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One Chance: Perfect Combination

A name can say a lot about you – it can have strong meaning, and it can define your purpose. After facing numerous obstacles in their search to stardom, the group One Chance auditioned in Atlanta for Usher two years ago. They ended up living up to their name by becoming the first group signed to Usher’s US Records.

Hailing from the South side of Chicago, Courtney, Jon, Michael and Rob are ready to take things to the next level. Their single “Look At Her” featuring D4L’s Fabo garnered a decent buzz as they put the finishing touches on their debut album, Private. We got some time to chat with One Chance about what it’s like working with Usher, and their struggle to emerge from the politics of the Chicago music scene.

AllHipHop.com Alternatives: We read about how you all believe your Chi-town swagger makes you stand out. What else do you all bring to the table that makes you different from all the other boy bands we see today?

John: A lot people say that we are very real. We come from the streets of Chicago – it’s not like we’re a cornball group. All of us can hold our own individuality.

Courtney: We take from the great groups from the past. We have the stage presence of New Edition, the harmonies of Boys II Men, and the edge of Jodeci, and so on.

AHHA: How long have you all been together as a group?

Courtney: We’ve been together for about four years. John and Michael are brothers and wanted to start a group, so they started going to different high schools scouting out different talent. We eventually formed a group, and started to tour different high schools performing and continued on from there.

AHHA: How do you all maintain being on one accord and not letting your differences get in the way?

John: It’s all about the mind frame that each individual has. We all understand our own personal ideas and differences and strive for one goal. We’ve been through so much and are friends, so we don’t believe in back-stabbing the next person. We are all like family. A lot of groups don’t know how to let things go. As long as you don’t hold a grudge and everybody communicates, you should all be on the same page.

AHHA: Do you feel any pressure being Usher’s first artists?

Michael: It’s a little pressure, but at the same time we look at it as a major challenge. A lot of people are going to expect us to be on Usher’s level off the top, so we work hard at trying to be at that level. When we came to Usher we were already polished, and that’s what he liked about us. When we first got with Usher, I was a little nervous, because he’s one of the biggest entertainers in the world – but once we got to know him we realized that he’s just like us. He’s real cool and down to earth. He’s actually been very hands-on with our project.

AHHA: What’s it been like working with Usher so far?

Courtney: It’s a blessing working with him. We got one of the best in the business coaching us. We get his ideas on what he thinks we should do in the studio to how we should take pictures, and conduct radio interviews. He tells us to stay humble and be polite.

John: When we’re in the studio from sun up to sun up, he’s been in there with us. Even though he’s busy, he’s been there a 100%.

AHHA: What can we expect to get from your album?

John: Our album is called Private, and basically we’re trying to let people into our private lives and talk about what it’s like to balance out a relationship and a career. All the songs, we didn’t record them until we felt like they were relatable. A lot of people go through the same things we do, and we want to reveal a side that people don’t necessarily know about us.

AHHA: For your first single, “Look At Her,” why did you choose to collaborate with Fabo of D4L as opposed to coming out by yourselves?

Courtney: When we picked the song Fabo wasn’t on it yet. We were actually looking to get him on there. We picked the song “Look At Her” because snap music is what’s happening, and we wanted to catch that wave.

John: Today people don’t really want to hear love ballads anymore. We had chose something catchy to grab their attention so they would listen. So we hit them with the single, and now we plan to give them the true R&B stuff.

AHHA: What’s it like to be an artist in Chicago and try to make it? There really aren’t a lot of outlets to help you succeed in the music industry.

John: The struggle is real hard, because as well all know there are a lot of politics involved in the Chicago scene. Not saying they don’t exist every where else but it just seems like other places embrace you and give you a chance quicker than our own city. It seems at times in Chicago it’s all about who you know or what click you run with. It’s so hard for young people that might not know anybody but might have all the talent in the world. No one’s willing to take a chance on you. It’s crazy how you have some of the biggest artists from Chicago, but yet they aren’t willing to reach out and help people that aren’t in Chicago. In Atlanta everybody is cool and letting everybody get money, it’s like one big family down here. We are trying to do what we can to help the next man, because we know how hard it is to make it in Chicago.

Jim Jones: New York Giant

Since the Diplomats first got noticed, Jim Jones was respected as a street entrepreneur, but rarely recognized for his song-making. While “Certified Gangstas” relied on plenty of lyrical help for the first album, “We Fly High” marks Jones’ first big unassisted hit. The Uptown anthem has bled its way onto the charts all over the country, and everybody’s “ballin’” because of it.

As proof, for the second week in a row, the white-hot New York Giants will take the field to their personalized rendition of “We Fly High”. Like the G-Men, the Dipset Capo chronicles his hopes of climbing to the top, his competition, and how he’s gonna get money after the game ends, like Tiki Barber.

We Fly High (RMX)

AllHipHop.com: So what’s good Jones?

Jim Jones: Everything’s going good right now, on a promo tour blowing this album [up] and promoting the “We Fly High” and the balling [slogan]. You know we go hard out here.

AllHipHop.com: What’s good with this “We Fly High” version for the New York Giants?

Jim Jones: Shouts to Osi [Umenyiora] and [Michael] Strahan, they shackling and tackling football players and for they celebration they doing the balling dance. They said the song puts an adrenaline rush in them, nahmean? So what can I say?

AllHipHop.com: So are they going to start rocking those colorful belts too?

Jim Jones: Ugh, I don’t know if they gonna rock those belts during game, but if they want to get fly, they can cop a couple thousand dollar belts and get fly with it.

AllHipHop.com: Where do you cop the belts?

Jim Jones: It’s Juelz’ and mine belt company. It’s called PB & JJ’s.

AllHipHop.com: When did you get that jumping?

Jim Jones: A couple of months ago.

AllHipHop.com: What do you think of Tiki Barber’s possible retirement next year?

Jim Jones: Man, you know after you put that work in and you get your paper and you do what you came to do, everybody wants to rest. It is what it is. It’s no rest until you get a break. So I guess he hit it and made his number, so let that man rest.

AllHipHop.com: So have you already started thinking about retiring yourself?

Jim Jones: Umm, I don’t know. I’ll probably resign from this job and do something different.

AllHipHop.com: What do you have in mind?

Jim Jones: Whatever the green things is at.

AllHipHop.com: So what’s the album looking like?

Jim Jones: Oh, the album Hustlers P.O.M.E. (Product Of My Environment), it’s a beautiful thing. Pardon me for saying I’m balling so hard, because we are making a couple of dollars. I haven’t forgotten where I came from, nahmean? We still ain’t getting no opportunities out there, they ain’t giving us no jobs. Most of my n***as got felonies on their chest. We [are] forced to do things that other people wouldn’t. The rent still got to be paid and Black people still need to be fly, and things need to go on and that’s what the album is about, that hustle. <

C#### Santana executive produced the album with me. I got the whole Diplomats on there, Killa Cam, Juelz Santana, Freekey Zekey. He’ll be home Thanksgiving. I got Weezy on there; I got the R&B singer Rell on there. We going in.

AllHipHop.com: Did you have any indication that “We Fly High” was going to be so big?

Jim Jones: Ah man, I had no idea that “We Fly High” would be like that. I knew it was a good song. I knew what it would do in New York, but I didn’t know that it would touch the entire country like it did.

AllHipHop.com: Loon been talking greasier than cheese steak meat about you and the Dips since he scrapped up with .40 Cal, any words for that situation?

Jim Jones: I think Loon pulled out a shovel on him, but .40 Cal still handled his ass. But that’s hearsay, that s**t don’t mean nothing to me, ya dig?

AllHipHop.com: Speaking of .40, any reason why he dropped his album on a real small label like Cleopatra rather than going through your Diplomats Records imprint through Koch or your Byrdgang label through Asylum?

Jim Jones: He did a mixtape, that wasn’t his album. He still Dipset Byrdgang, he got few thousand for that, [so] why not?

AllHipHop.com: Also Styles P has been running with the title of hardest out and Hell Rell been making mention in his rhymes he the hardest, how do you feel about the competition?

Jim Jones: Look man, this game is built on the best of competition, smell me? Everybody feel like they’re the realest or the hardest out and that’s what they rhyming about. I congratulate both of them for feeling they the hardest out. They both do beautiful music, so go hard.

AllHipHop.com: What’s good with Max B? He recently got pinched on a robbery charge?

Jim Jones: Ugh, Max B, that’s [a case of] mistaken identity. He’s been caught up on some bulls**t, he’ll be home in a minute, a quick one, nahmean? He got lawyers on the case and that’s that, so we good.

AllHipHop.com: You said earlier that Zeek is getting out Thanksgiving?

Jim Jones: Yeah, Freekey coming home for Thanksgiving, he’s going to get to eat some of that Turkey and all of that. So we’re getting ready for Zekey to touch down right now.

AllHipHop.com: So what’s his coming home party looking like?

Jim Jones: Man, an extravaganza! [Laughs] November 3, I got a big Thanksgiving bash in the city, we going to party hard!

Allhiphop.com: On your new song “Alarm.” You spit, “Well I heard Mike Jordan came back to ball again (Werd)/He might meet Iverson, crack and fall again (it’s them stiff knees)/ Yes I am Balllin’/Executive n***a like Kev, Lyor and them (Capo).” Do you think Jay-Z is done?

Jim Jones: I was just talking about Jordan…

AllHipHop.com: Come on Jones, don’t front for me…

Jim Jones: [Laughs] Hey, like I told you this game is built on the best of competition, and I am an aggressive competitor nahmean? I am going to put it out there. I am not going to put it out there distastefully, if you listen to it, it was about the art. At the same time I’m living fast. We don’t live for the old folks.

