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Jill Scott: A Short Convo

2010 may turn out to be a career year for the irrepressible Jill Scott. The critically-acclaimed vocalist is set to co-headline a much anticipated tour with platinum crooner Maxwell, which will kick off in May. There’s her starring role in Tyler Perry’s Why Did I Get Married, Too? a film sequel that’s managed to sidestep lukewarm reviews by raking in more than $30 million over the weekend—$5 million more than initial estimates. And then there’s Scott’s upcoming album The Light of The Sun, a summer project that she calls her most experimental and sensual album to date. But lately it seems the veteran performer has been grabbing just as many headlines for her candid views on everything from interracial marriage to her dislike for T-Pain’s Auto-Tune contingent. As usual, Scott doesn’t fail to disappoint.

VIBE: Tyler Perry is quite the polarizing figure when it comes to critics and movie fans. What do you think has been his overall impact? Jill Scott: Tyler gives all of us a real opportunity to be people. Just people, not particularly Black people. You see the color of us, the shape of us, the size of us, you see all of those things. You see the entire entity. And I appreciate that. Maybe not in everything, but the [Why Did I Get Married films] allowed us to be shown just as couples going through some stuff. You can be any race in the same roles and it wouldn’t really matter. We are discussing marriage. We just so happen to be Black.

You’ve been pretty up front about your apprehensive view of marriage following your divorce and broken engagement. Did you use any of that emotional turmoil for the Why Did I Get Married films? During the first film, I was going through a divorce. So, yes, you use everything in your life as an actor. That’s our job, as crazy as it is, to use our experiences just to make the scene work. I’m a method actor as well as a method singer. Whatever it takes, it really doesn’t matter.

What’s been most surprising about recording your new album? Making this album has been very freeing because I normally labor over what I say and how I say it. I think it could be the time in my life; it could be my son… I don’t know, but there are things coming out of my mouth. I’m like, Hey! There are some catch phrases that I know women and men are going to use. I like this energy. I’m on a little more rock this time. There is some swag up in there and some sensuality that even makes me blush [Laughs].

Wow, Jilly from Philly is getting it in, huh? Well, I listened to some things a few days ago and I was like, “I can’t believe I just said that!” Like I said, I’m a method vocalist. So sometimes in the course of the record, I even have to drink a little more [Laughs] to get a little loose. I don’t know what I’m going to say, but I want to say it. There’s a bubbling in my gut to speak. This is the project that really defines who I am as a person. 

You started off as a poet in Philadelphia in the early ’90s and you’ve also dabbled in writing rhymes. Do you find yourself breaking into a spontaneous freestyle when you’re alone at the house? [Laughs] We do freestyle in the studio. It’s not something I would share with everybody. Sometimes I come off the head. But I’m not an MC. I’m a poet and a vocalist. But I have to add that I’m ready to hear some real MCs. Please, I beg of you. Just say something, give me a story. It can’t all be about money and women. That’s why I love what Jay Electronica is doing. He is so fresh with the lyrics. He is the truth. —Keith Murphy for Vibe.com

Andre Berto: Staking His Welterweight Claim

Three months ago, Andre Berto had the biggest fight of his career in front of him. On January 30, Berto was set to face Shane Mosley in an opportunity to become one of the premier stars of the welterweight division.

Then tragedy struck.

A devastating 7.0 earthquake ravaged Berto’s native Haiti, resulting in the death of 8 relatives a little over 2 weeks before fight night. Distraught and unable to focus on combat, Berto decided to withdraw from the fight, paving the way for Mosley to face Floyd Mayweather on May 1.

Today, Andre Berto’s mind is clear and back on boxing. This weekend, the WBC titlist seeks to put the division back on notice in a risky comeback bout against southpaw spoiler Carlos Quintana, who holds upset victories over previously undefeated standouts Paul Williams and Joel Julio. If he succeeds in spectacular fashion, are superstars like Floyd Mayweather and Manny Pacquiao next in line?

 

AllHipHop.com: You lost 8 family members in the January Haiti earthquake. With such a devastating emotional loss just a few months ago, what made you know this weekend was the time to make your in-ring return?

Andre Berto: Yeah, I went back to Haiti to give aid. And I had to take some time to get my mind right. I took about 6 weeks to reflect on things in Haiti. It was an intense trip and needed my mind together. Now I’m focused and it’s time to get back in there.

AllHipHop.com: When you went down to Haiti after the quake, what did you witness?

Berto: It was crazy, just completely different from my last experiences. It was like a war zone. A lot of planes were coming in trying to bring cargo and supplies. Walking through the streets you saw building after building just crushed and pancaked down to the floor. In the hospitals and streets I helped, and saw a lot of death and broken bones, man. A lot of pain. At the same time, I saw the strength of a lot of people who survived. They adapted and did the best they could under the circumstances.

 

AllHipHop.com: Not that Haiti isn’t front page news anymore, do you still see a lot of people as you tour the States still devoting energy to the essential rebuilding period?

Berto: I always figured that would happen news-wise. But I still see a lot of people showing the effort. There are still a lot of nurses and doctors going there to help. So the support is still there where it counts.

AllHipHop.com: Let’s move on to the fight this Saturday (April 10) against Carlos Quintana. Was he the first pick for you and your team?

Berto: They brought me a few names. But I think Quintana is a fighter with good credibility. There’s bigger name guys that I wanted to fight, but those guys in my division are already tied up with matches so I had to fall back on that. So that made Quintana the best available competitor regarding quality at this time.

 

 

AllHipHop.com: Now how are you approaching this fight? Quintana has 2 losses, and the one that stands out to me in particular is the Cotto loss where Miguel walked him down. Is that something you’re looking at being that you’re likely to be stronger than him?

Berto: That’s true, [but] there’s a lot of different ways of going about it. Cotto walked him down with power. Paul Williams caught him with a long shot. I’ll have to have different strategies. Sometimes he likes to stand there and bang it out. Everybody knows that’s my forte. And the same time, he also likes to move around and box. So I’ll be ready for anything he tries to bring to the table. I know how to box, bang, have power, so I have all the tools needed to come out with the victory.

