolonged absence from regular live performances. An underrated talen of his is his expert musicianship and the way he manipulated the Fender Rhodes and Hohner D6 Clavinet while belting out intricate vocal patterns was mesmerizing. The big voice did not match the sheepish demeanor D’angelo displayed throughout the night.
Following a rendition of “Really Love”, the packed Brooklyn Bowl crowd applauded so loudly Questlove and D’angelo could not communicate, prompting the always loquacious drummer to deliver the night’s most heartfelt and revelatory moment.
“Keep clapping. Let him know he is loved or y’all might have to wait until 2044 for the next album.”
There was a microphone in the center of the stage that was not used for one single song. D’angelo, the emblem of the golden era in neo-soul returns to Brooklyn for the first time in over a decade and opts to play on the side instead of center. This was not simply another test run for a D’Angelo re-acclimating himself to not only the grind of performing but the realization of his immutable impact. This was a reclusive genius coming out of hiding to see not if he still had it but if the people still wanted it.
He only spoke one word in the center mic, a singular “yes” at the end of jam session. He was answering Questlove’s question “Is the album almost done?”
Besides a few soft spoken “Thank You’s” and one “I love you too” he let the music speak. After the last cymbals crash on the epic Voodoo closer “Africa” and the two men returned to the backstage area, fans did not have to wait 10 years for a follow up performance but rather a few minutes for the encore. D’angelo and Questlove capped the night off with a soul-stirring rendition of Brown Sugar‘s “Alright”.
Overall, D’angelo proved why he is in another stratosphere than the new generation of experimental urban singers(read: Frank Ocean/The Weekend). D’angelo has reentered himself into the national consciousness and the only thing left is to hear the as-of-yet untitled album before he can dust off the crown he relinquished over a decade ago.
Here is the complete set list:
1) Go Back To The Thing / Let Me Have It All (Sly & The Family Stone cover)
2) Cosmic Slop (Funkadelic cover)
3) Woman’s Gotta Have It (Bobby Womack cover) / The Line
4) You Caught Me Smilin’ (Sly & The Family Stone cover)
5) Tell Me If You Still Care (The S.O.S. Band cover)
6) Our Love Has Died (Ohio Players cover)
7) The Root
8) Alright / Mother’s Son (Curtis Mayfield cover)
9) Really Love
10) New Position (Prince & The Revolution cover) / Africa
11) Lady (encore)
Check out D’angelo perform the Brown Sugar cut, “Alright” at last night’s Brooklyn Bowl show:
(AllHipHop) West Coast Hip-Hop icon Snoop Dogg aka Snoop Lion has announced that he will be featured in his own video game set to release in conjunction with both his new album and film called, Reincarnated.
Coming together with U.K. based video game publisher, 505 Games, and video game developer Echo Peak, Snoop has combined his passion for Kung-Fu movies and his music.
In the game Snoop uses his Kung-Fu skills to fight off different characters at each unique level of the video game.
“Everyone knows that Snoop is down with the biggest and best video games whether it’s droppin’ my hits on the soundtrack or showing the world I can go toe- to-toe with the best fighters on the street but ‘Way of the Dogg’ is the first true gamification of my music. It’s the way you live, it’s the way you do what you do and captures the beat, the rhythm and the spirit of my music. It’s not just about who you are or where you’ve been but where you are headed to. This game shows how we evolve as individuals and they’ve incorporated the journey of my own personal reincarnation as Snoop Lion into my character, the environments and the path that players have to follow,” said Snoop Dogg.
Way of the Dogg is an officially licensed collaboration, inspired and soundtracked by the music that Snoop created for a generation of Hip-H0p fans.
Way of the Dogg, is set to release April 23, 2013, while the film will hit select theaters on March 15, 2013.
Snoops new game can be played on Xbox LIVE® Arcade for the Xbox 360, on Microsoft and on the PlayStation Network and mobile platforms.
(AllHipHop News) At the turn of the century the Dipset crew rose from Harlem, New York and became one of the most successful groups in rap history. Cam’Ron, Jim Jones, Freekey Zekey, Hell Rell, J. R. Writer, 40 Cal, and a young emcee named Juelz Santana became the faces of Harlem Hip-Hop as songs like “Oh Boy,” “Crunk Music,” and “Dipset Anthem” became national hits.
