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P.Miller Announces Benefit Superbowl Concert for Haiti Teens

(AllHipHop News) Fresh off the New Orleans Saints securing their first Superbowl berth, entrepreneur P.Miller will helm a Superbowl benefit concert to assist in rebuilding Haiti’s schools.

 

A New Orleans native, Miller witnessed the destruction of Hurricane Katrina firsthand, and has made it a goal to prevent Haitian children from losing their education needs during the rebuilding process.

 

“Seeing the process that the Hurricane Katrina victim kids have gone through, I understand the importance of the immediate need to help start the recovering and rebuilding process for education and getting kids back into the school system,” Miller explained to AllHipHop.com. “The earthquake has destroyed many schools. I’m teaming up with young entertainers, throwing a concert, and reaching out to young stars that want to make a difference. Kids can get involved and make a difference in Haiti.”

 

Miller’s work will be filtered through iHeartHaitiKids.org, which offers donation opportunities ranging from $25-$1000.

 

As with peers Wycelf Jean and Trina, Miller hopes everyone in the Hip-Hop community will mobilize long-term relief efforts well beyond Haiti’s front-page news coverage.

 

“Your donation will also be used towards the rebuilding of their schools, school supplies and books; putting these devastated kids on track to receive a proper education in their recovery process,” Miller continued. “This is definitely not an overnight process, this will take several years. You can log onto iHeartHaitiKids.org to do your part. I’m also proud of the way that the Hip-Hop industry has stepped up with all of the celebrities making a difference. Just remember, there are so many kids in Haiti that still need help. Donations big and small, together we can make a difference.”

 

For further information and donation opportunities, please visit iHeartHaitiKids.org.

 

At press time, P.Miller has not announced the concert’s full lineup for Superbowl weekend.

Hip-Hop Rumors: Mims Working On “Pants On The Ground” Dude?

DISCLAIMER:

 

All

content within this section is pure rumor and generally have no factual

info outside of what the streets have whispered in our ear. Read on.

HAITI EVENT ALERT!!!

ANSWERING THE CALL – A fundraising Initiative benefiting earthquake victims in Haiti

M2 Ultra Lounge – 530 W. 28th St., New York, NY 10019PARTNERING ORGANIZATIONS: The NBA Wives — Project Save the World, Hollywood Unites for Haiti, World Policy Institute, The Council of Urban Professionals, Harvard Black Alumni Society of NY, National Urban League, NAACP Brooklyn Branch, Carma Foundation, ACA United, Haitian Memorial Foundation, SIMACT, Harlem Jets, New Heights Youth, Inc., Haitian Americans for Humanitarian Action, Metro New York Chapter NBMBAA Association, Inc., Northern Manhattan Coalition for Immigrant Rights, ConceptLink Consulting, RG & Associates, Haiti Cultural Exchange, MIHventures, KYA Entertainment, AllHipHop.com

100% of proceeds will go to the following beneficiaries: The Clinton Bush Haiti Fund, Project Medishare, Yele Haiti, and The Haiti Support Project.TICKETS: Level I ~ $25 // Level II ~ $50 // Level III ~ $100 // VIP I ~ $250 // VIP II ~ $500

Buy Tickets for this Event

For more information, go to: http://www.theglobalsyndicate.org/index.html

MIMS IS WORKING WITH THE “PANTS ON THE GROUND” GUY?

Peep this! I am getting wild rumor that MIMS (Remember him?) is working with the dude that did the song “Pants On The Ground.” General Larry Platt is the man and he is a 62-year-old lyricist. I heard that they have actually gone into the studio already and started the recording process. I mean, this sounds as nutty as anything I have ever heard, but there may be something to it. Who knows!

ILLSEED’S QUICKIES

Looks like Johnny Depp is alive and well. People made up some dumb rumor that he died in a car crash. They can’t even be creative!

Somebody was shot in Atlanta and my sources are saying it was somebody in the Hip-Hop game. Stay tuned for more drama.

I can’t verify this, but did Briscoe diss Gucci first? Somebody told me that’s what actually happened and then Gucci replied with “Heavy.”

Javaris Crittenton, the other gun-toting Washington Wizard, has been slapped with gun charges.

HELL RELL CLEARS UP RUMORS

SIGNS THE WOLRD IS COMING TO AN END

When the police brutality strikes a young, Black violinist, you know the world is coming to an end.

This kid was beat down by the cops, because the cops thought he had a gun on him. What they assumed to be a gun was soda bottle. This high school student was beaten viciously as you can see from the picture and his dreds were ripped from his scalp. But, here is the scoop. Jordan Miles said he didn’t even have the soda bottle in his coat! They lied on that too! He’s got no reason to lie, but these cops certainly do. They needed some reason to justify the beat down. Basically, the cops missed a court date and they are scrambling. They know they are dead wrong.

“I feel that my son was racially profiled,” Terez Miles (mother) said. “It’s a rough neighborhood; it was after dark. … They assumed he was up to no good because he’s black. My son, he knows nothing about the streets at all. He’s had a very sheltered life, he’s very quiet, he doesn’t know police officers sit in cars and stalk people like that.”

JAZZY F’S RUMORS

So here is the Jazzy F. Scoop of the day. My sources tells me that Queen Bey aka Boss Bi#ch made it her way for the Haiti Relief concert that aired or shall I say Mattew Knowles way. What my source tell me is that Bey’s people made sure she was able to sing her own song “Halo” for the massive exposure which an event like this could only help your song have extra life on the billboard charts. I say very smart Bey.

Levi Johnston you know Sarah Palin’s daughter baby daddy is writing a tell all book. Its funny because homie can’t even see his child but he rather write a book before he take care of that. I say must be the money.

Oprah is trying to get Rosie O’Donnell on her new network on the low. I assume O wants all the big dogs.

Jennifer Aniston is suppose to be dating Gerard Butler. I also heard Kate Hudson was making out over the weekend with him at a party.

Kelis is back to looking weird and acting crazy telling people off. I heard the music is actually gonna be as usual out of this world.

Tiger Woods is suppose to be hooked up to a lie detector test. Everyone in sex rehab is suppose to do this to reveal the truth. I wonder what will be revealed.