AllHipHop.com: This will be your third consecutive fight with a southpaw, and your second fight since your 2009 Fight of the Year candidate with Luis Collazo. What have you learned since that encounter about how to handle southpaws?

Berto: The Collazo fight I didn’t take it as serious and that was almost my downfall. That’s normally what older fighters count on, and that was the first time I ever did that. I kind of got on my high horse and on fight night he came and brought it. I know how to fight southpaws, and have been doing so for years and training with guys like Winky Wright. I had to get back on the grind.

And then when I had the fight with Juan Urango I made it look easy. So I just had to get focused and with the gameplan.

AllHipHop.com: Before the fight with Shane Mosley was canceled, you had built some animosity towards him after Mosley proclaimed he’d end your career. Is there still beef there or do you know just look at it as words said just to hype the fight?

Berto: It kind of ruffled my feathers because I know how Mosley is. Before he showed good faith towards me, always at my fights and praised me. He always tried to be close to me and said I reminded him of himself when he was young. So he had some real off the wall things to say about me, and I knew that wasn’t him.

But recently he’s still doing things out of his character due to the guys around him. They’ve been pumping him up. But he has a big fight coming up with Floyd, but if he ever gets in the ring with me I’ll handle him.

AllHipHop.com: What direction is your camp looking to head in after the Quintana fight? The scene is a lot different from when you last fought: Margarito is gone, [Zab] Judah is out of the welterweight picture…

Berto: Yeah, but there’s still a lot of opportunities out there still. But right now my focus is on Quintana. We’ll have to get past this and it is a tough fight. But after that I expect a lot of big fights. The welterweight division is the hottest in boxing and the one to watch.

AllHipHop.com: Let’s get your prediction on the upcoming superfight with Floyd Mayweather and Shane Mosley.

Berto: It’s going to be a good fight, man. It’s tough to call. Mosley has the speed and the power. Floyd has everything else. Floyd is very technical, and if Shane lets him get in his groove and comfortable, it’s going to be a long night for Mosley. But if Mosley imposes his speed, size, and strength, it might be a tough fight for Floyd. But I’m leaning towards Floyd in this one.

AllHipHop.com: The Everlast shirt you’ve been marketing looks really good. Is that a design you came up with yourself?

Berto: Yeah, we pretty much did that as a relief fund right after the earthquake hit. All proceeds go to that. Tons of people purchased it and showed their support. It’s on Everlast and we’ve been doing our part on my site to continue that awareness.

AllHipHop.com: I remember you issued Cincinnati Bengals wide receiver Chad Ochocino to a charity boxing match last year. Did he ever answer you?

Berto: [Laughs] I saw him out in LA recently. It’s still up to him. He’s always up to a lot of different challenges. Maybe this summer we can get something together for charity. But yeah, I still haven’t forgot!

AllHipHop.com: Has HBO or anyone else approached you about locking up with Paul Williams. You guys are both young and even though he jumps around in weight, his claims he can still make the welterweight limit if need be.

Berto: I’ve heard about it, but me and Paul have the same team when it comes to the management end [Author’s Note: Both are managed by Al Haymon, who also works with Floyd Mayweather]. So they’re trying to keep us away from each other unless there is a lot of money in the pot to grab. Right now we are in separate lanes doing our things.

AllHipHop.com: Closing thoughts for the Knockout Nation readers?

Berto: Everybody make sure they tune in on April 10. It’s going to be an event! It’s a special card so don’t miss it.

Andre Berto vs. Carlos Quintana airs this Saturday (April 10) at 10:30PM EST. The card follows the 10PM debut of Mayweather-Mosley 24/7.

 

 

 

 

 

Hip-Hop Rumors: Kat Stacks vs Rosa Acosta? Teairra vs Rihanna? More Beef!

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.JAZZY F CHECKS IN!

Jazzy F is one of the other people that lends a rumor hand. Here’s some stuff he collected.

The Ladies of Hip-Hop

knows Beef

Whats Goodie Jazzy F. Baby from TheSocietyOnline.biz on the check in with illseed on ALLHIPHOP.com Rumors and today we talking about BEEF but now days seem like the ladies keep the BEEF going full force get into it below as I GO IN!

 

Nicki Minaj & Eve

BEEF

Nicki Minaj got more BEEF and when you on top what else do

you expect. Jazzy F. Baby is hearing that when asked about Nicki Minaj, Eve the

Ruff Ryders first lady or as Foxy Brown would call her the rapping yorkie has

stated that Nicki Minaj is no competition to her or rather no one is competition

for her.

 

Tierra Mari & Rihanna BEEF still?

Tierra Mari sat down with Bossip.com to clear up all the

rumors that there was beef with her and Rihanna. She stated that this was just

rumors that the media had made up. Tierra Mari and Rihanna were bothe signed to

Def Jam at the same time so they spent time around one another. Tierra states

that even during this time there was no beef between the two and they were

always nice to one another, so the answer to this BEEF is there is and was

never any BEEF. Check the video below.

Rosa Acosta & Kat Stacks BEEF

Kat Stacks might wanna slap the dog you know what out of Rosa Acosta since a video has surfaced of Rosa Acosta imitating Kat Stacks talking about getting it in with blogger chicks, well mainly her fellow plastic shoe wearing friend. I can’t front this was actually kind of funny but GoSitDown.com Rosa Acosta. Check the video below.

Jazzy F. B and im blasting off back to Mars some of you I will se there some of you I wont but make sure you holla on twitter @itsJazzyFBaby

ROSA AND KAT, 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 al*************@***il.com.

Hip-Hop Rumors: Slim Thug Gay!? T-Pain Goes Gospel! Slaughterhouse’s New Job!

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.

HEADACHE!