AllHipHop.com: So what’s next after this album?

Jim Jones: I’m going to start filming two movies after this album. I got two feature films I been asked to be apart of, so I’m about to start my acting career.

AllHipHop.com: Last time you and me kicked it during your promotion of Diary Of A Summer you dropped a jewel on me about the hood getting you high and the game making you famous before they make you rich. What’s your jewel for today?

Jim Jones: Aye man, it ain’t nothing. Just get it together out there. I keep telling people that the game is in a state of emergency for a few reasons. So if you don’t have some integrity about this underworld secret society, or this industry of ours, we finna loose it all, nahmean? They keep putting people on our back, and they got us under surveillance because we young, Black, and we rich. And they can’t stand that. Money begets power and they don’t want us to have any power, you know what I’m saying, so when I say “stop snitching,” I don’t advocate any violence or any crime, I’m just trying to tell you don’t do the crime if you can’t do the time. There’s people out there that live illegally and that’s all they got, and this ones for them, ya dig?

Omar Cruz: Angels and Demons

For Omar Cruz, Hip-Hop was not just some temporary escape from his torrid reality of the ghettos of the West Coast. It was a form of self-expression and the key to a way out. ‘Cause you see, when the only support you have is the streets, then you literally have to adapt a do-or-die mentality.

Cruz had to face the predicament of not having that foundation and support to pursue music from his immediate family, and on top of that, being type-cast because of his Hispanic descent. When it seemed as though he was hitting one brick wall to the next, he met the tattoo guru Mister Cartoon, who would become Cruz’s Marketing Manager. And with dogged determination and being on the constant grind, they inked a joint venture with Geffen and Interscope Records– the first of its kind for a new artist and his label, B.Y.I Entertainment.

The biggest emphasis for Omar Cruz is about recognizing Latin culture as a prominent lifestyle – something that he strongly incorporates into his message, while also helping to salvage what he feels is the current lacerated state of Hip-Hop. Read what Cruz had to say about Latino culture as a distinguished lifestyle, and recognizing Latino rappers not just as “Latino rappers,” but as skillful artists’ who are just as prevalent as the ones apart that seem to be aiding in the demise of Hip-Hop culture.

AllHipHop.com: Your album won’t be coming out until spring of 2007. Considering there’s a lot going on with the West Coast right now, and the buzz that is already starting to circulating with you, wouldn’t you rather get your album out sooner rather than later?

Omar Cruz: Albums for the past 10 years have always seemed rushed, [and] music seems forced. We’re trying to take our time with this. The last project I really worked on was “The Cruzifiction.” It was all original songs, I dropped that in June, we promoted that for a while and I [then] started working on this debut. So I don’t think six months is a long time to work on an album when it’s your debut. I think a lot of the time people think of quantity over quality, and I think that’s why Hip-hop’s hurtin’. We tryin’ to zero in on what’s real and what needs to be heard right now, what’s missin’ in the game. That’s the void I’m tryin’ to fill.

AllHipHop.com: Even though you promoted “The Cruzification” as a mix tape, for you personally, would you consider it to be more of an LP?

Omar Cruz: It was just putting it out there. It was a good introduction of what’s going on out there on the street. It was a good introduction as far as on the street, it created a lot of buzz out here in LA, it got a lot of love in the Southwest, and it’s makin’ it’s way out to the East a lil’ bit too. I got a lot of feedback from New York, Miami, Chicago so you know it’s a strong CD that represents us. Which is what my debut is gonna be on a bigger scale.

AllHipHop.com: You keep emphasizing that something is missing in Hip-Hop nowadays. If I were to rephrase that statement, would you say that the Latino community just doesn’t have a very strong voice in Hip-Hop as you would like there to be in general?

Omar Cruz: If you listen to what’s going on in Hip-Hop right now, the Hip-Hop that’s poppin’ right now, compared to the Hip-Hop that I was listening to, its not the type of Hip-Hop that I would particularly make. From the Latino side, that’s just not really relevant period, so I’m just trying to bring that to the forefront as well. That’s a whole other problem but in general I’m pretty sure of your readers would say the same thing. It’s lacking right now.

AllHipHop.com: You were quoted saying that with you being a Latino MC, you want to be in the forefront. I mean, the population of Latinos in America is the largest, It’s around… 70 million plus —

Omar Cruz: — Definitely. Not to cut you off, but it’s about time. And I’m taking initiative the to raise the bar lyrically and I always mention someone like Big Punisher who was a great influence on me in terms of how he approached music. He was just sick with it, it wasn’t about being Latino. But [I am] Latino, and I am proud of my background. My father is from Colombia and my mother is from Mexico, it’s just in my blood. I can’t help that. That lifestyle that I grew up with out here in L.A., it’s different that you would say a Daddy Yankee, who is from Puerto Rico, and kind of has more of that New York vibe. A lot of time they look at us and wanna just blanket us, “Oh, he must be a Reggaeton kind of artist. He might be a Chulo rapper or what not.” And those are just stereotypes that we gotta go through.

AllHipHop.com: On another note, have you been to certain countries in South America?

Omar Cruz: I have been to Columbia.

AllHipHop.com: You haven’t been to Brazil?

Omar Cruz: I definitely will go…

AllHipHop.com: I ask because you named one of your mixtapes after the movie City of God.

Omar Cruz: I will go Brazil. Because it inspired me to rename the City of Angels the City of God. That was the concept behind that. I feel that so many angels are born out here. I feel like, God’s gotta walk out here too so, this is the City of Angels as well.

AllHipHop.com: I just asked because I wanted to see if you were familiar with extreme poverty and dehumanization that happens to civilians out there.

Omar Cruz: In Columbia there was a civil war between the drug lords and the government for years. I’ve been there, I’ve seen it, and it goes on throughout all of South America, I believe that it goes to a certain extent out here as well. Maybe not to the extreme, but you got kids with guns out here as well. Any ghetto in the U.S.A. it’s the same thing. It all boils down to poverty, to lack of education, ignoring, neglecting the parts of the communities where there are Latinos, where there are Blacks, where the minorities run high, they don’t give a f**k. I feel, not too far fetched from that. Borders are just separating us that’s it. From Mexico all the way down to El Salvador, it’s the same thing, it goes all the way down.

AllHipHop.com: Your father had bought you your first recording equipment but at the same time, I know he wasn’t fond of you pursing Hip-Hop either. So when he bought that for you was it just for fun, or did you express an interest in music to pursue him to by it…

Omar Cruz: My father was going through his own stress at the time and probably wasn’t thinking too much of it. I probably pointed it out, it was a little thing. But as I got older I would just build on it, by adding CD players and stuff like that, adding instrumentals and writing rap songs. Definitely, my dad wasn’t down with it. I remember writing down some N.W.A. lyrics, and him reading the lyrics that I wrote. Like that’s what I used to do when I was a kid, I don’t know why I did it, I just did it. I remember him just beating the f**k out of me for writing that song. I think it was “Dope Man” that was the song. But he’s cool now, he sees it, you got to respect someone who pursues it and doesn’t give up.

AllHipHop.com: Is accepting now of your career path now?

Omar Cruz: This is my calling, I feel I don’t even feel like this is something that I chose, I feel like it chose me. There were times when I felt like, maybe it wasn’t for me but things happen in people lives and it’s almost like it’s my responsibility. It’s something that I got to do.

AllHipHop.com: You had said that family is very deep rooted within you and with the impression I get from you, also within the Latino culture. But then at the same time music is very important to you as well. So let’s just say up until this point if your family still didn’t approve even though you are a man doing this. If they still didn’t accept and you had to choose between family and your music, what would you choose?

Omar Cruz: That’s a good question. I mean, there was a time when I lost faith in my family and friends pursuing what I was doing. Running the streets, acting wild. Being caught up in the street life sometimes the music would take you there. They probably attributed a lot of that to the music, but that’s just were I grew up at. I grew up on the west side of Los Angeles, and it ain’t nothin’ nice. I wouldn’t have to choose put it that way. Like I said before, you can only respect someone’s dedication and commitment to what they believe in. I think that was the case. You really can’t hate on someone for following what [someone] believes in. I’m in it for the long struggle, you know?

AllHipHop.com: Apparently T.I. had made some comments saying that immigrants should be deported and you had addressed that you were not happy with the comments. And I remember reading in an article that at the BET Awards you were there 20 deep and that you did confront him about this?

Omar Cruz: I saw him, but I didn’t get a chance to talk to him. I really wanted to talk to him to see what he meant, so he could say it my face cause then I would have a better understanding. I understand he made some kind of apology through his publicist and whatnot. But if it’s from your heart, just do it yourself. Ain’t nothin’ change, it is what it is, we were out here just representing us. Sayin’ Latinos is here and we doin’ our thing and we ain’t goin’ nowhere type s**t, and it was a beautiful thing. We got a lot of love out here. And it feels good being embraced where we are plus it’s my hometown. So we got to be there regardless. But it’s whatever, and if that’s how he feels, then that’s how he feels. He knows what he said. I just wanted to hear it from his mouth to see exactly what it was and did he mean by that. ‘Cause when he said all immigrants should go back to their country, that’s a stupid thing to say from a man in the position like himself.

AllHipHop.com: You will run into him again, so he’s gonna have to deal with it sooner or later.

Omar Cruz: I’ll run into him period. We were taken off guest list from what I understand. Like I said, it is what it is. And that boils down to once again us not being in the game on a level where maybe people wouldn’t say those statements if there was someone there to represent or to respond. I think that’s part of the problem, and a lot of that is gonna happen. And we’re not just one of those extras in videos you know what I mean? That’s gonna have to change. We’re not just those dudes you see in L.A., or in Chicago, or in Miami or in New York. We got skills and the something the industry is gonna have to deal with it.