Jazzy F. Leader of The Society signing off catch more @ TheSocietyOnline.biz & FOLLOW on TWITTER @ twitter.com/itsTHESOCIETY

MIMS, WE LOVE YOU!!!

They keep us talking, but if we stop talking about them then they should worry!

-illseed

WHO: illseed.com

WHAT: Rumors

WHERE: AllHipHop.com, MySpace.com/TheIllseed

HOW: Send your rumors and ill pics to illseed at [email protected].

Kurupt Reforms 4HRSMN With Ras, Canibus, Killah Priest

(AllHipHop News) Rapper Kurupt has revealed that he is planning to reunite rap super group The 4Hrsmn, which features Killah Priest, Canibus and Ras Kass.

 

The group of revered lyricists have collaborated on each others albums throughout the years, but a full-length album featuring each member has never been released.

 

A number of outtakes were released in 2001 on a leaked album titled The Horseman Project.

 

“Me and M-Eighty [Wu-Tang A&R] is putting this plan together to do this right,” Kurupt said. “We gonna rack up Cani, Ras, Priest. We are going to put together one of the best albums you can possibly hear. It’s definitely going to be the best Horseman album we’ve ever done. We’re about to bottle it all up and sell it in a drink.”

 

According to Kurupt, M-Eighty, who is also executive producing Canibus’ upcoming Warlab Records album Melatonin Magik, will help the group with their business, something they lacked in the past as a group.

 

“We never really had that, so I had a long talk with M-Eighty and we are putting that together now,” Kurupt continued. “We are putting the structure to it and we are going to give yell one of these classic, major Hip-Hop albums.”

 

No release date was available for the project at press time.

Tricky Stewart: The Star Maker

Over the past decade, Christopher Stewart produced several of the industry’s biggest hits: “Umbrella” (Rihanna), “Single Ladies” (Beyonce), “I Look to You” (Whitney Houston) and “Touch My Body” (Mariah Carey). To date, his production talents are responsible for the sale of more than 25 million records.

As the co-founder of RedZone Entertainment, “Tricky” has established himself as a cultural tour de force, along with his brother and artist manager Mark E. Stewart.  Since 1995, the company has produced a string of platinum and chart-topping singles that have drastically molded the contemporary music landscape.

At the close of 2009, in the midst of the successful release of “Hard” (Rihanna) and “Louboutins” (Jennifer Lopez), Christopher “Tricky” Stewart managed to squeeze some time out of his busy schedule and settle down for an interview with Clayton Perry—reflecting on the founding of RedZone Entertainment, the lasting influence of Lou Silas, and his transition from the football field to the production studio.

AllHipHop.com: You were raised in a musical household. What professional lessons from your parents’ experiences have you incorporated into your own career? 

“Tricky” Stewart: My mother was a program director and so was my father. I think the one thing that I learned by watching the artists come to the station to visit my mother was that all the great artists really had great personalities. They went out of their way to make other people feel more comfortable about their stardom no matter how big they were. So that was something that I’ve noticed over the years, that great artists really know how to be on the spot. Also, professionalism. Professionalism was definitely something that I pulled from them. And being a person of integrity. I think those two things also lead to longevity. I guess that’s why my career has lasted so long. 

AllHipHop.com: When did you realize that you wanted to make music the center of your universe and pursue it as a professional career? 

“Tricky” Stewart: I was about fifteen, probably, when I guess the harsh reality set in that I wasn’t going to be a professional football player [laughing]. When I finally decided to get serious about the music, instead of splitting my time with other things, I put all of my focus and attention on it fulltime. And that was when I just got far more engulfed in the art form. 

AllHipHop.com: I know you play a variety of instruments. Walk me through your musical evolution. What gravitated you towards the drums, the keys and the guitar? 

“Tricky” Stewart: Well, my most natural instrument is the drums. I’ve played the drums since before I could walk. I always was beating on something. So I guess with that, it was really just the sound of it. Any time that I go to a show, or anything, the person I’m always watching is the drummer, no matter how big the star is, because that’s where my attention goes. I guess I started thinking about playing piano when I wanted to make music. I guess I tried being in a band. People didn’t show up. Then I started to realize when they didn’t show up, your instrument didn’t sound the same if the other people weren’t playing with you. That was when I started to learn how to play more and more instruments. That way, no matter how many people flaked out, I could still do what I needed to do. 

AllHipHop.com: Earlier, you mentioned that at the age of fifteen, the harsh reality set in about what you were going to do with your life. Once you finally decided to enter the music business, how long did it take you to realize that your profession was concerned about the “business” component as much as it was about the music? 

“Tricky” Stewart: I guess the very first time that I realized that was early on in my career. My brother protected me from most of that stuff. My brother, Laney Stewart, who really started the whole thing, was going into the music business. I did this record called “Color With Love” on the Zebrahead soundtrack. Somebody tricked me into signing some paperwork. That was the first time I realized that somebody could really lie to you, in your face, that you thought was being sincere. 

AllHipHop.com: Oh, wow! 

“Tricky” Stewart: But that was kind of early on. I was probably sixteen, seventeen years old when that happened. I want to say for the record that my brother told me, before I left. He said, “Make sure you don’t sign nothin’.” He did tell me that. Whether he was my manager then, or becoming my manager then, I think he was just calling the plays from the sidelines, or something, at that point. But now, he’s obviously one of the best managers in the world. 

AllHipHop.com: Well, that’s a big brother’s job [laughing].  I’d like to go off on a tangent, for just a second. In the Zebrahead story, you used the word trick, which got me thinking about your nickname “Tricky”? Was it given to you by a specific person, or is it attached to a specific life event? 

“Tricky” Stewart: “Tricky” just came from my playing football. I used to play football pretty seriously. So that’s why I said that the harsh reality of fifteen is when I realized that I wasn’t going to be growing as much as the players that were coming back from their sophomore growth spurt. I never had mine. Everybody else came back 6’4” and I came back still 5’8½”. The name “Tricky” came from me playing football. I was hard to tackle. I played quarterback, so that’s where it came from. 