My Roc-A-Fella rumor was all wrong. I got intel  from a few sources that totally shot that down. I pretty must said I knew it was unlikely, but I thought maybe it  was factual. Anyway, my brain is hurting so I am going to breeze through these rumor today.

ILLSEED’S QUICKIES

I heard a certain rapper was seen slapping a child in the face several times. This allegedly happened in Staten Island.

Did you see Kurupt’s Top 5 Dead or Alive? People are wondering why he didn’t mention Tupac! Click here to read it.

Is Dr. Dre saying something to 50 Cent? Putting Jay-Z on the first single is a big statement in my opinion. The song is coming in two weeks…count down.

Drake got his wig pushed back to June. Not a good sign for one of rap’s most promising talents.

Thank God! Andre 3000 is going to be on three of Big Boi’s album cuts. No hate, but Outkast is Outkast.

Scottie Pippen and Karl Malone are going to be the latest hoopers inducted into the Basketball Hall Of Fame! I remember I had a Scottie gay rumor back in the day that caused a s**tstorm. That’s normal stuff nowadays.

SLIM THUGGA GAY????

I didn’t even know there were gay rumors about Slim Thug! Well, it seems as though he’s trying to dispel whatever is out there. He recently talked to the Mad Hatta and broke down the rumors. He’s also taking out the his “grill!” Is this the end?

Speaking of!!!!!!

T-PAIN’S CHRISTIAN POP ALBUM?????

I know we are expanding our minds and experiences, but T-Pain may be taking it all too far. The “Big A$$ Chain” man is supposedly going to be doing a Gospel Hip-Pop album! Now, this may be important in terms of getting the church poppin’ like a club….some churches are already poppin’ in that manner. He told Myspace, “A lot of people don’t know this about me, but I am a deeply spiritual person. Dude, I go to church just as much as I go to the strip club. That’s saying something.”SOMETHING is wrong with that quote! Does that mean he goes to the strip club about once a week or church 3-5 times a week? LOL!Shout out to Eli for that one!

SLAUGHTERHOUSE TO OPEN FOR EMINEM?

Looks like Slaughterhouse will have a real nice cushy job opening for Eminem later this year. Apparently, Eminem is getting all set for his tour in America and he needs somebody to warm up the audience. Well, say no more…Slaughterhouse is there. AND from what I  understand, they are the official Shady artists. The only difference is Joe Budden still owes Amalgam an album or something. They worked that out, I’m hearing. I wonder if E1 settled their issues with Joell?

LIL FLIP’S FAIL?

Lil Flip was like the first Slim Thug…lol…anyway…he did this cheesy commercial. I don’t know who his advisors are, but they gave him some bad tips. 2:44 is where Flips part starts.

This is proof that everybody cannot rap. There is a positive side. The boy that founded this company is 17. Maybe Flipper was just feeling very philanthropic.

EPIC WIN – GIN AND JUICE: THE COUNTRY VERSION

 

SLIM THUG, 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 al*************@***il.com.

‘Souljah Boy’ of Cleveland Sought For $22K Child Support Bill

(AllHipHop News) The man who accused Atlanta rapper Soulja Boy of stealing his rap name is now a wanted man, as Cleveland police are seeking the rapper for failing to pay tens of thousands of dollars in back child support.Police are seeking Willie Lyons aka Souljah Boy, a former member of Bone Thugs-N-Harmony’s side group Mo Thugs. Cleveland police claim that Lyons owes over $22,000 dollars in back child support. Police cannot locate Lyons, whose last known address was a vacant house.In December of 2007, Lyons sued Atlanta rapper Soulja Boy, claiming he infringed on his “Souljah Boy” trademark by using the name with a variation in the spelling. According to reports Lyons, and Soulja Boy Tell ’Em, born DeAndre Cortez Way, settled the lawsuit out of courts.The warrant for Lyons was issued before he won the financial settlement.

Change In Our Community Will Change the Content of Our Music

Editor’s note: The

views expressed inside this editorial aren’t necessarily the views of

AllHipHop.com or its employees.

Do you remember when it was cool to be intelligent?  If you do, then you may also recall a

time when our music reflected that coolness.  For too many years now, people have

referenced the lack of stylistic articulation and subpar content subject matter

as dumbing down our music.  Granted,

it would not be hard to argue that today’s rap music isn’t the same as the music

we listened to in the seventies, eighties or nineties; however, with that being

said, would it not be difficult to point out that our community isn’t the same

as it was then either?  Rap music

has always been a reflection of our community.  Whether intentionally or un, it always

displayed our good, bad or ugly, sometimes even simultaneously.  So I ask, is our music really dumbed

down, or is it just a reflection of a harsh reality of our community?

Whether it’s systematically planned or institutionally

constructed, our educational systems that service our communities are failing

us.  In my hometown, a few years

ago, a D which is a grade equivalent to a 60-69 (once considered failing), was

implemented as passing in the Baltimore City Public

School system. 

In Baltimore City alone, we have enough facility space

to service 125,000 students, but currently service over thirty thousand

less.  Just as the case in most

metropolitan areas with predominantly black residents, our high school drop out

rate is over fifty percent.  As an

Educator myself, I’d argue that one of the reasons our communities drop out rate

is ridiculously high is simply because our youth do not equate succeeding in

school with succeeding in life.  So

what do they do?  Most with limited

knowledge and information, try to interpret and define success for themselves

and pursue it, at any cost.

It’s a fact that our communities are not the same as they

used to be.  Unfortunately, we don’t

value the same things that we once valued. 

Education was pivotal to us at one time.  Our morals and principles didn’t allow

certain activities or actions in our community or to extend from our

community.  The fabric of our

community has become strained (I refuse to say broken) and could it be that our

music is a reflection of that?

What’s prevalent in our communities nowadays?  Many of us live in communities that are

prone to drug dealing, substance abuse, violent crimes, gang activity, excessive

vulgarity, and multitudes of disrespect, as well as a lack of strong male

leadership that models appropriate behaviors for those he should be

leading.  And I ask, what does our

music entail?