Snoop Charged with Felony Weapon Possession, Wins At MTV Europe Awards

Snoop Dogg has been charged with one felony count of possession of a deadly weapon, stemming from a September incident at the John Wayne International Airport in Orange County, California.

The Orange County District Attorney charged the rapper because he allegedly walked through an X-Ray machine with a 21″ collapsible baton concealed in his laptop case on September 27.

Police were called to the scene, detained the rapper and confiscated the baton, which Snoop reportedly said was an acting prop.

At presstime (Nov. 2), Snoop Dogg was abroad in Copenhagen, where he performed during the MTV European Awards.

Snoop Dogg is currently negotiating his surrender with the Orange County District Attorney’s office.

Snoop Dogg’s lawyer Donald Etra told TMZ.com that the charges wouldn’t stick.

“These charges are bogus,” Etra said. “The D.A. knows that, Snoop knows that, and at the appropriate time, a jury will come to that conclusion.”

Bail has been set at $150,000.

If convicted, Snoop faces a maximum sentence of three years in prison.

Rapper Blahz Still Standing After Car Explosion

Former Blahzay Blahzay rapper Blahz is counting his blessings after surviving a recent car accident.

The Brooklyn rhymesayer was on the New Jersey Expressway when he discovered odd sounds coming from his Cadillac SUV.

The car soon stalled, prompting Blahz to pull onto the shoulder of the expressway.

After calling a close friend to pick up him, Blahz popped the hood of the Cadillac, got out of the vehicle and approached the passenger side.

It was then that the vehicle exploded unexpectedly, blowing Blahz almost

40 feet into the woods on the shoulder of the expressway.

The lyricist was immediately rushed to the hospital as soon as his friend arrived on the scene.

Blahz, who suffered third degree burns on his left arm and second degree burns over much of the rest of the left side of his body, was in a coma in the next three weeks following the explosion.

The rapper has since bounced back from the explosion and has become more aware that a vehicle, no matter how good it looks or what it symbolizes, could be a potential liability.

“In the hood, Cadillac’s traditionally represent status and fine American engineering,” Blahz said. “But with after market additions of oversize rims and thousands of dollars of stereo and TV equipment, it can turn any vehicle into a bomb on wheels.”

The incident comes as Blahz prepares to release a “mixtape movie” featuring videos for 18 new songs and sketch comedy skits as well as appearances from the Hush magazine and Game Girls.

Despite what happened, the project’s January 2007 release date will not be affected.

The movie marks the latest achievement for Blahz, who has found success in the underground Hip-Hop scene as a solo artist.

His stint with Blahzay Blahzay was highlighted by the number one single “Danger.

At the time of the incident, Blahz was recording and filming the upcoming movie.

The cause of the explosion is still unknown.

Houston Rapper Z-Ro Promotes New Album Despite Incarceration

Incarcerated rapper Z-Ro will release his album I’m Still Livin Nov. 7 on Asylum/Warner Bros. Music.

The Houston rap veteran, born Joseph McVey, said the new set explores a more melodic side to his rhymes, which he wrote during his last stint behind bars.

The album also features fellow Houston rapper Big Hawk, who was shot and killed this past May.

“All these years around each other, we only did four or five songs together,” Z-Ro told AllHipHop.com from the Orange County prison in Texas. “The rest of the time was spent going to shows and ranking on each other and being homeboys. He’s a legend, and he’s still a legend. It was like the second coming of DJ Screw. Hawk had that same stature. The dude didn’t have a hateful bone in his body for nobody. He was just a good person all around, and I really enjoyed knowing him.”

Z-Ro was re-incarcerated in 2006 for possession of a controlled substance and will remain behind bars until late 2007.

“I’m still doing the same thing but from a different space.”

North Carolina Police Bring Defamation Suit Against The Game

More than a year after being arrested at a Greensboro, N.C., mall, the Game has been brought into another defamation lawsuit.

The Greensboro News and Record reports that five of the police officers involved in the arrest filed the suit at the Guilford County Courthouse against the Compton rapper and his associates.

In the suit, Hien Nguyen, Matthew Brown, Ryan Childrey, Romaine Watkins and David Gregory claimed that they were the victims of libel and slander.

They also alleged that the images of the men were misappropriated.

The suit also noted the claims of one officer, who said he lost $7,500 in off-duty pay because of his fear of returning to work at the mall.

The source of the suit springs from comments made by the Game after his arrest during an interview with a television reporter.

The rapper compared his treatment by authorities to that of Rodney King, adding that he was arrested for signing autographs at a mall.

According to reports, Game was seen wearing a full-face Halloween mask, cursing loudly and refusing to leave at the request of police, who arrested the rapper as he continued to act up.

The incident, which also led to members of Game’s entourage being sprayed with pepper spray, was ultimately captured on video and later circulated the Internet.

In addition to the arrest, the suit also mentioned the distribution of the video.

A Web site promoting the DVD claims that it shows Taylor “being wrongfully arrested and brutalized by the police in North Carolina,” according to the News and Record.

The officers are each seeking more than $10,000 in damages.

DJ Julio G., Mack 10 Team For West Coast Compilation

West Coast DJ Julio G and rapper Mack 10 have united to release the California-based CD/DVD compilation West Side Radio…My First Strike.

The project will be the first in a series featuring the best of west coast rap.

The new release will include music from west coast artists Snoop Dogg, B-Real of Cypress Hill, DJ Quik, Daz and Kurupt and Xzibit.

“I am very proud to announce that The Westside Radio has a home with Hoo Bangin/Malee Recording,” revealed Julio G. “Thanks to Mack 10 and Bryan Turner for believing in the importance of the West Coast. This will be the first West Coast album put out by a West Coast DJ.”

“Julio is one of the most credible DJ’s on the West Coast; he’s from the original 1580 K-DAY,” added Mack 10. “West Coast Hip-Hop fans listened and respected Julio from day one. His loyalty to Hip-Hop helped support West-Coast artists, as well as the East Coast ones throughout the years. He’s been as important to the West Coast rap scene as Funk Master Flex a few others have been to the East Coast movement.”

The album will also be highlighted by production from a variety of West Coast producers including E-Swift, Alchemist, Fredwreck, Battlecat, SoopaFly, Jon B, as well as Julio G himself.

In addition to the album, the DVD features unreleased footage of exclusive artist interviews complied by Julio G.

West Side Radio…My First Strike hits stores in early 2007.

True Master Takes Wu-Tang to Court, Wu’s Power Address Issues

Wu-Tang rapper/producer True Master has filed a new lawsuit against his former associates.

Wu-Tang Productions, Diggs Family Music and Nassir Music are among those named in the suit.

In the suit, which was filed last Thursday (Oct. 26) in New York State Supreme Court, Tru Master (born Derrick Harris) accuses the companies of breaking their contracts with him and “unjust enrichment” at his expense by not paying him the royalties the contracts required.

The producer, who has crafted hits for Method Man, the Wu-Tang Clan, and the late Ol’ Dirty Bastard, said that he kept his promise of delivering the music.

The new lawsuit marks the second time Harris hasn’t seen eye to eye with record labels and music companies. A similar complaint was filed last year in Manhattan federal court.

Power, Chief Operating Officer of Wu-Tang Music denied True Master’s claims.

“First of all, his lawsuit was [initially] thrown out,” Power told AllHipHop.com. “That is bull because for somebody to even act [like] they’re gonna come and sue Wu-Tang on that level as far as our inner circle is nonsense because brothers gotta look at where they came from and where they was at and what they was doing. Everybody received their just due. Ask him how much money did he get from on the strength of Wu-Tang and what type of things has he received from being a part of Wu-Tang.”

Power said reconciliation with True Master was still possible.

“As far as being whatever it is, the reconciliation has only really gotta come from realization,” Power said. “And that’s the only reconciliation that’s being done because for us, everything is real. I ain’t been around the game for the last couple of years because I see a lot of it as nonsense.”

Power also revealed details in a widely reported incident involving members of The Wu-Tang Clan in a VIP area of the Hammerstein Ballroom during VH1’s Hip-Hop Honors awards ceremony.

“I ain’t even gonna glorify that to no type of degree, but the bottom line was, yeah, you know there was a minor little altercation over there,” he said.

The brief altercation ended with Power leaving the Hammerstein Ballroom.

“I ain’t even have to leave,” Power said. “I just stood there and talked for like five or ten minutes. I made sure the rest of my people was able to stay because I told them ‘look if it was anything then let it be my problem. Let them go ahead and finish doing what they do.’ I walked out the front, girls started taking some snapshots.”

Bad Boy, VP Link For New Elephant Man Album

Sean “Diddy” Combs and dancehall label VP Records have announced a deal to market and distribute a new album by Elephant Man.

Elephant Man, born O’Neil Bryan, signed with VP Records in 2003 and hit the charts with the single “Pon Di River,” and has collaborated with artists like Mariah Carey, Lil’ Jon, Busta Rhymes, Shaggy, Mya and others.

“Elephant Man is one the greatest entertainers in his genre of music,” Sean “Diddy” Combs said in a statement. “When I saw him at Madison Square Garden ripping down the stage, I knew that he was the one. He will be a great addition to our team.”

The performance at Madison Square Garden also helped Elephant Man land a slot on Diddy’s upcoming Press Play world tour, which kicks off in Feb. 2007.