Now in 2013 there is a new crop artists from Uptown NYC that have started to garner mass media attention. In particular, A$AP Rocky and Azealia Banks are two Harlem natives who have not only caught the ears of music fans, but they have also caught the eyes of high fashion circles.
Both Rocky and Banks have also faced a certain level of criticism from some Harlemites who feel that their music and their style are not true representations of the famous Manhattan neighborhood.
Banks actually got into a twitter beef with Dipset member Jim Jones in August of last year that eventually led to her recording a diss track against her fellow Harlem native.
Now fellow Diplomat Juelz Santana seems to be of those Harlem residents that’s not ready to fully embrace A$AP and Azealia as the “New Harlem” either.
“No, we Harlem. Forever,” responded Santana when asked by Pitchfork about A$AP Rocky and Azealia Banks leading the pack for Harlem Hip-Hop.
“They doing they thing,” added Juelz. “But when it comes to representing and embracing the essence of what Harlem represents, we do that.”
While A$AP Rocky is from New York his signature sound is more a mixture of southern “chopped & screwed” beats and a midwest flow. Azealia Banks’s musical style leans towards house-influenced tracks similar to 1990’s singer Crystal Waters.
Even though neither Rocky nor Banks choose to record over more traditional New York boom-bap tracks or sped up soul samples, both have helped bring attention back to a mainstream New York rap scene that had been dormant for years.
[ALSO READ: A$AP Rocky Only 5th NYC Rapper to Reach #1 in Last 5 Years]
The question of whether A$AP and Azealia accurately “rep” Harlem or if they are just presenting their own unique styles may not matter if Juelz Santana’s upcoming comeback album, Born To Lose, Built To Win, is well received by New York rap purists and the nation at large.
[ALSO READ: Juelz Santana Explains Lil Wayne’s Role as Executive Producer On New Album]
Juelz recently released his mixtape God Will’n in January.
Watch the full interview below.
TO HEAR THE AUDIO VERSION OF THE DAILY WORD **CLICK HERE
“Everyone who got where he is has had to begin where he was.”
-Robert Louis Stevenson
“The elevator to success is out of order. You’ll have to use the stairs, one step at a time.”
-Joe Girard
“It does not matter how slowly you go as long as you do not stop.”
-Confucius
“Nature does not hurry, yet everything is accomplished.”
-Lao Tzu
“If you spend too much time thinking about a thing, you’ll never get it done.”
-Bruce Lee
“The path to success is to take massive, determined action.”
-Tony Robbins
“It is not important to be the best, just do your best.”
-Fortune Cookie
“Be Content with what you have; rejoice in the way things are. When you realize there is nothing lacking, the whole world belongs to you.”
-Lao Tzu
—
Ash’Cash is a Business Consultant, Motivational Speaker, Financial Expert and the author of Mind Right, Money Right: 10 Laws of Financial Freedom. For more information, please visit his website, www.IamAshCash.com
(AllHipHop News) This year will be the 10th anniversary of the release of Jay-Z’s seminal The Black Album. The names on the production credits for that LP read like a first-ballot induction list for a Hip-Hop Producers Hall of Fame. Timbaland, The Neptunes, Kanye West, Rick Rubin, Just Blaze, and DJ Quick all contributed tracks to what Jay presented as his “retirement album.”
There was also a relative newcomer that made the album as well, and since then North Carolina’s 9th Wonder has become one of the most sought after beatmakers in urban music.
Recently 9th sat down with Life+Times to discuss how he hooked up with HOVA and the process for making the R. Kelly sampled track “Threat” for The Black Album.
“‘A Woman’s Threat’ by R. Kelly is a very slow song,” says 9th. “I had to really challenge myself and say ‘ok how can I take this song and instead of time-stretching it, smush it and make it fit an upbeat tempo?'”
9th also talks about Jay requesting that he keep a “New York bounce” on the record.
“The New York bounce is when the swing is all the way up and it’s the boom-bap sound which was originated by DJ Premier and Pete Rock and Marley Marl,” explains 9th. “It’s kind of a derivative, or a play off of, or a descendant of ‘Impeach The President‘.”