Many young people who find themselves in position of

influence in our community are there by default.  Yes, biblical text does state that the

young shall lead, but it doesn’t negate the fact that they should have been

properly influenced by those who came before them.  If they are not properly educated,

trained and prepared what should we expect to hear from them?True indeed, as a kid, we witnessed many of the same

things that today’s youth encounter, but to our advantage, the fabric of our

community was a lot different, which allowed us to view it from a whole

different perspective, which effected our decision making as well.

 Case in point, during the eighties, there were not as

many young people involved in selling drugs as there are now, which means, there

were not as many young people involved in violent crimes as there are now.  We always defended our neighborhoods,

but outside of California, we weren’t fighting and killing

each other over colors.  Now we

are.  Unfortunately, too many of our

men suffered and are still suffering from heroin addictions acquired during the

seventies and eighties, but case studies show that that addiction pales in

comparison to that of crack, and its influence of catastrophic proportions which

was introduced to our communities in the eighties and still prevails.  Proudly, I can attest that we did not

bear witness to as much vulgarity or disrespect in our community when I was a

child, simply because it was not tolerated.  I remember as a child accidentally

cursing within earshot of an adult and swiftly apologizing to him or her and

then asking God to forgive me. 

Simply put, it was how we were raised back then.  It was a certain level of expectations

that our community had for us, based on what they’d invested in us.  Even those of us who didn’t seek higher

institutionalized learning, still thirsted for knowledge.  So we joined organizations and/or knelt

at the feet of our elders, receptive to the information that they willingly

shared with us.  We were raised

differently and given a foundation to stand upright on.  So we were prepared by our community,

before creating the opportunity to grab the microphone and simply move the

crowd.  Our lyrics were infused by

strict principles taught to us

(emphasized) by those who came before us, be it family members or neighbors in

the community concerned about our well being and concerned about the well being

of our community.  Our lyrics were

once infused by the teachings of great leaders such as, the Honorable Elijah

Muhammad, Minister Malcolm X, Marcus Garvey, and Clarence 13X.  Thoughts and ideas were strengthened

through dialogue, executed with intent and purpose, skills were honed with

rehearsal and the responsibility of speaking on behalf of our community was not

taken lightly.  Then what

happened?

I liken today’s rap music, our music, to that of an angry

misguided child, who lacks direction. 

I don’t fault the child, instead it’s us who need to be held

accountable.  To put it blunt, we

dropped the ball.  And certainly I’m

not just talking about with the music, I’m referencing our community which

influences the music.  Today’s music

is still a reflection of what’s going on in our communities.  Instead of getting mad at those who rap

about the “trap,” how about investing that same energy and time and direct it

towards those who are actually trapping, in our neighborhoods, feeling like

there are no other means to make a dollar. 

Instead of getting mad at those who rap about “gangbanging,” how about

investing that same energy and time and direct it towards those who are actually

gangbanging, in our neighborhoods, feeling like they’re only loved by the

gang.  Instead of getting mad at

those who rap about material possessions and wealth as if obtaining them are

great accomplishments, how about investing time in the youth in our community

and teaching them right from wrong, like we were taught.  Is it not our responsibility?  I challenge you to ask a young person

between the ages of 17 and 25, possibly the most influential demographic in our

music “who raised you?”  Then don’t

be surprised how often you’ll hear the response, “I raised myself!”  

The only way we can speak about something different is to

be exposed to something different. 

And the only way we’ll learn something different is to be receptive to a

different experience.  Then maybe,

just maybe (wishful thinking on my part, I am a dreamer), our youth could be

encouraged to rap about something else. 

We can’t ask our children to have thought provoking lyrics without

teaching them how to think.

Change in our community, will change the content of our

music!

 

Jay-Z Appearance In Trenton Not Confirmed

(AllHipHop News) Representatives for a peace rally taking place in Trenton New Jersey have revealed that superstar rapper Jay-Z is not confirmed to attend the rally.News broke yesterday (April 5th) that a coalition of rappers led by Russell Simmons and the Rev. Al Sharpton would hold a “Stop the Violence” rally this weekend, after a seven-year-old girl was gang raped in the city.She was allegedly sold for sexual favors by her 15-year-old sister, who has been charged in the case, along with five men who raped the seven-year-old. While Simmons and the Rev. Al Sharpton have confirmed their appearances, Mayoral candidate Shahid Watson stated that Jay-Z was not yet confirmed as a celebrity participant. “It’s not a done deal. Jay-Z has not gotten back to us but Russell Simmons, Rev. Al Sharpton  and the PeaceKeepers are confirmed,” Watson told The Trentonian. Yesterday, Mayor Douglas H. Palmer revealed that he would not attend the “Stop the Violence” rally, which is taking place at the Lighthouse Outreach Ministry, this Saturday (April 10th).The event is organized by Hip-Hop mogul Russell Simmons and Dennis Muhammad’s PeaceKeepers organization.

Michael Steele: The Real Hip-Hop Republican

Your typical Hip-Hop head tends to support the Democratic party and diametrically opposes to the Republican party. Certainly not an absolute assertion but certainly holds its ground in the face of public opinion. One must consider the affects of Reaganomics in the 80’s, when Hip-Hop truly became vocal, as a hard reason for Hip-Hop lack of affection for the party of the elephant. “Reagan is the pres, but I voted for Shirley Chisholm,” Biz Markie rapped in 1988.

After the administration of George H. W. Bush, one would assume that there would be a permanent divorce from the conservative Right. Not so fast. In 2009, the rise of the Hip-Hop Republican became apparent and the centerpiece of the shift was Michael Steele, the newly-minted chairman of the Republican National Committee. He maintains a decidedly Hip-Hop swagger for a 51-year old Republican.

Steele told AllHipHop.com his style as a Republican leader has some very Hip-Hop qualities:


“My style is to push the envelope. As a Republican, certainly as an African American to try to create a new synergy, a new dynamic where there is a conversation. Everybody’s not going to believe that I believe and I don’t want them to. That’s not what America’s about. What I like is the opportunity to say, here’s some ideas, something fresh – and again, that’s what Hip-Hop does.”