AllHipHop.com: As the co-founder of RedZone Entertainment, along with your brother, [Mark E. Stewart,] tell me about the company’s origins. I read in one brief that you actually got pulled to Atlanta at the request of L. A. Reid, so how did the company travel from Chicago to L.A. and then L.A. to Atlanta?

“Tricky” Stewart: Well, I guess from Chicago to L.A., that was just me leaving home at seventeen years old, going to live in L.A. with my older brothers to go make it in the music business. Obviously, that shook the family up pretty significantly, when you have young, black kids going across the country, away from their mom, to live on their own with a dream. So that was a very interesting time for our parents, and for my mom, because I know she was really, really scared about how we would even just turn out, as people. But it all worked out. Being out there, we kind of got put in the game a little bit. Louis Silas, Jr. really started putting us on this project, because my brother Laney had a really good working relationship with Lou. So we started showing up on remixes and things like that. From that point, we did this group called Blackgirl. Blackgirl had this girl, [Nycolia] “Tye-V” Turman – who is actually the girl who really got “Umbrella” started, too. It’s like a real long, full circle. Tye-V used to sing backgrounds for L.A. and Babyface down in Atlanta, because, I guess, that group was based out of Atlanta. She was bragging about these producers that she had worked with, Tricky and Sep, out in L.A. Somehow, they came up to L.A. Babyface was starting this new label called LaFace. From that point, what happened is, somehow we got in front of L.A. and his brother, who was the infrastructure at that time, I guess, when they were out in Los Angeles. So we played them some records. We didn’t even have a way to record the record. So we used to have to sing them live, like me and my cousin. We’re sitting in the car, right outside the Four Seasons on Doheny with L.A. Reid in the car, singing him this song that turned out to be “A Few Good Men,” for a single. And that’s how I ended up in Atlanta.

AllHipHop.com: Was there a particular moment or offer that really sealed the deal, in terms of bringing you cross-country? Did L.A. have to pull your leg hard?

“Tricky” Stewart: At the time — I think this was ’94 — they were building The Electric Company. He flew us down and just showed us what it was that they were doing, and then introduced us to this other producer. He had just got Darryl Ross and this other cat, this guy named Jermaine Dupree, OutKast and the whole Organized Noize situation, and we came down to be part of that. What ended up happening was that group, at that time, they just performed better than we were. We were given the same amount of opportunities, but we weren’t writing hits. But we had the exact same amount of access. You know what I mean? So we were at LaFace. We were one of the teams that came from there, but we just didn’t have the success that Jermaine had, and that Darryl had, and that Organized Noize had. We had Sam Saltzer and “A Few Good Men” stuff and Dede O’Neal, the stuff that we were supposed to really be knocking out of the park. The stuff was good, and everybody loved it, but we weren’t really having connections.

AllHipHop.com: What did that whole experience teach you about the nature of the music industry?

“Tricky” Stewart: It took me a very long time to learn that lesson. That lesson is, you’ve got to write hits. That was the biggest lesson: good is not good enough. 

AllHipHop.com: You mentioned your mentor, Mr. Silas. When you think about his life and legacy, what immediate reflections do you have on your experiences with him?

“Tricky” Stewart: I mean, Lou was our captain, for a lot of us, including L.A. I mean, L.A. and Babyface’s producing career had a lot to do with Lou Silas. Much of all the great stuff that people were listening to at that time was all done by him. That’s how we even found out about him. We were just reading the back of records. And we went and stood outside his car and just would harass him. My brother was working with him, but we were just fifteen year old kids trying to play records for the greatest record man walking the planet, arguably. He and Andre Harrell, at that time, were really just killing things.

AllHipHop.com: Now, you are one of the industry’s most sought after producers, which puts you in a position to be a mentor to other up-and-coming producers. That being said, what’s the first bit of advice that you give to aspiring producers?

“Tricky” Stewart: There’s so much advice you need. Is this person talented already? [laughing] Because it depends. Sometimes, the best advice is to let them know that they’re not talented in that way. You know what I mean? But if they’re talented — let’s assume that they’re talented. And let’s assume that they have something there. I would tell them to always make sure that they have a great song. You can’t flub. You can’t mess around with not having a great song. If you don’t have a great song, you don’t have anything.

AllHipHop.com: At RedZone, you have fostered what some would call a “creative community.”  What conscious steps do you take to foster such a community?

“Tricky” Stewart: You’re always developing. You’re always looking for the next thing. You never want to get caught not having the next thing. The dream is the peak of the development, of when it works right. People like P. Magnet, the girl that did Britney Spears, and all that kind of stuff. That’s the reality of what can happen if the hit doesn’t really get written. But when the hit really gets written, and the cat can really recognize it, and really put the guns behind who really has the talent, that’s when it works beautifully. But if the cat can’t recognize the difference between each writer and each producer and who’s in the closest writing the hit — even though sometimes it may not even sound like it’s the best produced — you’ve got to really have your song evaluation on. 

AllHipHop.com: And RedZone – what’s the inspiration behind the company’s name?

“Tricky” Stewart: The name Redzone is about always being on that quest to score. We’re football fanatics over here, so the red zone is the hardest part to score, but you’re always within striking distance. We want to just keep striking. That’s how we came up with that name. 

AllHipHop.com: There are several songs that I think not only defined your career, but also put you in a league of your own. For each, would you mind giving me some insight or some stories behind the scenes?

“Tricky” Stewart: Sure.

AllHipHop.com: “Just Fine,” in my opinion, is one of Mary J. Blige’s best performances. Although she was an established artist at the time, I think that particular song redefined her the possibilities for her career. What’s your take on that track?

“Tricky” Stewart: Let me see. The real special thing about that track, the first thing that instantly stands out, is my man, Jazze Pha. I love Jazze, and that was one of our early collaborations that we did together. Just the energy that was coming off of him, with that up-tempo swag that he was on at that time. I remember Dream when he first came up with the record. It was like when we first started. I don’t even remember how it all was really going on, but Jazze laid down the beat, and I was playing some keys, and played this bass line. Then he was like, “The bass line was crazy.” And by that time, Dream had already started writing the record and was ready to get on the mic. So that’s why the song was so simple: because it happened so fast, that I really only had a chance to put in those two little elements. After the beat was done — we had that basic beat down — once the bass line came, the boom, boom, boom, we put the little guitar part in and Dream was ready to do his thing. So we kept that record real, real simple. The other thing that was great about that record is that we wanted to get Mary in the club, but the club scene at that time, I think Soulja Boy was really killing it. It was like, we wanted to get Mary in the club, but we can’t get her into the club trying to blend her in with Soulja Boy. We wanted a record like when the throwbacks that came on – like when they started playing Michael Jackson or playing Prince records and “Da Club.” So we wanted to make it sound authentic to Chaka Khan or something where it was a feel-good record. That’s why we put the live bass on there, and the horns, and the live percussionist to give it that old, good feeling. 