“Ya know we are excited to work with P. Diddy, the vibes are there, and with this combo we are gonna take dancehall to another level,” Elephant Man said. “I’m looking forward to dropping (the album) and the promotion, cuz Diddy is creative, and with him and the Energy God together…It’s gonna be madness!”

Elephant Man’s lyrics have been a magnate for controversy in the past.

In 2003, gay activists sought to ban Elephant Man, Beenie Man and Bountie Killer, claiming that UK’s Offences Against the Person Act law permitted the prosecution of artists who call for violence against homosexuals.

Elephant Man’s untitled Bad Boy/VP release is scheduled to hit stores in Spring 2007.

50 Cent, Robert De Niro In Final Negotiations To Star In ‘New Orleans’

Rapper 50 Cent and Robert De Niro are in negotiations to co-star in the police thriller, New Orleans.

According to the Hollywood Reporter, the movie is set against the backdrop of Hurricane Katrina.

New Orleans centers on a police officer who thought his partner was killed by Hurricane Katrina, but soon discovers he was actually shot.

50 Cent will play De Niro’s new partner and as they investigate the murder, a world of police corruption is uncovered.

According to the Hollywood Reporter, the project was originally set in Los Angeles, but was moved to New Orleans after Hurricane Katrina devastated the city.

Production is slated to begin in New Orleans in February.

Looking for America

“Few of us will have the will to bend history itself, but each of us can work to change a small portion of events, and in the total of all those acts will be written the history of this generation.”

ROBERT F. KENNEDY

“I have always kept an open mind, which is necessary to the flexibility that must go hand in hand with every form of intelligent search for truth.”

MALCOLM X

Monday, November 8, 2004

I have sat in my Brooklyn, New York, apartment quietly, for several days now, too perplexed to talk with people, friends or not, about the American presidential election. I have read mainstream and alternative news accounts of the campaign, absorbed statistics and exit polls, sifted through the debates, flipped between CNN and the Fox News Channel, dodged most emails and phone calls coming my way, asking what I thought it meant that President George W. Bush had won, that Senator John Kerry had lost. I have heard the chorus of Bush supporters say it was Mr. Bush’s “faith” that led them to punch the hole, to pull the lever, to touch the screen for the president-elect. And I have heard the chorus of Kerry patrons say they feel robbed, that there must be some vast conservative conspiracy, that they are deeply traumatized, in a state of shock, that they know neither what to do next, nor to whom to turn. I have spoken with my mother, who has voted in every election since she has been able to, since the 1960s and the Civil Rights Movement, and who, with her sharp South Carolina accent and uncomplicated front-porch observations on the world, has always given me something to ponder. My mother, like me, is a lifelong Democrat and her sleepy response was dry, nonchalant, uncharacteristically melancholic: “Boy,” she said, “at least we got the chance to vote.”

Indeed, mother, indeed. But has it come to this? To real democracy, real freedom, real self-determination being tied solely to our right to vote? Is the vote it? Twenty years ago, when I was an eighteen-year-old first-year college student at Rutgers University in New Jersey, the vote was the thing. I was stirred by a Southern Baptist preacher named Reverend Jesse Jackson, who, after Congresswoman Shirley Chisholm had run for president in 1972, was the only other serious Black candidate for president my community has ever had. Reverend Jackson encouraged us-young and old alike-to keep hope alive. And told us that we were, in fact, somebody, and we believed him, believed that our vote could, would, matter. President Ronald Reagan was reelected in a landslide that year, but by 1988, when Rev. Jackson ran once more for president and came in second in the Democratic primary to eventual nominee Michael Dukakis, many of us felt that Rev. Jackson, with those millions of Rainbow Coalition votes, had the power, the juice, to represent a new American coalition of progressive people-Blacks, Whites, Latinos, Asians, Native Americans, labor, city and country folks, working class people, middle class people humane enough to care about their neighbors to the left and right, and all those groups that had been marginalized during the Reagan-Bush years. It was, we felt then, an opportunity to win back the soul of the Democratic Party, to have a party, an organization that truly reflected the diversity, the “gorgeous mosaic,” as former New York City mayor David Dinkins was fond of saying, of America. But, alas, and for reasons only Rev. Jackson knows to this day, a great compromise was struck: the Rainbow Coalition was allowed to wither on an ashen vine in exchange for Rev. Jackson’s seemingly cozy relationship with the Democratic Party hierarchy, and many of us young folks became disillusioned with politics for years to come.

I was 22, I was one of those people who walked away from politics in 1988, and stayed away right through the Clinton years, in spite of Mr. Clinton’s youthful appeal and Kennedyesque affectations. Yet I never stopped voting. I could not fathom that inaction. My mother chided me, habitually, that there was a time when we, African Americans, could not vote, that I had an obligation to do so for no other reason than that blood, literally, had been spilled, that heads had been smashed, literally, so that I could have a semblance of citizenship in these times.

I write all of this to say it hurt me, immensely, to see so many young Americans throughout America registering to vote for the first time, volunteering for Mr. Kerry’s campaign, standing in lines in some areas for up to ten hours to cast their vote, then dealing with the harsh reality that their candidate had lost. It hurt me to see their tears of defeat, to hear the echoes of “Hey, it does not matter what we do, nothing is ever going to change.” There was a sense of confusion, of hopelessness permeating young America, older America, Democratic America, liberal America, progressive America. Many people believed that MTV, BET, Rock the Vote, the NAACP, the League of Women Voters, Russell Simmons, Oprah Winfrey, P. Diddy, Leonardo DiCaprio, Eminem, Michael Moore, and other popular and well-meaning institutions and icons could, and would, make a difference. People believed that because of the Iraqi war, the horrible economy, the outsourcing of American jobs, the ugly partitions that have been erected on our soil during the Bush-Cheney years-Black vs. White, White vs. people of color, Christian vs. Muslim, Americans vs. Arabs, poor vs. rich, straight vs. gay, and so on-that there was no imaginable way that Mr. Bush could get reelected. Many of us assumed, hoped, prayed that John Kerry, though a mediocre candidate at best, would somehow win this election and get America back on the course of figuring itself out, for the good of us all. But perhaps this is where our mistake began. We placed more faith in one person, Senator John Kerry, than we placed in ourselves.

When Mr. Bush was awarded the presidency in December 2000, after a long and acidic fight that wound up in the United States Supreme Court, I did not, could not, read the newspapers or watch the news for several months. I felt cheated, I felt a high crime had occurred. This was the sentiment of many Americans. But while we stuck our heads in the sand, the Bush-Cheney regime took root, its agenda took flight, and before we knew it a tax cut was passed that greatly benefited the rich, September 11th happened, a war on terrorism began, and we invaded first Afghanistan and then Iraq. Civil liberties have been eroded under the heading The Patriot Act. Over 1000 American soldiers, mainly young Americans, have lost their lives to date. The count for dead Iraqis is 100,000, according to several reports. And we have essentially been in reactionary mode the entire time; we being liberals, progressives, the Democratic Party; we being Americans who know that America does not belong to one particular party, to one particular ideology, to one particular race of people, to one particular history, to one particular God. And as we have been playing catch up, the incredibly wealthy leadership of the Republican Party has pandered-so very effectively, with the help of a well-oiled propaganda and marketing initiative, and via, among other instruments, talk radio-to blue-collar, rural White Americans in the Midwest, in the Deep South, catering to their most basic thoughts about God, religion, and, if we are to be mad truthful, to their fears and prejudices. I was in Ohio a couple of days after the election. It was striking to be in areas where some of the poorest Whites lived, and there, on the windows of their homes, on their pick-up trucks, stamped on their minds, was some symbol (a poster, a bumper sticker, a hunch) that Bush and Cheney were on the right side of God.

Some time ago, the Democratic Party ceased to be the party of the people, and we have no one to blame but ourselves. We have developed very few leaders who know how to talk with and listen to the masses of Americans. We have shied away from what the party had been about, at least on the surface, during Franklin Roosevelt’s tenure, and as manifested in the thoughtful dreams of Bobby Kennedy in 1968, of his brother Ted at the Democratic National Convention in 1980, and of Reverend Jackson for much of the 1980s. And we have allowed the Republicans to paralyze us with inertia, forcing us, again and again, to replicate strands of the Republican agenda, rather than fulfill our mission of doing what is right for the people, all people, all the time. I now wonder: how many leaders in the Democratic Party actually spend time consistently in their respective communities, in the ghettoes, in the backwoods, in the suburbs, on college campuses, in the churches, at prisons, at homeless shelters, at battered women’s facilities, interacting with the people not only when it is time to rally the troops for votes?

While we remain a nation still embarrassingly segregated by race, gender, class, region, religion, sexual orientation, and the like, we share the common stories of alienation. I have been fortunate, these last several years since the mid-1990s, to have traveled America extensively as a public speaker, political organizer, and writer, to have seen life beyond my city, county, state, and region. I have visited nearly all fifty states, big cities and small towns, densely populated locales and places where I did not see another person for miles at a time. These trips have given me a very different take on America. A fuller, more comprehensive take. I am struck by the multitudes living on the frayed fringes of this so-called democratic nation. For example, the middle-aged White gentleman in New Hampshire I met back in January, at the tip-off to the presidential crusade, who told me he was a Vietnam veteran, that he was driving a cab because there were no jobs for him, that he was on welfare and ridiculously destitute, that he felt the government had been neglectful, woefully neglectful, of Vietnam War veterans. That he was not going to vote, and, as a matter of fact, he had not voted in over twenty years. Because, as he explained with contempt at the borders of his mouth, politicians did not care about people like him. When I asked which politicians, he muttered, All of them. Or there was the Black man, early 40s, whom I met only a week or so ago in Mr. Bush’s home state, Texas, who, in his twenties during the Reagan 80s, was falsely accused and convicted of raping a White female. His jury was composed of 11 Whites, 10 men and one woman, and, sadly, in a state with a history of sadistic racism (let us not forget that semi-retarded Black man, James Byrd, who was tied to the back of a truck a few years back by bigoted and demented White males and dragged to his death) this gentleman did not stand a chance. He lost his youth, he lost his innocence, he lost bits and pieces of his sanity while in prison for a crime he did not commit. Only the use of a DNA test exonerated him, right at the beginning of Mr. Bush’s first term in office. This man now carries in his hip pocket crumpled copies of articles about his case, as well as a crumpled copy of his official pardon, as if he were in another time in American history when one, if Black, had to carry his or her freedom papers to prove without question that one was free.