Prior to working with Jay-Z on “Threat,” 9th Wonder was best well-known for producing Little Brother’s entire debut album The Listening that was released several months before The Black Album in 2003. 9th also produced every track on the Hip Hop trio’s (9th, Phonte, and Big Pooh) 2005 underground classic The Minstrel Show.
9th Wonder has also worked with Chris Brown, J. Cole, Erykah Badu, Kendrick Lamar, and many others. In 2012 he released two collaborative albums- The Solution with Buckshot of the Boot Camp Clik and The Final Adventure with Los Angeles emcee Murs.
[ALSO READ: Exclusive: Beatmaker and Educator 9th Wonder On His New Buckshot/Murs Albums and The HBCU Effect]
9th also released the remix album Black American Gangster in January. The 14-track project features Jay-Z’s vocals from the American Gangster LP over revamped soul samples from the 1970’s.
Watch the full Life+Times interview below:

Hot off the presses. I got this straight from the boss Chuck “Jigsaw” Creekmur. He hosted a conversation with Joe Budden at the Apple Store this evening in New York. Welllllll….some stuff came out of that conversation and it was revealed that Joe Budden isn’t likely to revive his Mood Muzik mixtape series. You know MM is one of the dopest series ever for a rapper and it really kept Joe hot in the streets until things settled down at the label. No more of them? Its not looking good! (Continued below.)

Joe also documented how he averted a beef with Lil Wayne and YMCMB. That lead to the situation where Wayne appears on the new album, No Love Lost, with “Put It Down.” Cool beans. It would be cool to get a new Mood Muzik, but Joe said that all of his songs these days are Mood Muzik. So, cop that album!

Buy No Love Lost HERE!
They keep us talking, but if we stop talking about them then they should worry! -illseed.
Illseed, Out.
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(AllHipHop News) Nick Cannon might not have been old enough to drink milk alone when convicted drug kingpin “Freeway” Rick Ross was at his height, but now he will be able to see what is like to be a major dealer in a new film.
The charismatic comedian/rapper/actor/host will depict the street legend in the “real Rick Ross'” upcoming biopic, as well as being installed as Executive Producer of the movie.
While on the surface some may believe Nick Cannon seems like an odd choice to play a drug lord, the man born Ricky Donnell Ross believes it was perfect.
“I chose Nick based on a few factors. The role is 17-25 in age, many of our award-winning actors are much older than that range. Nick is a guy who captures my character when I was in custody in San Diego.”
More shocking than the fact that the former Nickelodeon star was Ross’ own choice is the fact that he made that choice over 15 years ago.
In a YouTube clip with him and Cannon announcing the partnership, Ross says he has wanted Cannon to play his role since 1996 when he was only 16.
Ross also said him and Cannon will be working together with his non-profit organization, Freeway Literacy Foundation. The film will be directed and written by acclaimed filmmaker Nick Cassavetes.
“Freeway Ricky Ross is a living American legend. A modern day street genius. To not know his story is to not understand our country, how it works, what it needs, and what it will do to get it,” Nick Cassavetes told AllHipHop.com in a previous interview. “From his modest Los Angeles beginnings to his meteoric rise to the top of the drug world, Rick’s ‘hustle’ was unparalleled in modern history….but when that government was done with him, it locked him up and left him as the fall guy responsible for the destruction of an entire community.”
The as-of-yet untitled biopic will detail Ross’ involvement in the drug trade of the 80’s, his incarceration and more. According to Ross himself, there will be no glorification of the drug trade and the lifestyle associated with it in an attempt to present an honest tale:
“This story will be real, and show how the War on Drugs took young kids and turned them into criminals and set them for prison practically over night. It’s not just an LA story my reach was across the nation into black, white, and all communities regardless of class. Our goal is to tell the truth, not a vanity piece.”
Ross seems to be determined to shed light on the inner workings and corruption of the drug trade as he also has a new documentary slated for release entitled Cracks In The System.
Directed and produced by Emmy award-winning documentarian Marc Levin, Crack In The System will delve into the mechanics of the old and new crack laws, the failed War on Drugs and even include commentary from Snoop Dogg, Warren G and more. Crack In The System is set to debut in the fall.