AllHipHop.com: When you are working with an established act like Mary J. Blige, how do you treat them differently than, let’s say, a newer act? Rihanna, for example, became an international superstar with her breakthrough performance on “Umbrella.”

“Tricky” Stewart: Me, personally, I try to make sure that I treat them the same so that they can see that I don’t change. I really like to be consistent. The one thing as it pertains to the artist, as far as when I work with them, if it’s a new artist, the biggest difference is you’re trying to help them find a tone. You’re trying to help them find their space where they’re doing their best. Then they don’t sound like anybody else. But for somebody like Rihanna, that’s never been a problem because her voice is just so distinct. When she starts singing, it just sounds like that. But for some people, you’ve got to help them find their tone. You never know. Maybe T-Boz didn’t always sing low. Maybe she sang high, but didn’t find that tone, and you’re like, “That’s where you do your thing.”

AllHipHop.com: Is there a particular artist that you are really proud of helping them find their voice?

“Tricky” Stewart: I was really proud of Blu Cantrell. I thought we really locked in on something that was special with that half-gospel, half-jazz thing. That was very interesting to do. And to bring it to pop culture, a gospel-jazz twist, and still come up with hit-’em-up style. What was that record, that “Breathe” record, that she did with all that Dr. Dre beat? At that time, was really crazy, too. Those were some great albums, right there. That first album? That was one of my favorites.

AllHipHop.com: Speaking about this gospel influence, I just recently read a book by Craig Warner, [A Change is Gonna Come: Race, Music & the Soul of America], that talks about three impulses in black music, which come from gospel, jazz and the blues. Is there a conscious effort on your end to incorporate those elements?

“Tricky” Stewart: Yeah, to a certain extent. It depends. I would say on Dream’s albums, yes. It just depends, because sometimes I like to play on the other side, too, like on the more pop-y side. You can do that for a long time, too, and you don’t need any jazz or any gospel for that. 

AllHipHop.com: Right [laughing]. Over the years you have developed quite a relationship with The-Dream. What kind of chemistry do you have with him that you rarely have with others?

“Tricky” Stewart: Man, it’s like Batman and Robin. He’s the perfect songwriting partner for me, I think. You can have success with other people, but I believe that David Foster is David Foster because most of the records that he did with Diane Warren. Most of the records that L.A. produced, Babyface wrote.  The same goes for Jimmy Jam and Terry Lewis. You go down the list of all the great ones. Styles make fights and it doesn’t mean anything about anybody else’s writing or that you can’t do great things. It’s just that when me and Dream sit down to work, it just works. It just meshes. It seems effortless. We don’t really spend a whole lot of time trying.

AllHipHop.com: You have so many accolades to your name. When you look towards the future, is there a particular accomplishment that still lingers over your head that you hope you achieve?

“Tricky” Stewart: The thing that’s still lingering over my head is that I, in my heart of hearts, believe that “Umbrella” should have won song or record of the year [at the 2008 GRAMMY Awards]. And I still haven’t won that award! [laughing] “Single Ladies” is in the song category this year. And I really want to win that award. If we win that award, it can all be equal.

AllHipHop.com: Gotcha [laughing].

“Tricky” Stewart: But at the same time, I think “Umbrella” changed me. I think the Amy Winehouse record, [“Rehab”], was very well-done, but at the same time, it had already been done. What we did was kind of different. It changed how people listened to music at that time. I felt like we should have got it from an originality standpoint.

AllHipHop.com: From now until eternity, one song that will receive heavy rotation, through parody or female affirmation, is Beyoncé’s “Single Ladies.” As a producer, is it hard for you take musical risks and create something that has never been heard before?

“Tricky” Stewart: No, because we didn’t know we were taking any risks [laughing]. I believe that most artists – especially when you have a huge repertoire of music like Beyoncé’s and you look at the type of music she has gravitated towards over her career – I believe that certain rhythms belong to certain artists. When they walk in the room, it’s like that rhythm walks in the room with them. So that’s not a beat that I could make if Beyoncé’s not in the room. That’s not a track. That’s something that she’s bringing to the table. That’s what her swag makes you do and I think that’s why people compare that record to “Get Me Bodied.” But, at the same time, I wasn’t even thinking about that record. It wasn’t even in my mind. But then, obviously, when I heard it I was like, “Man, that does kind of have that vibe,” but then I went back and listened. That’s a vibe that she likes on her up-tempo records.

AllHipHop.com: When you look out at the current music landscape, what parting words do you wish to share with me and the future readers of this interview feature?

“Tricky” Stewart: I imagine not too much. The biggest thing about me is that I love what I do. I really love music. I’ll be here making music until the day that I die. If you’re not like that, I wish you would just get out of my business. There’s a lot of us that are like this. And I know a lot of them, people that really love what they do – Timbaland, Polow, L.A., Jimmy Iovine. But if you don’t really love this, and it’s getting down to the nitty gritty, you should just leave and just go. Do something else, because we don’t need people making mistakes right now.For more information on Christopher “Tricky” Stewart, visit his official website: http://www.redzoneentertainment.com

AHH Stray News: Pharrell, Tiny & Toya, Chuck D.

(AllHipHop News) Hit producer/singer Pharrell Williams dished out advice to attendees at the 2010 MIDEM convention, the world’s largest music industry conference, which takes place annually in Cannes, France. During his keynote, Williams spoke on the future of the music industry with Cornerstone Promotions’ CEO, Rob Stone. Afterwards, he was quizzed by the BBC about how artists can go about building a career, despite the fact that piracy is running rampant, in addition to music sales falling another 30% globally in 2009. “I would probably build a site, a home for my music, a destination where people could come and see me and what I do and what I’m thinking about,” Williams stated. “Then I’d probably assemble a team of kids that would go and bug the hell out of advertising agencies and marketing companies to use my music.” Williams also revealed that he had no problem with file sharing. “I think it’s cool that people test it out. I think that’s a good thing. How would you know what something tastes like if they didn’t allow you to test it?”