I have more tales than I can recount in this space, but the point is that America, our country, continues to be stuck spiritually, emotionally, in spite of the proclamations of democracy, of equal opportunity, of being one nation under God (which God, and for who?), of this being the greatest show on earth. If all of us are not completely free, and free in every sense of the word, then, dear friend, none of us are as free as we have been led to believe. What is freedom anyhow, and what is democracy, when in the allegedly most democratic nation in the universe millions upon millions of human beings wondered, and still wonder, if their vote was actually counted on Tuesday, November 2, 2004, and why, for God’s sake, did some of them have to present an I.D. or otherwise prove that they have the right to vote in the year 2004? Are we truly free?

Well, we certainly were not free at the Democratic National Convention in Boston back in July. As happy as I was to be there, I could not help but think, deep inside the marrow of my Democratic bones, that it was a charade, a hoax. There was no far-reaching vision, no expansive, humanistic agenda, no imaginative leadership. With the exception of brilliant speeches by Hillary and Bill Clinton, Barack Obama, and the Rev. Al Sharpton, there was only empty rhetoric and unsophisticated retorts to the Bush-Cheney platform. It was evident that while the Dems had more A-list celebrities, threw better parties, allowed hiphop-the controversial yet dominant culture of our day-into its sacred halls, it was all dental plaque distorting the fact we had, and have, no teeth on the left and, really, have been missing our teeth for some time now. A month later I attended the Republican National Convention here in New York City and could feel the focus, the vision, however myopic, and the battle plan. While the Dems barely spoke of faith, of religion, of spirituality, the Republicans spoke of it every chance they got. They monopolized the market on moral values. The perception became the reality: the right is of God and the left is of the devil. And the Democratic Party, the liberals, the progressives, or whatever we label ourselves, have allowed the right to act as if they are more in step with God, with morality, with spirituality, with personal virtue, than we are. This is sheer lunacy, from my perspective as an African American. Practically every movement, from the anti-slavery rumblings of the 1800s right through the Civil Rights era of the 1950s and 1960s, has been led by the spiritual leaders of my community, individuals who had a deep belief in a higher power, no matter what we called that higher power. And we were always clear that we were on the right side of God, that religion was about liberating and uniting people, not oppressing and dividing the multitudes. Certainly, we Americans who do not suffer from selective amnesia know something of what happens when a group of people appropriate God and distort his words to suit their needs. Let us not forget that there was a time when these very types of Christians manipulated and abused the Bible to justify slavery, for nearly three centuries. Let us not forget that there was a time when these very types of Christians turned their noses up and turned their backs on Jews as they were being stuffed into Holocaust ovens in Germany. And let us not forget that there was a time when Christians, under the guise of representing the true intentions of the Lord, physically assaulted civil rights marchers, Black and non-Black alike, in places like Alabama (down South) and Illinois (up North).

The point is that much of the Bush-Cheney agenda has everything to do with fear, with playing to folks’ base bigotries. The Southern White Democrats of the 1950s and 1960s (popularly known, then, as “Dixiecrats”) used the race card and their interpretation of Christianity to attack the Civil Rights Movement, then slowly but surely championed a mass exodus of the party (as Negroes got the right to vote) to become the driving force, all these years later, of those too-many-to-count red Republican states we see today. While the race card is still used, albeit in more guarded, coded language, this year the taboo topic was homosexuality, or, rather, same-sex marriages. And what does it mean that right-wing Republicans, during an election year, play political football with this polarizing subject, get it on the ballot in several states, while Vice President Dick Cheney’s openly gay daughter stands there, shoulder to shoulder with her lover, her partner, at the post-election victory celebration being photographed for the world to see? What kind of hypocrisy is that? Or, better yet, does it not suggest that many Americans, we people of moral conscience, have someone in our lives-a sister, a brother, a son, a daughter, a cousin, a friend, someone from our childhood, someone from high school or college, a coworker, a neighbor, a church member, a pastor (gasp!), who is gay, lesbian, bisexual, transgender, just as Dick Cheney does, but we are too ashamed to recognize their humanity, their existence. So terrified, in fact, to do so, that Republicans can steamroll in and make homosexuality one of the central issues on which we are deemed as spineless, and lacking in morality? Why did anyone not say, boldly, Look homie, Dr. King, a man of God, a Christian, a Christian minister, a Christian scholar, worked with Bayard Rustin, a gay man, who was the chief architect of the March on Washington in 1963? Dr. King may not have agreed with Mr. Rustin’s life path, but he at least respected the man’s genius, the man’s work ethic, the man’s humanity, the man’s quest for democracy, the man’s right to exist. And what could be more Christian than that? And who among us is God, himself, herself, itself, that we are in a position to say what form a person’s life should take anyhow?

We on the left, as Newark, NJ, Deputy Mayor Ras Baraka has said of the hiphop generation, need to grow up. Grow up and ask ourselves what do we, in fact, believe in? What are our moral values, our spiritual values? There are Americans in the Deep South, in middle America, who believe we on the left have no principles whatsoever, that we believe in nothing more than having a good time. Any extreme is dangerous-the extreme of blind religious zealotry, as well as the extreme of no boundaries, no agenda, in any form, for our lives, for this nation. Where, then, is the middle ground, where are our souls, and where is the soul of America, or are we simply destined for a certain kind of hell these next four years and beyond?

As I continue to struggle and grow in my spiritual walk, in my Christian walk, in my human walk, I am clear that I don’t want to go to hell, nor do I want life in America for any of us to be a hellish nightmare. Nor do I believe that the 4 million votes that separated President Bush from Senator Kerry constitutes a mandate. We need to state, emphatically, that it does not. Mr. Bush may be the president, Republicans may control both the Senate and the House of Representatives, but the struggle has only begun. Our work in support of Kerry’s campaign was not in vain. I feel we have awakened a sleeping giant, or, more importantly, the giants, the leaders, in any of us who care about real democracy, real freedom, real self-determination, real people power. The younger Americans who became passionate about politics, about life, about living, in 2004, give me hope. Hope in spite of the fact that more bodybags will come home from Iraq. Hope in spite of the fact that extreme poverty is as deadly in America’s ghettoes as it is in any so-called third world nation. Hope in spite of the ugly divides, the intolerance, the lack of humanity we often show to each other. Hope in spite of the fact that the budget deficit will continue to force this nation to its knees, and in spite of the fact that economic despair-the lack of jobs that pay a living wage-has reached epidemic levels unseen since the Great Depression of the 1930s. Because of Tuesday, November 2, 2004, I think all of us must do a gut check, confront our personal demons (I assuredly have mine and have no problem, none whatsoever, owning them and working through them), think hard about all the unnecessary fights, arguments, petty jealousies, juvenile competitions, pathetic trips into backbiting and gossip and ask ourselves, amidst another term of Bush-Cheney, is this the best we can be in America? Is this what I, we, desire to be, an utterly imperfect human being, wallowing and content to be in a state of arrested development for the remainder of my natural life?

I am not going to surrender the moral high ground any longer to these right-wing activists who pretend to care about the average American, and really do not. And you should cease surrendering as well, if you truly care about freedom and democracy. If we capitulate in this arena we will never be able to have any fruitful discussions, debates, and actions about the Iraqi War, this destructive economy, the lost jobs, nor about race, gender, class, religion, sexuality, poverty, hunger, homelessness, the environment, the Palestinian-Israeli conflict, the genocidal mayhem in the Sudan, the crisis in Haiti, and every other human drama that demands our attention.

At the end of the day it should not matter whether you are Black, White, Latino, Asian, Native American, or Arab; liberal or conservative; a Democrat or a Republican; Christian, Jew, or Muslim; straight or gay; what should matter is what type of human being you are, what type of human being you aspire to be, and whether you have any regard, any concern, any God-given compassion, true compassion, for other human beings.

And what do we do with that true compassion? Well, if we did not learn any other lesson from the tragedy of September 11, 2001, we should have at least learned this: As the Twin Towers were hit by those two jumbo airliners, as those buildings came crashing from the sky to the earth, as bodies leaped from windows or were crushed beneath the force of concrete and steel, at that very moment suddenly trivial categories like race, gender, age, class, sexual orientation, religion, status in society, did not matter. What mattered, on that day, was how one had lived one’s life, what one had done with one’s life, to advance humanity via the tiniest of baby steps or via gigantic strides. That is the kind of American I yearn to meet, the kind of America I am looking for.

America did not begin as a real democracy, and in spite of the changes, the upheavals, the lives lost, the sacrifices made, we are still not there. Mr. Bush and his crew need to think again if they believe, truly, that the American people have spoken. No, the last word has not been uttered, the last battle has not been waged. The freedom fighter legacy represents the America I am looking for. Freedom fighter as in Patrick Henry and Harriet Tubman, freedom fighter as in Cesar Chavez and Fannie Lou Hamer, freedom fighter as in the multicultural young leadership of today: Billy Wimsatt, Rosa Clemente, L. Joy Williams, Jeff Chang, Farai Chideya, and T.J. Crawford. Freedom fighter as in the millions of young people who voted in this presidential election, who understand, clearly, that they, we, younger Americans are the leadership we are waiting for. What would the so-called American democracy look like if these folks had not existed, if they did not exist today?