Check below for video of Nick Cannon and “Freeway” Rick Ross announcing their partnership for the biopic:
On February 12, Quadeer “MC Spice” Shakur, the Minister of Information for the Zulu Nation, sent an open letter to Lee “Q” O’Denat, the founder and CEO of the video streaming website Worldstarhiphop.com, contending that the content on WSHH does not accurately reflect the true principles of Hip-Hop culture.
Now Hip-Hop pioneer and Rock and Roll Hall of Fame inductee Grandmaster Melle Mel of the legendary rap group Grandmaster Flash and The Furious Five has teamed with the Zulu Nation to pressure Worldstar to remove all references of “Hip-Hop” from their site.
Melle Mel and Shakur spoke with AllHipHop.com about the Zulu Nation’s ongoing petition and boycott of WorldStar and other items they view are misrepresenting the foundation that the culture of Hip-Hop was built upon.
“I think Worldstarhiphop has given young people a platform to exhibit horrible behavior toward other young people and toward the community at large, and they promote it like that has something to do with Hip-Hop,” says Melle Mel.
“They know for a fact just using the word ‘Hip-Hop’ is going to garnish some attention,” says the Zulu Nation’s Shakur. “They know exactly what they’re doing.”
The Universal Zulu Nation began in New York City in 1973 as a way to counteract the gang culture that had infested urban neighborhoods. Founded by Hip-Hop icon DJ Afrika Bambaataa, the Zulu Nation is now an international organization with branches in countries like France, Japan, South Korea, South Africa and others.
Hip-Hop as a culture was created by artists like Bambaataa, The Furious Five, Coke La Rock, and DJ Kool Herc to stop inner-city gang violence amongst Black and Latino youth. The culture is transmited around the world by the four basic elements of DJing, emceeing, graffiti art, and break dancing, and the fifth element of knowledge.
“Hip-Hop came out of gang culture into the culture of music,” says Melle Mel. “That’s the greatest thing that Hip-Hop brought to the black community. It brought us out of an oppressive situation.”
“People do know the difference between Hip-Hop culture and the word ‘Hip-Hop’ that has been loosely used,” says Shakur. “The only people who don’t know the difference unfortunately is the impressionable youth.”
Both Melle Mel and Shakur mentioned a recent video that was uploaded to WSHH as an example of the improper acts being exhibited by young people in the name of “Hip-Hop” that they feel are being promoted by WorldStar.
In the particular video, a teenager is forced to strip naked as another individual beats him with a belt. Other people in the background can be heard laughing and seen tossing water on the victim. Three people have since been arrested by Newark, New Jersey police officers and charged with aggravated assault and robbery.
Melle Mel believes that WorldStar should also take responsibility for perpetuating violence like the one displayed in the video of the young man being whipped by a belt.
In many of the videos posted to WSHH the individual filming can be heard yelling “Worldstar” as they videotape various violent attacks including staged bouts between teenagers.
“Worldstarhiphop is literally breaking the law on a daily basis when they’re showing assaults, and that could have been considered child pornography,” says Mel. “They’re just throwing it up there like it’s something funny. They are going to be held responsible as far as the law is concerned.”
Beyond arguing that WorldStar is contributing to illegal acts being committed by young people, Shakur also takes offense to the idea that the website in any way represents true Hip-Hop culture.
“WorldstarHipHop has no respect, as far as I’m concerned, for our people and our music,” says Shakur. “If it was in fact just a site for what we call ‘entertainment’ then let it be known at the bottom of your page. Put some kind of disclaimer that you are not in fact involved in or a part of real Hip-Hop culture.”
As a member of the Universal Zulu Nation, Shakur promotes the four spiritual principles of Hip-Hop culture – peace, unity, love, and having fun.
“Go to [Worldstarhiphop] and tell me if you can find any four of those at once,” urges Shakur. “If you are not abiding by the four spiritual principles, those are the core values of Hip-Hop culture, then you’re not a Hip-Hopper.”
“WorldStarHipHop has no more to do with Hip-Hop then FedEx has to do with the Federal Government,” adds Melle Mel.
WorldStarHipHop.com was started in 2005 by Queens native O’Denat, and has become one the most viewed video blog sites on the internet averaging between 1-2 million unique viewers every day. In March of 2012 it was ranked as the 269th most visited site in the United States, and reportedly earns over $2.5 million a year.