 

T.I.’s wife Tameka “Tiny” Cottle and Lil Wayne’s former flame Antonia “Toya” Carter have announced a second season of their reality show, Tiny & Toya. The second season premieres in April and goes deeper into the lives of the two best friends, as they balance motherhood, fame and their new businesses. Both women’s extended families are featured in the season. While Tiny helps care for her father who has Alzheimer’s, Toya “confronts” her mother Anita with “tough love,” as she fights a drug addiction. The new season of the show will premiere on BET on April 13.

 

Public Enemy front man Chuck D. has been tapped to give a keynote speech at The Ina E. Gordy Honors College at Mississippi University for Women on February 11. Chuck D. is slated to give a lecture titled “Race, Rap and Reality,” which will focus on the development and evolution of Hip-Hop music over the past 30 years, from a party medium to making social commentary and change. This Thursday (January 28), Dr. Thomas Velek, director of the college, will deliver his own lecture titled “Chuck D., Public Enemy and the Beginning of Modern Day Hip Hop,” in anticipation of Chuck D.’s February speaking engagement.

Rhymesayers Announce Benefit Concert For Haiti

(AllHipHop News) Minneapolis based Rhymesayers Entertainment will use the top artists on their label to help raise money and relief for Haiti, just as officials call off search and rescue missions in the country.

 

Slug of Atmosphere, Brother Ali, Freeway, Sage Francis, Jake One and other acts on the label will take the stage at Minneapolis’ First Avenue club to raise money to donate to Wyclef’s Yele Haiti, Oxfam America and Doctors Without Borders.

 

“This is one if the greatest tragedies of our lifetime,” Rhymesayers CEO Brother Ali told AllHipHop.com in a statement. “It’s time for all of us to help the people and families who are suffering.”

 

Today, representatives for 20 nations are meeting in Montreal, Canada, to discuss the long-term reconstruction of the country.

 

Officials like U.S. Secretary of State Hillary Clinton, Canadian Prime Minister Stephen Harper and French Foreign Minister Bernard Kouchner will also discuss a strategy for debt relief to further assist the country, which has been decimated by a series of natural disasters since 2004.

 

“It’s embarrassing to admit how unaware I’ve been of the living conditions in Haiti. And that’s before the earthquake hit,” Rhymesayers artist Sage Francis revealed. “I’m honored to be involved with this fundraiser and I’m thankful for the conditions that allow me to be on the giving end of this charity. I trust that our fans feel the same way.”

 

Other acts on the bill for the benefit concert include Toki Wright, B. Dolan, I Self Divine, Sims, Muja Messiah, BK One, DJ King Otto and Kevin Beacham.

 

Slug will play host during the charity performance and 100% of the proceeds will be donated to the aforementioned non-profits.

 

Tickets go on sale Wednesday (January 27th) for $20. The event takes place February 9, beginning at 7:00 PM.

Black Eyed Peas Win, Then Lose Best Group Award

(AllHipHop News) The Black Eyed Peas were disappointed at France’s NRJ Awards in Cannes, this weekend, after being announced as Best International Group.

 

The award was announced by choreographer Kamel Quali, who mistakenly declared the group winners, until minutes later, when he returned and admitted the error.

 

German band Tokio Hotel was then given the award for Best International Group, leaving audience members and fans a bit confused.

 

The same thing happened to Katy Perry at the 2009 Awards. She was awarded Best International Song honors, when the real winner was R&B songbird Rihanna.

 

In related news, will.I.am and The Black Eyed Peas have announced the “I.am Hope For Haiti Contest,” which urges fans to go out and fundraise for Haiti.

 

The top 10 fans that raise funds for the cause will be invited to attend a charity event with will.I.am in San Jose, California on April 1.

 

The top 3 fundraisers will each receive two free tickets the Black Eyed Peas concert the following day, also in San Jose.

 

The contest closes on February 12. For more information or to donate visit: http://apps.facebook.com/causes/posts/376481

PETA VP Calls Kanye An ‘Idiot,’ Labels Amber ‘Sleazy’

(AllHipHop News) The Vice President for PETA (People for the Ethical Treatment of Animals” has labeled Kanye West an idiot, after the chart-topping rapper and his girlfriend were seen wearing fur coats during Paris’ Men’s Fashion Week.

 

The photographs of West and his girlfriend Amber Rose have ruffled the feathers of the higher up’s at PETA.

 

The pair wore matching full-length lynx coats during a show at Men’s Fashion Week and according to PETA, refused to remove them.

 

“Kanye can’t help making himself look like an idiot, whether at an awards show or a fashion show,” PETA V.P. Dan Matthews stated. “He and his girlfriend look like pathetic creatures from a shabby roadside zoo.”

Drake and LeBron James Team for All Star Celebrity Experience

(AllHipHop News) The worlds of Hip-Hop and basketball will once again intersect during this year’s NBA All-Star weekend, as Young Money rap star Drake and the Cleveland Cavaliers’ LeBron James host the All Star Celebrity Experience.

 

The event will take place February 12 at the AMPM Lounge in Dallas and various entertainment areas in the city’s Mosaic building.

 

Located at 300 N Akard Street in downtown Dallas, AMPM is noted for an upscale vibe that includes more than seven party areas, 10 V.I.P. bars and two penthouse suites as well as music provided by four renowned DJs.

 

The All Star Celebrity Experience will be among a series of events planned for the all-star weekend.

 

The 59th NBA All-Star Game is slated to be played on February 14, 2010, at the Dallas Cowboys Stadium in Arlington, TX.

 

Among the starters lined up for the annual competition are James, Miami Heat guard Dwyane Wade, Orlando Magic center Dwight Howard, Boston Celtics forward Kevin Garnett and Philadelphia 76er point guard Allen Iverson for the East as well as the Phoenix Suns’ Steve Nash and Amar’e Stoudemire, Los Angeles Lakers standout Kobe Bryant, Carmelo Anthony of the Denver Nuggets and Tim Duncan of the San Antonio Spurs for the West.