I am looking for an America that will acknowledge, finally, its history of taking Native American land; of using free Black labor to build this nation; of treating women as objects, as invisible, second-class citizens; of viewing Latinos as mute nuisances to be seen, worked to death, but not heard; of marginalizing and excluding, at different times in our history, among many others, the women, the Chinese, the Jews, the Irish, the Italians; of scapegoating and isolating the Japanese and, in this new millennium, Arabs, Muslims, gays and lesbians. I am looking for an America that will acknowledge that this nation would not exist were it not for the Native American, the Blacks, the women, the Latinos, the Chinese, the Jews, the Irish, the Italians, the Japanese, the Arabs, the straight, the gay, the liberal, the conservative, the me, the you.

I am looking for an America that respects every explanation for life, for the creator, the lifegiver, the higher power, that entity some of us may refer to as God, that others may refer to as Allah. I am looking for an America that ceases to refer to itself as a Christian nation but, instead, as a nation of many faiths, or many spiritual walks, a nation that has a tolerance and a patience not just for Christians, but also for Jews, Muslims, Buddhists, Rastafarians, Yorubas, all the many belief systems that express themselves daily within these borders.

I am looking for an America that does not rely on celebrities, on superstars to be the leaders of the people, but understands that the real celebrities, the real superstars, the real leaders, are the mill workers, the secretaries, the construction workers, the teachers, the layers of cables and telephone lines, the postal workers, the artists, the grassroots organizers, the bus drivers, the home health aides like my mother, the military veterans like my uncle.

I am looking for an America that will have the courage to abolish the electoral college once and for all, that will have the audacity to create uniform and modern voting methods across the land, that will not seek to disenfranchise the most vulnerable people in our society from their God-given right to be free, to speak their minds without fear of punishment or alienation. I am looking for an America that will no longer attempt to teach other nations how to make democracy work until we get it right, and working, here at home.

I am looking for an America that will raise the minimum wage, provide more money for public school education and less for war; an America that will rehabilitate prison inmates, that will insure that elders like my mother will be able to afford their prescription drugs and count on a Social Security program that acknowledges what they have given to this country by way of labor, taxes, and endless loyalty.

And I am looking for an America where through much defeat and pain and suffering we can birth new possibilities, new ways of being and doing. We are not losers, friends, those of us who voted for Mr. Kerry, or, in some instances, against Mr. Bush. I am not, and neither are you. We who believe in real democracy, in real freedom, in real self-determination, who believe in the creative force or forces that placed us on this planet, who believe in the possibilities of humankind, in truth, in justice, in life, who believed that our efforts, our sweat, our vote, could and would count a few days ago, on Tuesday, November 2, 2004, here in America, have nothing to be ashamed of. Nothing at all. Nor should we see the reelection of President George W. Bush, and the defeat of Senator John Kerry as the beginning of a great catastrophe for us, for this country. No, what we have is a beginning, a start, with inevitable speed bumps along the way. But the questions remain for all of us to ponder. What are we going to do to create the America, to create the world, we so desire? And are we, each of us, willing to look within ourselves for that answer?

Kevin Powell, Brooklyn, New York-based writer, activist, and public speaker, is the author of 7 books, including the new title SOMEDAY WE’LL ALL BE FREE (Soft Skull Press, www.softskull.com), in which the essay “Looking for America” appears.

If you want to support the TAKE BACK CONGRESS campaign in Kevin Powell’s home state of New York where there are a few hotly contested Congressional races, please visit www.takebackcongress2006.org to learn how you can help, volunteer, or make a financial contribution.

Please also visit and become a member of www.moveon.org

MoveOn Civic Action/MoveOn Political Action

The Flavor Flav Editorial: A Teacher’s View

"Yo baby, can’t you see that’s nonsense you watchin’? Look, don’t

nobody look like that, nobody even live that, you know what I’m sayin’? You watchin’ garbage, nothin’ but garbage. Straight up garbage. Yo, why don’t you just back up from the TV, read a book or something. Read about yourself, learn your culture, you know what I’m sayin’?"

-Flavor Flav on Public Enemy’s "She Watch Channel Zero" (1988)

As I entered my 6th grade classroom a couple of weeks ago, I asked the students "What did you do this weekend?"  

Initially, I got the usual bland answers about movies, basketball practices, cheerleading activities, or just loafing around the house.  

The day following the finale of season 2 of "Flavor of Love" I got a rousing response from one kid.

 "Deelishis won the ‘Flavor of Love’ and New York was cussing Flavor Flav out and crying!" he exclaimed joyously.  After that response, most students turned to each other and started discussing the graphic details of the show that has captivated the country.   

Initially, I prepared to shut the conversation down because it was inappropriate for class, but I was curious to see where this was heading. More importantly, I wanted to see what my students actually knew about Flavor Flav.  I’m completely familiar with Flav, from his musical genius to his Public Enemy days in the 80’s with Yo! Bumrush The Show! to even his storied legal problems.

So I asked who Flav was, and my students replied with answers such as, "He’s a pimp" and "He be doing these shows about love and trying to find different girls."   

Not one mention of the Flav that I grew up on.  “Flavor of Love” is not the first time my impression of Flav was crushed.   I remembered “Only Out For One Thing” on Ice Cube’s Amerikkka’s Most Wanted.  That was the first time I heard a member of Public Enemy rap in a more vulgar sexually explicit manner.   I can remember thinking as a young teenager, "Why is Flav saying this?  He’s in Public Enemy."  

In hindsight, that song was a premonition of things to come in the career of William Drayton.   

These days, Flav has reinvented himself and has become arguably the king of Reality Television.  This time the audience is morality-starved, rebellious teens and an attentive Middle America. His last three TV ventures ("The Surreal Life," "Strange Love" and "Flavor of Love" Season 1) have been without Public Enemy’s Chuck D, the militaristic S1Ws, or Professor Griff. All eyes on Flav,  and the flavor that he promotes is not so sweet to those of us that recall the Golden Era. The messages are void of revolution, social consciousness or intelligent thought, coming from the greatest hype man in the history of Hip-Hop. This is a mutation in my eyes.  

Flavor has willingly allowed himself to be a part of the new minstrel show, as if Hip-Hop was short on sellouts.  Most middle school children don’t even know what a minstrel show is, but Drayton gives them a firm lesson and vivid examples with no assist from Miriam Webster’s dictionary. 

 

Weekly, Flav managed to buck his eyes out, hunger for sexual attention, chase down big booties and buckets of chicken like wild jungle animals in pursuit of fresh prey. The toothy, ear-to-ear gold grin elicits more coonery than revolutionary free spirit.  The females on the show are reduced to bickering over this 47-year-old man, flaunting around in bathing suits, shaking their assets, pandering for attention, and seemingly pretending to love him for him.  [Oh, and most of them don’t know his legacy either.] Flavor’s antics are endless, and seemingly without a lowest common denominator.

"You’re blind, baby, you’re blind from the facts on who you are

’cause you’re watchin’ that garbage."

-Flavor Flav on Public Enemy’s "She Watch Channel Zero" (1988)

Is Flavor Flav a coon?  A sellout?  A corporate puppet, as New York’s mother bluntly put it. That’s not for me to say – this is Flavor Flav we are talking about.   What I do know is that his audience scarcely recalls Public Enemy, a group that he was once such an important part of history.  Our children, the future of Hip-Hop and Black America, only know Flav as a guy who stands for nothing; a buffoon that VH1 runs 7 days a week, several times a day.  

Flavor Flav’s clock once meant that he "knew the time" about the plight of African Americans, knowledge of underground schemes and genocidal initiatives. Now, in mainstream history, that clock will be primarily associated with the dismissal of 20 women in a 8 week span – all in the quest for "true love." The odd thing is that most of the women on his show are strippers, clear-cut hoes, wiggers, alcoholics, aspiring p### stars, deviants and other "appealing" characters. Good girls need not apply, but unsupervised children [and some supervised] have something to aspire to be.

The Black fist has been replaced by a hand that is an equal opportunity groper.

I think its safe to place Flavor Flav in one of two categories:  1) Fun loving guy with a gigantic heart, great hype man for a revolutionary Hip-Hop group. 2) A jester exploiting the very people he attempted to uplift in the 80’s and 90’s. Putting Flav in just one of those categories may be difficult and perhaps a gross oversimplification, but he’s not presented in any other way in media, interviews, television or otherwise.  There is no voice of reason, as seen in spurts on “The Surreal Life.” We can only form opinions about what we see. At one point, Flav provided the perfect balance to Public Enemy – a group that epitomized a revolutionary moment in time.  Chuck D’s was never a very successful solo artist and Flav was necessary. Despite his comical antics, he was the bridge that connected the less conscious with thought provoking messages.  "9/11 Is A Joke" was an example of how everything fits together like a puzzle and Flav was allowed to march militarily to the boom bap of his own funky drummer.

"Yo baby, you think I’m jokin’? Do it look like I’m jokin’? I

ain’t jokin’, word up, baby. Yo, cut that garbage off now."