“This is a new way of putting expression on what’s going on in the community. The same is true for us in the [Republican] Party. Now is the time to put a new expression on the way things are going. That’s what we’re trying to do.”

On the content of Hip-Hop:

“I think things that are going on in the Hip-Hop community are very interesting stuff. There’s a very exciting energy. A lot of folks – on a peripheral level, a very thin skinned level – look at the music and look at the artists and that’s how they judge what its really about. If you pull all that back, you’ll see there’s huge economic synergies going on there. Wealth creation potential that’s enormous. In the past, you know, you have young players like yourself that create something and someone else comes along and takes it and makes the most money from it. Now, you’re creating it, you’re packaging it, you’re owning it, you’re branding it and you’re reaping the benefits of it and that’s what I love about what’s real about Hip-Hop.”

Steele on being lampooned by Saturday Night Live in 2009.

“You take it as it comes. I didn’t see it as so much of a lampoon as acknowledging that the brother’s here and we’re going to have to deal with him and that’s it,” he admitted.

On Obama:


“I think the president has done some very good things. I’m concerned with some things related to the economy. We have very different views about spending and I can say that as a Republican that chastised the party for spending the way they did under Bush. But I think obviously, his moment in history can’t be taken from him.”

Nas featuring Jay-Z – “Black Republican” (featuring a monologue by Chris Tucker)

Jay-Z and Nas recorded a track called “Black Republican,” yet both legendary artists went on the road to to woo the Hip-Hop and pop constituency to vote for now-president Barack Obama. Perhaps in 2012, Steele can sway the Hip-Hop Nation in the opposite direction.

Lost Boyz Working On New LP; Land Endorsement Deal With Eyewear Co.

(AllHipHop News) South Jamaica, Queens Hip-Hop group the Lost Boyz have added two new group members to the lineup and are gearing up for a new studio album. The group has added members Dramatic Da DJ and Black Smoke to the group, which includes Mr. Cheeks and Pretty Lou. Another member, Freaky Tah, was gunned down in the streets of Queens in 1999, at the age of 27.  In addition to releasing new material this year, the group will be featured in Forever K. Michael Collection’s new advertising campaign, “From Day, Till Dark.”The Lost Boyz will be featured in print, television and online advertisements for the latest collection of Forever K. Michael eyewear, which pays tribute to artists who inspired the company’s founder, Khristian Michael. “We’re happy to be a part of the Forever K. Michael [artist] campaign. Inking an endorsement deal with Khristian Michael was a no-brainer because his designer eyewear is crisp, classic, and universal–just like our music,” said the Lost Boyz about the new venture.“The Lost Boyz remind me of a timeless entity, when something isn’t trendy, it never goes out of style,” added Khristian Michael. “Their sound and energy has continued to resonate in their fans over a decade, and that’s what I’m looking to achieve with the new campaign—as well as the entire collection.”In addition to the new album and endorsement deal, The Lost Boyz are fearing up for a tour of the United States.

Supply Births Demand: Ask Raekwon and E-40

Editor’s note: The

views expressed inside this editorial aren’t necessarily the views of

AllHipHop.com or its employees.“Not all of the rappers, but most of ‘em sound alike,

I’ve been rappin since most of them knew how to ride a bike.”

‘Ahhh Sh*t!,’ E-40

Two new albums – Wu Massacre by Method Man, Raekwon, and Ghostface Killah and Revenue Retrievin: Night Shift/ Day Shift, a double album by E-40 – reminded me of a subject I’ve been meaning to return to since I first mentioned it in ‘How To Market (and Protect) Jay Electronica (Part I)’ when I wrote:

“The reaction to Jay Electronica is a phenomenon in and of itself. That means two things: he represents an idea whose time has come and he represents the longing of people for change (as the Honorable Elijah Muhammad stated it in Message To The Blackman, ‘As we know, wherever there is a longing or demand for a change, nature will produce that man, who will bring it about.’. There is an important difference between longing for something and demanding it and it has everything to do with whether or not Jay Electronica will be a mainstream commercial success (which is even the hope of the underground and international community). As an economist and student of mathematical theology I could go very deep into the Honorable Elijah Muhammad’s words and how they relate to the economic law of how supply produces its own demand”.

Today, I’ll try to take a first step toward that.

When listening to Wu Massacre, I was reminded of what I appreciate about all three of these Brothers – on a personal and professional level (I mention a couple of qualities about all three in my book).

Chef is one of the most underrated rappers in history. He gets credit mainly for being a master of slang and specializing in certain subject matter – street episodes and drug raps. But for years I’ve recognized something about Raekwon that it seems no one else is willing to give him credit for. He has as unique and sophisticated a flow as anyone in the history of the game. How can you tell? While there are countless artists who have virtually imitated the flow of every style imaginable – from Jay-Z to Ludacris to Rick Ross to Eminem to Lil’ Wayne to 50 Cent etc, there is no one who even comes remotely close to replicating Raekwon’s delivery and flow. It’s one of the reasons why Only Built 4 Cuban Linx 2 was so well received, 14 years after the original masterpiece.

Raekwon is probably the very best rapper I’ve heard at moving in and out of 1) 3rd person narrative (where he’s describing something he’s watching as a witness or observer, including actual dialogue) 2) 1st person description (where he’s telling you the details of what he’s doing) and 3) inner thinking (where he’s letting you know what his private thoughts are).

It is absolutely amazing when you carefully listen to what he’s doing and I’ve never spoken to anyone – even high-level industry producers who could explain it before I mention it (yet it seems everyone can ‘feel’ he’s doing something very special with his lyrics). He gives you dialogue, subconscious mind, and observations in real time without breaks, and in three dimensions (your viewpoint, his viewpoint, and the circumstance without comment).