 

The All Star Celebrity weekend marks the second time Drake has worked on a James-related project. The rapper was featured on the soundtrack to the basketball star’s documentary More than a Game.

 

The tune, titled “Forever,” included fellow rhymesayers Kanye West, Lil Wayne and Eminem.

 

Musically, 2010 looks to be a productive year for Drake, who saw his share of successful collaborations with Trey Songz, Timbaland, DJ Khaled, Gucci Mane, Birdman, Lil Wayne and Young Money in 2009.

 

The Toronto native is currently gearing up to release his forthcoming solo debut album, Thank Me Later, is slated to hit stores in March.

 

Monday Fashion Feature: Exclusive Preview – Sean John Fall 2010

Sean John currently has their New York showroom set up for “Market Week”, a time where buyers from retailers like DrJays.com visit the sales reps of their brands and write orders for upcoming seasons – in this case, Fall 2010. The design direction for Sean John’s Fall 2010 collection is themed “The Rivalry”. This story begins much the same as all great conflicts throughout history: two opposing forces that wage war for glory and respect on and off the “field” of battle. The privileged, the proper, the pure breed. Check out more images of the collection after the jump:

Continue reading “Monday Fashion Feature: Exclusive Preview – Sean John Fall 2010”

Lil Wayne: The Unreleased Interview

Lil’ Wayne has never appeared too interested in running Hip-Hop like several of his contemporaries. But, the New Orleans artist has some special soles on his shoes that reflect show some serious wear and tear. AllHipHop’s correspondent Henca Maduro recently unearthed this unpublished Lil Wayne interview, which took place shortly after Tha Carter III was released, during an Amsterdam tour stop. Tha Carter III, released in the summer of 2008, shattered all expectations and pushed a million units in just one week. The interview is a clear indication that Wayne knew what the future held for him in some regards and the unpredictability of destiny in other ways. One aspect of Wayne is transparent and that is what he holds dear and that there is a lot of ice-breaking that takes place in order to delve deep into Wayne’s world. AllHipHop.com: How are you doing?Lil Wayne: I’m great.AllHipHop.com: Do you get to sleep on the plane, because you do a lot of traveling? How do you make sure you stay fit?Lil Wayne: I get to sleep a lot…yeah. AllHipHop.com: What do you drink?Lil Wayne: Just soda. AllHipHop.com: …Because I read everywhere that you drink lean or its called “syrrup.” Can you explain to me what that is?Lil Wayne: No, I can’t. AllHipHop.com: No. Is that a lie? Ok…ok…ok…OK, but the drink is from Houston, right?Lil Wayne: I don’t know what you are talking about. AllHipHop.com: How do you make time to do you? You drop a lot of albums, travel, you do work with a lot of people. Lil Wayne: That’s me. That right there is me. Anything else is doing something else. AllHipHop.com: You work with a lot of different people. Who is the one that impressed you the most?Lil Wayne: (thinking) Uhmmmm…..AllHipHop.com: OK, who do you like to work with the most?Lil Wayne: Everybody. Everybody’s my favorite. I don’t have any favorites. AllHipHop.com: No favorites. OK. How do you make sure you maintain longevity in this game? You’re young, 26 years old, but you’ve been doing this for a long time. Lil Wayne: 25.AllHipHop.com: [laughs]Lil Wayne: Uhm…just keep on pushing. That’s all I can say. I wake up and do everything I do. Don’t stop. AllHipHop.com: Keep it going. In an interview, you said you, Birdman and Slim were a 3-headed monster. What did you mean by that?Lil Wayne: Its just a term used. A term [that’s been] used before…but business-wise. That’s what I meant. We coming to get our money. We’re coming to take over. AllHipHop.com: You’re also claiming that everybody jumped on Jay-Z, then everybody jumped on Kanye…now your like f**k it…everybody needs to jump on me right? Lil Wayne: I ain’t even trippin’ no more. That’s not even important no more. I’m seeing different kind of checks to where that doesn’t even worry me. That doesn’t matter no more. AllHipHop.com: So what matters now? You sold more than one million records in your first week. What does matter then?Lil Wayne: My daughter.  And my family.AllHipHop.com: How old is your daughter? Lil Wayne: She’s nine, about to be 10.AllHipHop.com: So, you had her early. Lil Wayne: Yeah, I did. AllHipHop.com: How do you make sure you have time to spend with her? Do you take her with you? Lil Wayne: Yeah, I take her with me and she makes sure I don’t have to make sure. AllHipHop.com: Like, “Dad, I’m coming with you!” She’s with you now? Lil Wayne: No, she’s not in Amsterdam. I don’t think she has a passport. She goes a lot of places with me though. AllHipHop.com: What do you say when she comes to you and says, “Dad, I want to be in the music industry.”Lil Wayne: That’s what she wants to do already.AllHipHop.com: What’s she do? She’s singing? She’s rapping?Lil Wayne: What does she don’t do? She sings, raps, dance…everything. AllHipHop.com: So, when is she doing to release some stuff?Lil Wayne: We got some stuff cooking. We’re thinking about it, yeah.AllHipHop.com: But this game is crazy so how are you going to protect her?Lil Wayne: Her mama have her.AllHipHop.com: What?Lil Wayne: Her mama got her back.AllHipHop.com: Oh yea? She’s like, “Don’t f**k with my daughter!” I read that you got married to your high school sweetheart, but then you got divorced. Are you seeing anybody?Lil Wayne: No, I’m not seeing anybody now, but that’s who I got married to [my daughter’s] mother. Yeah, that’s all. AllHipHop.com: If there are girl’s listening you now, saying, “That’s my baby daddy! I need to get Lil Wayne now.” What do you say? Lil Wayne: I’m not your baby daddy! [laughs] I’m chillin’…AllHipHop.com: How do you get to know people? Its not like people can walk up to you. Lil Wayne: Part of the reason I am single is I don’t get to meet no one. AllHipHop.com: How are they going to like you for you?Lil Wayne: (thinking) Well, I don’t know.  I try to be me and hopefully that works. AllHipHop.com: That’s what I am saying. They know who you are. Lil Wayne: That’s just a barrier that we’d both have to tackle. I have yet to find a woman that…AllHipHop.com: Tell me about Young Money.Lil Wayne: Young Money, that’s still my label. They still have my artists on there and they’re still doing great. AllHipHop.com: So, what’s going on with Currency? He was one of the first artists signed to your label. Lil Wayne: Currency was a part of the label and now he’s not a part of the label. He’s doing his thing right now and we wish him much success. AllHipHop.com: So, which artist is going to be the next Lil Wayne or the next big thing on Young Money?Lil Wayne: I don’t want to say “the Next Wayne,” because I want somebody to be better than me. But, everybody on my label, I have confidence in…I have faith in. They all are just amazing. AllHipHop.com: Could you see yourself doing anything in R&B or do you see yourself singing? Lil Wayne: I’ve been singing for a minute now. I’ve got songs out there that people seem to be liking. AllHipHop.com: You know Hip-Hop. You’re supposed to be tough and stuff…and now you’re singing. Lil Wayne: I just wanted [to do it] because it came natural. AllHipHop.com: What producer do you like a lot? Who do you want to work with?Lil Wayne: I don’t wanna say nobody’s name. I don’t want no problems. Everybody’s nice to me. I use everybody’s beats.AllHipHop.com: What matters most to you in this music game? The money or the recognition? Lil Wayne: My daughter. AllHipHop.com: There have been stories that you have beef with The Clipse.Lil Wayne: [motions]AllHipHop.com: You don’t know them?Lil Wayne: Yeah, I know who it is, but I don’t know of any beef. AllHipHop.com: If there are any talented people that want to get on your label, how do they go about it?Lil Wayne: There’s a website: youngmoneyent.com.  You can go on there and you can find the section where you can leave your demo there. And you leave your name and your number. We’ll get it. AllHipHop.com: I know how it works in the states. Nobody ever listens! Are y’all really listening? Lil Wayne: I can’t even front…I listen to me all day. AllHipHop.com: [inaudible]Lil Wayne: I listen to me all day only because I am trying to critique what I should’ve said, what I didn’t say. AllHipHop.com: From this last album, Tha Carter 3, what would you do differently? Lil Wayne: I haven’t actually listened to it all yet, because I know its going to be too much that I’m gonna be mad at. AllHipHop.com: If you are a perfectionist, are you as hard on the people around you as you are on yourself? Lil Wayne: (pauses)AllHipHop.com: Be honest! Do they hate you? Lil Wayne: I’m not mean, I’m not too nice, but I’m a business man. I yell when I want my business done right. AllHipHop.com: An 11-year-old fan asked me to ask you this: your name, Lil Wayne, suggests that you’re still little. Bow Wow got rid of the “lil.” Are you going to get rid of the “lil'” because you are a grown man now?Lil Wayne: I’ma still keep it, because I’m actually a junior. So, I am little Dwayne. AllHipHop.com: Another person asked how do you intend to make your next album better than this one?Lil Wayne: Work harder. That’s all I could do. And, if that doesn’t work, work harder than that. AllHipHop.com: In one video, you thank your fans, because they are the ones buying the music. What do you have to say to your fans?Lil Wayne: I appreciate every single fan. I appreciate every fan, because without you I am nothing.  This is no interview without the fans.