The website presents user submitted videos that include footage of fights, pranks, and comedy sketches as well as promotional videos from music labels and news clips from around the world. Music videos submitted by both established artists and independent artists are shown as well.
Grandmaster Melle Mel points out that the procedure for a user to submit music videos to WorldStar is different from the procedure to submit amateur videos of violent acts.
“If you call them and talk to them about a Hip-Hop video they’ll charge you to put that video up, but if you send them a video of you kicking someone’s ass or the booty videos, they’re throwing them up for free,” says Melle Mel.
“They are calling themselves Hip-Hop, and they’re not doing nothing for the culture except raping the culture in order to make money,” adds Shakur.
According to reports, a non-established artist has to pay $500 to submit a music video, $1,250 for mixtape/DVD trailers, and $2,500 a day for their video to be placed in the featured space at the top of the site.
While label-backed artists do not have to pay for their content to appear on Worldstar, the site does make a significant profit from corporate sponsored advertisements.
“[Corporations] understand that the culture can get a whole group of people to move,” says Shakur. “So our people are moved to shoot, kill, rob, and rape. Their people are moved to excel, excel, and excel all based on the premise of real Hip-Hop culture.”
A “video agreement” posted on WSHH states that once a user has submitted a video WorldStar has the right to use that video in form and to license it out to other parties:
By submitting the video, you hereby grant Worldstar Hip
Hop and its parent company, Worldstar LLC,("Worldstar")theirrevocable right and license to duplicate, broadcast,
exhibit, transmit and exploit the video, or to allow Worldstart to grant sublicenses to third parties to duplicate, broadcast, exhibit, transmit and exploit the video, on theinternet, television, mobile platforms or other media
throughout the world.You agree that Worldstar shall not berequired to make any payment to you or anyone else in
exercise of the rights granted in this Agreement, and
acknowledge that you shall receive valuable consideration in the form of placement of and promotion of the video.
Worldstar has faced legal issues concerning copyright infringement in the past. A March 2011 Vibe magazine exposé revealed that the site was temporarily shut down in January of that year after a user filed a copyright complaint because WSHH did not credit him as the video’s creator. Worldstarhiphop.com was then subsequently shut down by the site’s server for a time.
So far no one from WorldStar has responded to the Zulu Nation’s request to remove the word “Hip-Hop” from its name and its site, but the Zulu Nation plans to take further action if WSHH representatives do not respond to Shakur’s letter within 30 days, including reaching out to political leaders.
Shakur also says that O’Denat or anyone from WorldStar is welcome to attend the Zulu Nation’s upcoming 40th anniversary events to discuss what Hip-Hop culture is and what it isn’t. But until then Melle Mel and the Zulu Nation will continue its effort to recapture the term “Hip-Hop” from those using it to represent music, media, or actions that are going against the culture’s core principles.
“We are not going to let it go,” says Melle Mel.
“If it’s ours, let what’s ours be ours. And you just take yours and just do whatever you want to do with yours,” says Shakur. “Do it with yours, but don’t do it with ours.”
AllHipHop.com attempted to reach out to Lee “Q” O’Denat for a comment for this story. As of the time this article was published, he could not be located.
Watch a video of Quadeer Shakur addressing Worldstarhiphop.com below.
I think this would make Marvin Gaye have a heart attack while singing “What’s Going On?”. Well just a year or so ago, George Lucas created the movie “Red Tails” and all the Tuskegee Airmen were praised. They were praised last year at the BET Honors and they were praised this year the Inauguration of Barack Obama. But, I guess Detroit has gone full lawless or the kids just don’t know any better. Jesse Rutledge is a Word War 2 vet and an American Hero. But he got car jacked, despite being 88-years-young. “He said n*gga give me your keys, and he racked his gun back. They [was] little guys, they had the hood on. That’s when I really got upset,” Rutledge WXYZ, a local station. The boys were about 13. And they relieved him of his 1999 Jeep Cherokee. They must not know the concept of waiting consequences and repercussions yet. They will in due time. They were all caught and arrested.
Here is a weekend where Bro. Jesse was honored.
They keep us talking, but if we stop talking about them then they should worry! -illseed.
Illseed, Out.
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