-Flavor Flav on Public Enemy’s "She Watch Channel Zero"

     It’s unclear to me if Flavor was posing or being a character in the 80’s for the money the same way he is doing now.  Maybe songs like “Only Out For One Thing”was an indication of who Flav really is.  Maybe his multiple kids by multiple women and questionable support of those kids was an affirmation of the type of person flavor was.  Maybe his well publicized battle with drugs or his brief stint in Rikers Island was the true Flavor Flav.  Maybe the clown we see every week on VH1 is Flavor Flav.  Maybe his is a master multi-tasker that can fight the power and slap that ass at the same time. He has reinvented himself and probably is better off financially than at any point in his life, but at this point I truly hope that after this season of ‘The Flavor of Love 2’ that his time is up.  

-AllHipHop’s columnist illseed contributed to this editorial, but is an admitted addict of “Flavor of Love.”

For all the 6th graders: some Public Enemy videos starring "my" Flavor Flav:

Public Enemy – "Can’t Do Nothin For Ya Man"

Public Enemy – "911 Is A Joke"

Freekey Zekey: Balling Before Bail

Freekey Zekey’s thoughts in jail sound nothing like a “One Love” letter. Instead, the Harlem Diplomat original is likely just days away from hitting the bricks, and his excitement shows. In between paying homage to Tupac and Biggie as well as George Bush and Saddam, Zeke retraces the movement from its humble beginnings, to its soaring heights.After a 36-month sentence in a North Carolina prison, the walls are about to open up for a recording career that even the hardcore Dipset fans didn’t get to hear much of. With the release forthcoming Book of Ezekiel a new chapter begins in a novel that Zeke believes should have closed a long time ago. Get to know one of Hip-Hop’s most outspoken cast members, in Freekey Zeke.AllHipHop.com: They say it’s more money and more problems. Coming from humble beginnings and reaching success only to have it snatched from you along with your freedom had to be frustrating. How did you maintain?Freekey Zekey: On the real to real, it was a constant struggle since ’98, when a n***a Killa [Cam’ron] rhymed for Biggie and we got on. [Editor’s note: Notorious B.I.G. died in 1997] Like it was ups and downs with Sony. Sony ain’t let us live the way we wanted. They didn’t understand gangsta music when they was supposed to, they was really on R&B s**t. So Killa’s s**t ain’t ride like how it was supposed to. But other than that, when we went in 1.4 million, I hit the streets. I did the street thing that’s why I’m locked up honestly. So being successful and having it taken away it’s really… there’s no medium in the situation because I fell off a cause. Whenever you do something for a reason, like when troubled waters happen, it’s not too much of a problem in your heart because you know what you did is for a reason and when it becomes successful then you really can just praise up to it. So basically, being locked up over the situation is all good, you know what I mean? AllHipHop.com: Being away a few years, and watching your people grow, do you ever wonder whether you will fit in the same way?

Freekey Zekey: Can it fit in? No h###. No H###. I’m already in. Being that I’m gone, I have no reason to feel like an outcast to get back in. When I talk to my n***as, it feels like I just spoke to them yesterday, know what I’m sayin’? Juelz, the young Lil’ Hubbard, I call him the Lil’ Hubbard even though he got a little Lil’ Hubbard, but he Lil’ Hubbard. Jim, been with me since third grade, Killa, been with me since I ain’t know how to wipe my ass [to the p#### training]. So being back with my n***as is nothing, you smell me? So no. Getting back with them it’s like they in the third lane and I put my blinkers on and got in the third lane with them, so it’s on and poppin’, smell me?AllHipHop.com: Juelz did some great numbers. Jim Jones is probably surpassing what anyone ever expected of him as a recording artist. How does that play into the team dynamic? Freekey Zekey: Everybody, everybody, everybody don’t like to take a chance with a street dude you know what I’m saying because of the fact that, n***as is scared of failure, but look at all the street n***as that prospered, you know what I’m saying? Shout out to Kevin Childs that’s the only one who I could really talk about who did his time like a G. But other than that, Jim, Juelz, Killa, Freek, all of us we did the same damn thing. Everybody is not gonna like… everybody love negativity, but they don’t want to take a chance on it. You smell me? So Jim, Juelz, Killa, and myself when I get out, everybody gonna be itchy to the situation, but that’s what rocks. N***as want to hear the truth. N***as want to hear reality so once you present that on wax and people hear that it’s not an air of fiction. It’s seriousness, and that’s what we present to the world. That’s why Dipset is a movement. But I don’t even really gotta answer that question because it speaks in our numbers. We’re all ballin’. AllHipHop.com: How fast do you think you can get up to speed back in the real world? Freekey Zeekey: As soon as they let me out. As soon as they let me out the gates. I’m in the real world right now. I’m locked up, but I’m in the real world right now. But I’mma be out there, and when I get out there Freeky, a.k.a Katrina but I’m not gonna destroy, I’m gonna build. So listen to me and you’ll understand the real knowledge of a person that is successful, and all of us will get caked up, I’m talking about all my fans listen to my words and you’ll be able to be caked up, ya dig? AllHipHop.com: When will you be out for good? Freekey Zekey: November something. I can’t put a date on the s**t. Weed been blowing, drinking been going I been doing s**t, but hopefully sometime in the later, latter part of November they’ll get on the century part of my situational thought, ya dig? You damn right. I conduct all business. I’m a motherf**king president, n***a. Freeky mutherf**king Zeeky presidente al dente, ya dig? You prolly heard, you’ll get it later, I been taking care of all my business. Every thing I do like as a matter of fact October 13th J.R. Writer down here getting money, doing the thing. Not only the thirteenth, but also the fourteenth and also the fifteenth. Then we flip that, the next week I’ll have Hell Rell. I gets money while I’m locked up, I did a whole bunch of things…Ahhh, you trying to get me! Nah, but I do my thing I gets money. Killa be here next week, shout out to Killa. I get 18,19 [thousand] from you just for my cupcakes. AllHipHop.com: On the tenth anniversary of Pac’s passing we reflect on how tragic it is when a young lion is taken from us before they could realize their full potential. You’ve almost been taken from us twice now. How can we avoid some of those missteps from the past? Freekey Zekey: You didn’t lose me, I’m here. Damn ‘Pac, shout out to ‘Pac, man. Shout out to Biggie too, know what I’m sayin’? All them genius n***as that lost the cause to the situation of the hood yamean? But s**t happens, you know what I’m saying? And it was a reason, It’s written, man. So, I’m here to fulfill the part of the book that my chapter’s in. I love them n***as to death; they paved the way. Them two muhf**kas almost caused a muhf**king war from the East to the West just off of words, ya dig. They did what they did but, ya know, that chapter’s closed. Pardon me for saying they dead like that, but they dead like that. So we just here to finish the chapter man, Freek gone do what he do, know what I’m sayin’? I love them n***as to death you know what I’m sayin’? I took shots because of the cause, too. AllHipHop.com: Enough about the past. What’s going on with Freekey Zeke now? What’s in the pipeline as far as upcoming projects? Any albums for yourself? Freekey Zekey: What’s going on with me? Me that’s what’s going on. And more me with a little bit of me and add me on it, with a sauce of me. It’s about Freek. F-r-e-e-k-e-y, muthaf**ka. That’s what I got to get on. Stop spelling my name wrong. It’s Freekey. F-r-e-e slash a lower case k-e-y. Got a free key. That’s how I got in the game. That’s how Dipset stayed on top of the world. I’m doing time, so I can talk about it, no double jeopardy in this motherf**ker, ya dig? I got a CD, 2 DVDs on my way home outside of Harlem. The title of the album is called The Book of Ezekiel. Religious n***as know what I’m talking about, other n***as that’s not religious, you’ll find out. But basically…it’s the about the book of my life, I can’t name it nothing else, it’s the book of Ezekiel. That’s how I describe myself to ya’ll on wax, and I’mma give it to you just like that, straight like that, no chaser. It’s booming man. We getting money. Mo’ money, mo’ money. North had it. West had it. South got it. We generating. That’s what I’m talking about. We found a way…you can’t stop motherf**king n***as getting money, man. They talking about, “Oh drug this drug, that.” Okay, we rhyme. Aight, boom. North had it, we spit that s**t, West, now the South got it. We never stop getting money, you can’t hold us, Y’all brought us here so we gone get it how we get it. Bush kills, does everything, and I love it know what I’m sayin’? Everybody talking Bush this, Bush that, he f**ked up, nah the n***a send troops out getting money, that’s what we do. We on the block, n***as trying to handle us what? We send our goons out, take it over. What we gotta do after that? We find another block, take it over. That’s what Bush doing. Shout out to Bush n***a, I’m wit’ you, n***a, take over countries, n***a, we taking over blocks, you take over countries. This is where we living. What? You tell me U.S.A. is f**ked up? Hell no, we make money! Freek in the building, shout out to Bush, n***a. Take that oil, drop us back down. Let’s get money, man. Saddam you aight with me, you can pour a drink wit’ me it’s aight, we’ll talk. But at the end of the day, if Bush say it’s over, bllllackaaaa! A salam alaikum though. AllHipHop.com: What do you think about the present climate of the music industry? Those platinum and gold albums of the late ‘90s and early 2000s are getting harder to come by.

Freekey Zekey: Going gold and platinum? That’s all we go! Listen, we on an independent label, man. Independency means… listen, if you go 50,000 [sales] that’s they recoup. Once you go anything over 50,000 on Koch, Asylum and all that, Jim goes 200-300,000, Killa goes the same thing 200-300,000, Duke goes 110-189,000. I don’t know the stats on J.R. [Writer], I ain’t get ‘em, I’m locked up . But when you do over 20-30,000 maybe 50,000, we get eight dollars off of that. Times that by 100-200-300,000. All that 10 cent, all that 15 cent n***as do on them major labels, we not with that. We getting real cake, man. $8.45 a record, man. I be home I’ll get it and you check my stats, check my flow, check my guap. AllHipHop.com: How does the Diplomats movement keep inspiring their followers?