Sometimes I just laugh when people complain about not understanding Raekwon’s lyrics blaming it on the slang he innovates. They don’t understand what he’s saying because they don’t understand how he’s saying it. He’s speaking on three levels at once. Focusing on just his word play is an insult to his genius.

[Slick Rick fans, no need to debate – he and Scarface are the best pure story-tellers ever, but Chef gets his own category – doing a couple of things that not even the Ruler got around to. I don’t know anyone who can do what Rae does on ‘Surgical Gloves,’ for example. Listen to it carefully]

Because of this, not to mention his voice, humble public demeanor and rare media appearances, you can see that he will always have a core base to sell music to (beyond Wu fans). He’s different and that’s the basis for an enduring business and career – producing a unique product for a loyal network, that others can’t steal.

Be original, your s— is sloppy

Get off the —- you m—– f—– carbon copy“Real N****z” -N.W.A. 

Some can’t believe that E-40 is still doing it – 15 years in – but they just don’t understand this law of supply and demand. The result: he never loses old fans, while always attracting a younger segment of new ones. The formula that he supplies (lifestyle, personality, and ‘fun.’) remains unique and durable – beats that bounce, witty lyrics, sense of humor and the ability to select the right people to feature on collaborations. Collabos are truly an art that most artists use as a superficial promotional gimmick but not the man who is one of the Bay Area’s finest. Check “Whip It Up” featuring Gucci Mane and YV; “Can’t Stop The Boss” featuring Too Short, Snoop Dogg & Jazze Pha; “Knock ‘Em Down Music” featuring Ya Boy, Turf Talk & Cousin Fik; and “Power Up” featuring Keak Da Sneak & San Quinn.

His collaboration with Bobby V on “Stillettos & Jeans” makes so much commercial and stylistic sense – especially in the current era of R&B music that $uce$$ is only a matter of whether a critical mass of radio program directors get behind the record and a hot video can close the sale with the powers that B.E.T. Regardless – he delivered what they seem to want these days.

The New York Times nailed it when it said of E-40’s new double album, “One of hip-hop’s great rhythmic innovators, E-40 has spent more than 20 years defying conventional cadences, rapping in croaks and hiccups and slurs and nibbles. At times he’s been at the forefront of Bay Area rap, and at times more of a benevolent uncle. On this pair of albums (packaged and sold separately), his 11th and 12th full-length recordings, he’s both.”

When one considers his role in the Hyphy Movement (for better or worse) and his continued presence and relevance, it is obvious that E-40 supplies music, image, and lifestyle not just because hewants to, but because he knows how to read what the people want.

And there’s a big difference.

When I advise clients, one of the first things I describe and help them be clear on is that there can be an important difference in the creative force that drives entrepreneurs, artists, and inventors to innovate and the force that drives consumers, fans, and followers to purchase, support and rally behind their product or service. The sad fact is that most artists make music for themselves and their immediate crew. They are driven by ambition, circumstance and the desire for self-expression more than they are interested in being scientific about learning what it is about their work that people like, and then determining how to market themselves accordingly, without compromising who they are.

The emergence of a hot artist, commercially successful style or new trend can seem “random” because the vast majority of us can’t predict when a person will reach the point when they want to ‘create,’ for the benefit of the public or when people will like something or why. But the illusion of surprise disappears when we look at the matter from a supply and demand point of view. Most artists have a horrible time balancing their need to supply something that they want with answering the question of what the people demand in the present tense and what they want now and in the future which no one is currently supplying.

Stubborn artists fall into either 1) a take it or leave it attitude (eff’anybody who ain’t feeling me!’) or 2) conformity (‘I’ll act like I’m original but really Jeezy is the father of my style…’).

If more artists would trust their instincts while studying the unique aspects to their style that people like – and which no one else is offering commercially – they can build something special and long-lasting.

This means the usually self-centered artists have to fall back a bit and learn from their audience – accepting that the ‘demand’ for some things can only manifest after it is supplied. You can’t be sure that you ‘have something,’ in many cases, until you offer it in the marketplace and study the reaction.

Evan Schwartz put it well when he wrote in, Juice: The Creative Fuel That Drives World Class Inventors:

The most common explanation of what drives inventive activity is the age-old maxim, “Necessity is the mother of invention.” But that…explains almost nothing and is wrong in most instances. Because new scientific discoveries or technological possibilities often give rise to new desires, it’s usually even more correct to say the opposite: “Invention is the mother of necessity.” Although successful inventions seem in retrospect to fill a clear human need, what they really do is to generate the demand in the first place. Only a handful of people imagined the telephone, the electric light, and the airplane beforehand. After these things existed, however, masses of people suddenly couldn’t do without them.

Let me tell these n——s something God. I don’t want n——s soundin’ like me on no album!

“Shark N****s,” Ghostface Killah (on album skit for Only Built 4 Cuban Linx)

The emphasis on originality in rap music died largely because the major record labels, radio stations, and video outlets took the power to define what ‘the people’ wanted and because artists accepted the definition – wanting the easy route to these platforms. This is also the state of affairs because artists typically surround themselves with “yes men” and “yes women” – lacking advisers who understand marketing and how to make business decisions (the big dude serving as security/manager/personal assistant doesn’t qualify).

Now, with the rise of the Internet, affordable audio and video production equipment, and social networking, the ‘industry’ is out of the hands of a small list of companies and risk-taking for artists can become more rewarding than ever, with the right team.

It just boils down to knowing what people are longing for, converting it into demand and delivering it consistently.

Take the lesson of Raekwon and E-40 and run with it – creatively and commercially. Understanding what you are doing and how it affects others is the root of longevity. This is also called the Knowledge of Self and Others.

Supply really can create its own demand.