Snake Oil Salesmen: What the Cash Money Oil Deal Might Mean For Hip-Hop

Rule #1 in Hip-Hop: Don’t Knock The Hustle.

And KRS-One stated clearly in the first principle of The Hip-Hop Declaration

of Peace that amongst the 9 elements fundamental to the kulture is Street

Entrepreneurialism. It is hard, I understand, to speak ill of a rapper or MC

making business moves to better their living and, in some cases, enrich the

communities from which they emerged.

And Jay-Z laid the statutes down a

decade and half ago: “Lets get together and make this whole world believers at

my arraignment/ Screaming, ‘all these blacks got is sports and entertainment’/

Until we even, thieving, as long as I’m breathing/ Can’t knock the way a ni**a

eating; f**k you even/.”

But if you adhere blindly to a “Can’t

Knock The Hustle” philosophy, there’s good chance you feel the same way about

the “Snitching Code”; meaning, in deference to a morally-decrepit conception of

solidarity, you’re willing to put at risk the lives of innocent victims.  

For the record, I hope Hip-Hop artists,

engineers, graffiti painters, b-boys and b-girls, DJs, educators, thinkers,

critics, fans, and non-reptilian executives make as much money is possible

without leaving the crime scene in blood-stained hands. As a cultural force

generating multi-billion dollar revenue for giant conglomerates, it’s critical

we harness the various avenues available for financial empowerment. I write a

great deal about artistic independence because I believe it is the only route

through which artists can double, if not triple, their income in the new

decade—while retaining an unblemished soul. My good colleague Cedric Muhammad

is more versed in the financial realm and runs a Hip-Hoppreneur™ column on this

site every Tuesday. And we both seem to agree that if the age of economic

liberation is upon us, artists would have to move with confidence into the

private sector and demand what’s theirs.

Thus, when Cash Money CEOs Bryan “Baby”

and Ronald “Slim” Williams announced

their new oil venture mid-last week, Bronald Oil, many took it up as sign that

Hip-Hop entrepreneurs were stepping on to higher grounds—making “power moves.”

Unfortunately, more is at stake than a mere business deal which could rake in

some serious money.

The oil industry is a dirty one,

confined to a different league—run by different breeds of men. It is marked by

corruption, graft, back-door deals and every other unethical invention

imaginable. It makes the music industry—for all its shadiness—look like a Girl

Scout lemonade sale. Safe for a limited few who try to do the right thing, most

tycoons are, in fact, over-zealous corporatists whose love of money is only

outlasted by their disregard for the communities and lives ruined from

pollution of the environment. It would be wrong to paint the entire oil field

business bad based on the crimes of a few major corporations, but, by-and-large,

most aren’t committed to doing right by communities—even if their mission

statements swear otherwise.