Cedric Muhammad is a business consultant, political strategist, and monetary economist. He is also a former GM of Wu-Tang Management and a Member of the African Union’s First Congress of African Economists. Cedric is author of the book, ‘The Entrepreneurial Secret’ (http://theEsecret.com/). He can be contacted via e-mail at: cedric(at)cmcap.com

Tamela Mann: Singer, Songwriter & Actress

Tamela Mann is one of the most-recognizable names in the contemporary Gospel music industry. Her tremendous success story and long string of accolades are even more impressive, however, when one considers the difficulty religious figures often have in attracting and maintaining secular audiences.  Even so, Mann has captivated the hearts and minds of countless Americans for more than a decade—juggling time between her music ministry, as a solo artist and former member of Kirk Franklin and the Family, as well as her acting and singing performances in several Tyler Perry productions, which include stage plays, feature films and recurring roles on TBS’ House of Payne and Meet the Browns.

At the same time Meet the Browns became the #1-rated show in African-American households, Tamela Mann was hard at work on crafting her sophomore solo project, The Master Plan.  Released via Tilly Mann on November 3, 2009, the album showcases four songs that she co-wrote: “I Trust in You,” “Here I Am,” “Anything for You,” and “In Him.”  In addition, Tamela has an executive producer credit alongside her husband of 21 years, David Mann.

 In support of the Master Plan’s release, Tamela Mann managed to squeeze some time out of her busy schedule and settle down for an interview with Clayton Perry—reflecting on the generational divide in Gospel music, “The Lord’s Prayer,” and the lasting influences of Kirk Franklin, Tyler Perry and a host of others.

 AllHipHop.com I still get goose-bumps whenever I think about the time I saw you perform “You Deserve My Praise” during John P. Kee’s benefit concert a few years back. Even though I was a fan of the studio recording, Lord knows that the Spirit nearly knocked me off of my feet during your live set.  What’s the back-story behind that particular song?  Did Demarcus Williams approach you with the song?

 Tamela Mann:  Oh, Demarcus is such a wonderful talent.  With that song, I asked Demarcus if he had anything, and so he submitted that song and another song. When I first heard it, it was just a little rough draft with the music, so you can remember what it is—the lyrics and the harmonies. My husband, [David Mann], and the album producer – Myron Butler – heard it, and they were like, “I don’t know.” But I was like, “Y’all! You have to hear beyond what’s here right now.” And it has really become one of my favorite songs. I just fell in love with it and I asked Demarcus if I could tweak it and make a few little changes. And he was like, “Sure. Sure.” It’s really one of my favorite songs, because the lyrics really taught me that God deserves the praise, you know? No matter what. He protects us, in all things, from dangers seen and unseen, and He keeps us, in the midst of the good and the bad, even when we want to just do whatever we want to do and think it’s right. For God, you know, He still covers us in so many different areas: of where our parents, our grandparents, pray for you and even just other people just praying for you and you’re not even knowing it, how God still gets the praise. He deserves the praise, and we should give it to Him because of who He is. And that’s just kind of how that song came about.

 AllHipHop.com:  Your mother served as a psalmist in church. Growing up and seeing her perform, in what ways did she knowingly or unknowingly encourage you to pursue your love for music?

 Tamela Mann:  By her pushing me, unknowingly, I guess. You know, you kind of fight it when you’re young. It’s like, “Why do I have to go to church all the time?” [laughing][laughing] When I saw her in the choir and leading songs, it was just such an encouragement. I really didn’t see it then, but I thank God for it now.  At the time, I didn’t see it as an influence. I was thinking: “Wow, she making me go and she’s not making anybody else go.” But it turned out that that’s really how I fell in love and saw that singing was my passion. But I think by her encouraging me — well, it wasn’t encouragement. It was like, “You just gotta go. You gotta go.”

 AllHipHop.com:  You closed this particular album, [The Master Plan], with “The Lord’s Prayer.” Since it’s a very traditional song, is there a reason you wanted to close with that particular song?                                               

Tamela Mann:  Well, with David being one of the producers of the project, he really wanted it. I had done it at a lot of weddings and other little gatherings, and he thought I should do it over.  He felt like it would be the perfect closer for the project and a good prayer for the people of God. Thankfully, it wound up being a blessing for so many people.

AllHipHop.com:  Although you consider yourself a traditional gospel singer, you’re also open to incorporating a lot of contemporary elements as well. Going back to your son and you being a mother, as well a gospel singer within the modern music industry, how challenging is it to reach out to younger audiences? Have the two of you ever debated the best possible way to reach his generation?

Tamela Mann:  Well right now, we must try to reach the youth.  There are a lot things people in my age don’t see and sometimes we don’t seem to be on the same page as the youth, but we must always be encouraging. When our kids were growing up, David and I always wanted to hear their opinion and gave them an open door to where they could come and talk to us about anything, to hear their opinion, to hear them out. And I just want them to hear me out. So I carry this into my music, where I will do something that will reach both generations—the older crowd as well as the youth—and let them know that there is still a message for them in song and in gospel music. We can’t do this thing alone, really, because it’s all about the ministry at the end of the day. You can’t go out there and just take the world on by yourself. There is a higher power that you need, beyond just yourself, to get through these things. Even when people turn their backs on you, there is something that you can rely upon, a higher power that you can call upon. And that’s the message that I’m really trying to send, especially to the youth, that they can still be in the world but not of the world.

AllHipHop.com:  When people think of leaders within the ministry, they often think about the pastor first. The music ministry, however, has the ability to reach those who might not even step inside the foot of a church. When I look at your career, one of your greatest accomplishments, in my opinion, is that fact that you have had several of your gospel songs featured on mainstream movie soundtracks.  With Tyler Perry’s assistance, I really applaud you for bring gospel to the mainstream. How difficult has this journey been for you?