Bronald Oil is an “independent oil and gas

company focused, on the exploration, production and development of oil and gas

reserves from conventional and unconventional formations.” It should be noted

that independence for oil companies is defined, much like record labels, not by

choice or selection but staff size and retail sales. Though Bronald, based in

the U.S. and Central America, is “committed to preserving the environment,

promoting worker safety and maximizing the potential output of various oil and

gas assets,” it also leaves open the option of utilizing “testing grounds” to

discover “new and developing technologies”; not to mention pursuing potentially

“risky exploration and development opportunities”—all, nonetheless, in an “economic and environmentally efficient manner.”

And this is where those who truly value

the reputation of Hip-Hop as a life source for the empowerment and betterment

of everyday people, as refuge for those lost and forgotten, as security for the

vulnerable and disposable, ought to sit up and pay closer attention.

It is possible that the Williams

Brothers plan to show the world what stuff Hip-Hop is made off, and how, as a

community, top priority is always placed on people over profit; how, regardless

of whatever venture we partake in,

the neoliberal corporate policies that work men and women like slaves and

reward them with very little will never be a part of our culture; how oil

companies can be run with respect for life and the environment

front-and-center. Sadly, not only is this Utopian, it is almost impossible. Oil

companies, by nature, are usually built for one purpose only: profit. And in a

hostile world where severe competition is key to survival, many soon get lost

in the hysteria of Social Darwinism that they forget what “commitments” were

made at starting point to “preserving the environment” and “promoting worker safety.”

All the big oil companies champion

eco-friendly causes not unlike those Bronald Oil espouses. 5 of the top 10 have

this to say in that respect:

Royal Dutch Shell:

Environment: “Through

partnerships with environmental experts and by using new technologies we are

finding ways to help reduce the impact of our operations on the environment.”

Worker Safety:

“Safety remains our first priority at all times. Our goal is zero fatalities

and accidents. We want all of our staff and contractors to return home safely

every day.”

Exxon-Mobil:

Environment: “ExxonMobil

is committed to operating throughout the world in a way that protects the

environment and takes into account the economic and social needs of the

communities where we operate.”

Worker Safety: “ExxonMobil11

is committed to providing positive, productive and supportive work environments

throughout its global operations. The Company has long-established programs to

attract, develop and retain a highly talented workforce that is representative

of the regions in which it operates. ExxonMobil values the exceptional quality

and diversity of its employees.”

Chevron:

Environment: “To

tap new energy resources, Chevron is now operating in more difficult and

isolated areas than ever before. We are committed to seeing that new projects

are developed in an environmentally sound manner and that existing operations

continue to reduce their environmental impacts.”

Worker Safety: “Employee

health and safety lie at the foundation of our efforts to build a talented,

dynamic workforce. A fully productive employee must be safe and secure first.

The health and safety of our employees and contractors hold critical value for

our business.”

PetroChina:

Environment: “The

most important resources in the world are human beings and the natural

environment they are dependent on. … We stick to the principles of

people-oriented, prevention-driven, total participation and continuous

improvement to pursue zero injury, zero pollution and zero accident.”

Worker Safety: “We

respect and maintain the rights and interests of our employees, expand the

platform for their growth, and ensure that they realize their value through the

development of the Company and benefit from the Company’s achievements and

creations.”

British

Petroleum:

Environment: “We

are committed to the safety and development of our people and the communities

and societies in which we operate. We aim for no accidents, no harm to people

and no damage to the environment.”

Worker Safety: “BP’s

commitment to safety comes at the top, our leaders continue to emphasize the

key priority of safe operations for the future of the group.”

As you can see, even the super-rich conglomerates

consider—or, more accurately, state—environmental preservation and worker

safety as of optimum priority. Too bad their record indicates anything but active adherence to these tenets:

In June 2009,

Shell settled

a lawsuit brought by family and friends of Ken Saro Wiwa, a Nigerian activist

hanged alongside 8 others in 1995, following protests of the exploitation and

pollution of native land by Shell. $15.5 million was granted the plaintiffs to

avoid a trial which could have implicated Shell as aiding and abetting the

execution of innocent environmental activists.

In October 2009,

a federal jury awarded

New York City $104.7 million in compensatory damages over the contamination of

groundwater by Exxon Mobil.

In 2007, Ecuador

Amazonians filed

a $12 billion lawsuit against Chevron for contaminating its waterways.

30,000 natives of the indigenous tribe claim Chevron workers illegally dumped

toxic waste into its rivers which are used for washing, cooking, and drinking.

The same year,

China’s top environmental watchdog group fined

PetroChina the maximum penalty of 1 million yuan (125,000 U.S. dollars) for

“seriously” polluting a river which services 4 million people. An explosion, it

was reported, caused the dumping of 100 tons of waste, leading to lack of water

supply in the region for several days.

Last November,

95 Colombian farmers sued

British Petroleum over breach of contract and negligence. They claim adverse

effects of a pipeline construction project have led to destroyed farms and

malnourished crops. Colombian lawyers who tried to assist the farmers reported

intimidation by paramilitary gangs.

So, you notice a trend—a lapse,

perhaps—between what is affirmed in the mission statement, and business as

carried out. It never is enough for a company to claim to respect life and the

environment. Deed always outlives Word.

So, how will this enterprise redound to the

welfare of Hip-Hop? How will it look for Hip-Hop artists to involve themselves

in a scheme known notoriously for the exploitation of natural resources and

destruction of the environment? And how will other Hip-Hop artists respond if

Baby and his brother are one day front-page on The New York Times or The Los Angeles Times or The Huffington Post for a lawsuit filed

by Brown peasants in some Central American village or Black families in some

Louisiana town?  

How much value would be placed on

morality and justice—rather than the plaintiffs who, it might be said, are

simply trying to bring a brotha down,

trying to ****-block, trying to knock the

hustle?

I’m not certain what the official Hip-Hop response would be or

what the dominant claptrap would sound like, but I can predict today on whose

side I would be standing, and for what cause I would be fighting. As hint, it

would probably not be with the millionaire brothers; and not to further Neoliberalism

with a Blackface.

Tolu

Olorunda is a cultural critic whose work regularly appears on TheDailyVoice.com and other online journals. He can be

reached at: [email protected]