Tamela Mann:  Sometimes it is hard, because everybody doesn’t want to hear this part of the good news. One thing I have learnt about myself is that I can only do what I do. And that’s one thing I appreciate about Tyler.  He didn’t try to change me and make me into something that I was not. He has never said, “Well, you’re too deep or you’re too churchy,” or that kind of thing. It was like this is what I brought to the table, and he respected me and brought so many other people into the fold, from all different angles, to give people a taste of the whole pie, just not one piece. I just think it’s great. But the journey still isn’t easy.  Even with this project, we reached out to certain outlets and the said, “We don’t do gospel anymore. Or we don’t have gospel artists on any more.” So it’s like, you have to get in where you fit in, when the door opens. I can’t try to preach it all the time, but I just have to live it. Hopefully, in my life, people can see that there is a difference, and that there is a change in me, and that there is something different about this lady. Styles and sounds change. But even though you listen to different genres of music, you still need this. This still needs to be a piece of your pie. There’s something about gospel music that makes you feel whole. It gives you hope. It’s not all booty shakin’ music… [laughing] Gospel music p##### the heart and makes you realize there is a different road, a different choice that can always be made. That’s what it’s all about.

AllHipHop.com:  Over the years, you have collaborated with Myron Butler a great deal. What aspect of your professional relationship do you love the most?

Tamela Mann:  Myron, he is younger than David and I.  But he is so well-rounded. He’s able to give me the opinions of the youth, of the younger adults, because he is like thirty something. So it’s like I can get the pulse of people in their early twenties and the mid-thirties. And then I’m forty. So we bounce ideas off of each other. On top of all that, Myron just has such a good ear. Lord knows he was anointed to do music.  Just listen to his vocal arrangements! [laughing] He’s gifted to do that. I just believe in him so much that I’m pushing him to get where he’s trying to go, just as he is pushing me to get where I’m trying to go. It’s a beautiful thing and he is very helpful, which is the main reason I use him a lot. I just feel really comfortable with him in the studio. Everybody does things differently, but I’m very comfortable with him.

AllHipHop.com:  As you mentioned, you are blessed to have the ear of the youth, as well as the older generation. Do you ever wonder why God blessed you to be such a wonderful mediator within the gospel music world?                                          

Tamela Mann:  Yes, Lord! [laughing] I’m still in awe. Even with this project, I can’t help but give praise back to my Creator. He is the author and finisher of our faith, and I want people to know that. I’m the youngest of fourteen, and out of all my mom’s kids, I’m the only one that finished high school. We’re not even talking college. It’s just high school. And for God to choose me among all these people growing up and give me such a divine purpose in life, it’s just amazing. I feel like this other friend of mine is more talented than I am. But God saw fit to just use me for such a time as this, to reach so many people, because we’re reaching them differently.  Earlier, you said that when people think of ministry, they think of pastors. But we’re all ministers, because we all have a purpose. We have a calling to do things. Now, I couldn’t say that I could go lead 2,000 or whatever amount of people, but to just be able to reach one soul, to be able to reach one person, to encourage one person that they can make it – I just know that God has put that mantle on my life to be an encourager to so many people.

AllHipHop.com:  In the past decade, you have accomplished so much, and your life story is truly an inspiration.  I know that you got your professional start in the gospel arena with Kirk Franklin & the Family. So when you start there and look at all the years in-between, what do you think best prepared you for managing a career as a singer and an actor?

Tamela Mann:  Oh, wow!  That’s a deep question. To be honest, I can’t pinpoint one thing. I learned some great things from Kirk Franklin, even just the basics, with going out and standing before the people. During those years, I learned that everybody doesn’t worship the same way.  You would think that when people pay their hard-earned money and buy a ticket to come to your concert, they want you to get into it, on your feet and jumpin’ all around. But as I traveled to different cities and countries, I learned that some people could be completely into the music and simply sit in their seat and wave their hands.  I learned that from Kirk Franklin. With Tyler Perry, I learned how to address people. And even working with my own husband – at all times, people are lookin’ at you and you have to make sure that you’re doing things the right way. You never want to offend anybody. It’s just all a part of the journey that I’ve had. Even with my mom, you know – you treat people like you want to be treated. So many different people have touched my life, and helped me become the woman that I am: the mother, the wife, the minister of music.

AllHipHop.com:  I’m not sure if you consider yourself an expert on relationships… [laughing] …but considering the marriage statistics within the African-American population, you and your husband are really a shining example. What advice and words of encouragement do you have to people who are currently in a relationship and, perhaps, experiencing a rocky patch?

Tamela Mann:  Well, the first thing is, you have to keep the love there. You have to keep your love alive. Sometimes we get so caught up in our lives. One thing about me and David, we include each other in everything. There’s no division of “this is yours, this is mine.” Everything we do, everything we have accomplished, has been together. First and foremost, we are truly in love with each other. We value each other’s opinion. We don’t try to cut each other out of whatever we’re doing. There is a learning process. This April we’ll be married twenty-two years.

AllHipHop.com:  Congratulations!

Tamela Mann:  Yes, it’s great! And without any separations either! [laughing] So we learned how to work through storms, and we’ve learned to agree to disagree. One thing that I always try to share – when I get an opportunity like this – is that I always pray that God keeps my love burning for and yearning only for David Mann. And I call his name out in that prayer.  I don’t want my eyes seek or yield or go any other direction but just on him. That is my prayer: to keep my fire burning for him. When you reach a certain point, you do go your day in and day out, and things can get like, “Okay, it’s the norm. We just go out to eat. We go to the movies.” But we try to do things differently. Maybe we may do a movie here at the house and have something nice, even if it’s making sandwiches. You have to keep that excitement in your relationship. And to be perfectly honest, if you quit and if you give up on it, then you’re going to have to start all over with somebody else. And it will be a non-ending cycle. But when we said our vows, we meant our vows. You can’t just be saying something to just say, “I’m getting married,” and plan a big wedding, and six months later, you’re calling it quits. It has to get beyond that. Marriage is ordained by God. It’s something that He blessed. Before I got married, it was the hardest struggle. Sir, you just don’t know. I was having it so hard. But once I got married, and I did it the right way, the struggles just became so much easier to handle. But that’s it. Just keep the love and pray and desire that you will always keep the candle of love burning.

For more information on Tamela Mann, visit her official website: http://www.davidandtamelamann.com/