Freekey Zekey: Basically because it’s a movement. It’s more like Malcolm X, it’s more like Martin Luther [King], it’s more of a movement because, not the fact that we makin’ money we do what we do but the reality of our speech touches everybody’s heart. It’s not just some s**t. We not Danny Glover, shout to him though, but he’s a muhf**kin’ actor. We don’t act in our speech. Everything we say we are going through. A lot of people die. Somebody died right now from what just I said, because of the act of their living. People are real rebels. We are real rebels in this. We making the situation happen just through our own entrepreneurship. AllHipHop.com: How do you separate the fake from the real? This industry is full of illusion and fake beefs. Do you make an attempt to separate that both with the way you’re living and the fans who seem to not know the difference anymore? Freekey Zekey: We not following nobody. We doing what we do because the cause brings us our food. The little kids that we got growing up we give them something to feed on. This is bigger than just rhyme. This is bigger than just speech. This is the way of life this is how we live. We don’t muhf**kin’ rhyme to make a rim look good. We rhyme to make our children get fat. There’s a lotta people that done died, that’s dying, that’s gonna die, or that’s gonna make it, get rich, and be real successful in this situation. So Diplomat Records, when we say it’s more like a movement that you need to be in tune with, it’s because it is what it is. We doing this because this is how our kids eat. We not doing this so our chains can go around our neck. This is how we obviously pay for the water, pay for the electricity, pay for damn near the air we breath Without what we do, we’d prolly’ be shot up or dead or over there doing 999.9999 times nine years. Shout out to the n***as that’s doing that. All my homies, hold your head up. But other than that, man, it’s a movement that you need to get in tuned with. AllHipHop.com: Any message to your supporters? Freekey Zekey: It’s bigger than nothing you getting a whole bunch of something. Look at me, I’m a prime example. I got shot the f**k up. I sold drugs – I can say that cause you can’t double jeopardy me, I done got shot, I’m in jail for the situation. This s**t here is not sweet. We got signed in ’98, here it is ‘06. We balling. But throughout that time from ‘98 to now on, it’s been a whole bunch of struggle. N***as done got shot, n***as done did time, n***as done did everything. But we here now.

Kidz in the Hall: School Spirit

On Talib Kweli’s “Right About Now”, he chronicled the rise and subsequent fall of the largest independent Hip-Hop label of the late ‘90s: Rawkus Records. This label introduced the world to Mos Def, Company Flow, Kweli, and reintroduced Kool G Rap and Pharoahe Monch tragically faded in a flash of layoffs, mergers, and push-backs. But four years after its last success in “Get By”, the label is doing just that with a youthful duo.

Naledge and Double O claim Pete Rock & CL Smooth and Gang Starr as their influences. A Chicago MC and New Jersey producer, they met at the Ivy League University of Pennsylvania, and clearly studied the classics from the crates, not the library. With the release of School Was My Hustle the group says that while first week sales aren’t any indication, the success of Rawkus may be riding on their polo rugby shoulders. Backed by a name that symbolizes grassroots success in Hip-Hop, see if this group has what it takes to stand out in a cramped fourth quarter, let alone your iPod.

AllHipHop.com: Chicago’s had a big year for Hip-Hop, but the sales haven’t been there. Rhymefest’s numbers were frightening. Lupe didn’t do as well as people expected. Looking at the marketplace over the last few months, has the vision for this album changed at all?

Naledge: I don’t think it did at all. Rhymefest had his own vision: he wanted to carry out the Blue Collar theme. He had a lot of issues with people at J [Records] were trying to push him in a certain way. I think his second album will be a lot different, wherever it comes out. Lupe is more eclectic than anything that I would ever do. We’re two different people, two different MCs. The union that [Kidz in the Hall] have, is music we made four and five years ago. We mapped this out a long time ago. I don’t think anything that’s happened in the climate of the game has changed it. I don’t think it’s a Chicago thing, it’s a Hip-Hop thing. ‘Cause Twista’s album has nothin’ to do with what I’m gonna do. [Laughs]

AllHipHop.com: But the industry lumps things together, and those I mentioned seem more likely than that.

Naledge: I think with my solo album, the climate will be different. It’s coming out in February or March. I’m still cuttin’ records. I just feel like what I’m doing is pure Hip-Hop. Pure Hip-Hop fans, they’re gonna like it. Not only that, but me being on Rawkus, I don’t have to deal with a lot of the major label bulls**t of havin’ a big first week. I’ll win if I move 100,000. I don’t think Rhymefest can say, I don’t think Lupe can say that, I don’t think a lot of these cats can say that.

Double O: Our in-thing is how do we get onto peoples’ iPods? Because that’s where people are listening to their music. The people that are listening to radio are dropping off.

Naledge: The mixtape is almost dead, and the street team is slowly dying. The new guerilla marketing is the Internet and the computer. It’s seamless. People aren’t leaving their homes anymore to get music. Rawkus bought into this theory, and it’s a theory we adopted.

AllHipHop.com: The same people who were in line to get Company Flow, High & Mighty, Mos Def don’t feel like they’re the same people who would care about Procussions or Panacea. There isn’t that market presence. Do you worry that the Rawkus name doesn’t mean anything anymore?

Naledge: It’s weird, ‘cause a lot of people were left with a funny taste in their mouth when Rawkus left the first time. Sometimes, we face repercussions of that when we talk to people about Rawkus. But we’re trying to convince people that other than [owners] Brian [Brater] and Jarret [Meyer], it’s a completely new regime. People will ask me about A&Rs – there are no A&Rs. [Laughs] None of those people work there anymore; there’s two people at Rawkus. We just feel like we’re creating a new generation. We’re creating a new Black Star, a new Reflection Eternal – but we’re not emulating them, just spawning into something new.

AllHipHop.com: You’ve got a record on the album, “Move on Up” that seems to speak largely to a Black fanbase. I don’t have a sense that the releases that the “new” Rawkus has put out are being picked up by a majority of people of color. How much work do you both have to do to reach your intended audience?

Naledge: I don’t view that as an issue. Public Enemy sold millions of records, Talib Kweli, dead prez – even Mos Def. I write about my reality, and the issues that I had to fight for and speak about. That’s what drew the original Rawkus fans, authenticity and unwillingness to bend what I’m saying. That is what people accepted before. I’ll be real with you: I feel we are the future of Rawkus. There’s other groups on Rawkus, but I feel like if we tank, then this whole s**t is tankin’. If you notice, when we came up, that’s when people said, “Rawkus is back.” Those other [artists’] records are out, and they’re not doing the same types of interviews that we’re doing.

Double O: It reminds me of the mid-90s era when Def Jam was real iffy. In that, it didn’t have the strength in its brand, it didn’t have anything. Then, all of a sudden, bam – DMX, Jay-Z, Ja Rule changes the tide of everything. People bought Company Flow, people bought Black Star. It wasn’t until later on that it was, “Oh, it’s a Rawkus release, I have to pick it up.” We can’t rely on the fact that Rawkus had a strong name.

AllHipHop.com: You both seem to be interested in marketing. I know you guys were very active in the Kappa Alpha Psi fraternity at University of Pennsylvania. People talk about the power of the Black Fraternity as a networking tool. Do you think that’ll play into something as mundane as releasing an album?

Naledge: I’m a member of Kappa Alpha Psi, and I feel like there will be brothers across the nation who would be like, “I’d support him, just on the strength. He’s real. He’s gotta be about some of the ideals I’m about, because I know what it takes to be in my fraternity.” I think it will help on a grassroots level. Seeing that it’s rooted in a college level, I think it’d help. I’d be a fool not to think that it won’t. But I’m not abusing that situation. I’ve had a lot of brothers reach out to me on that strength already though. That speaks volumes when you’re on a low budget. I don’t know how people view me, I think people view me as like the Cosby kid or something. I’ll definitely use it to my advantage. [Laughs]

AllHipHop.com: Double O, as a producer, what were you doing before Kidz in the Hall, and what are you up to on the side now?

Double O: Prior to Kidz in the Hall, I was grinding in L.A. I was doing the placement [of beats] in R&B. It was hard for me to find anybody that I f**ked with lyrically as much as Naledge, period, anywhere. This was always the plan – since 2000. Eventually, doing things outside of the music, I’d meet the people who would bring us [together] in Just Blaze and some other people. Other than that, I’ve done some engineering work – I was second engineer over at Sony [Studios] for Destiny’s Child, Changing Faces, Missy, Ms. Jade, Petey Pabo. I’ve engineered a couple mixtapes for MC Lyte. I’ve done some remixes with John Legend, ‘cause we both went to school together. Yeah, that’s about it. I made a specific decision to ride with the Kidz in the Hall thing and stop doing outside projects when we really focused on grinding this. The decision worked. Right now, Young Gunz have picked up some stuff. Other than that, Teedra Moses is writing to some stuff. I kinda want to make my way into R&B, and put my stamp in Hip-Hop with [Kidz in the Hall]. I’m saving some stuff for the top of the year…[Laughs]…unless I get on the Jay-Z album.

AllHipHop.com: Is that a possibility?

Double O: Uhhh…[laughs]…that’s a whole other story. You’ll know about it soon enough.

AllHipHop.com: Just Blaze was initially billed to be executive producer of this album. Whether or not that’s still the case, do you think his role in the group pulled focus from your abilities, and made people hungry for his element?

Double O: It wasn’t that much. Truthfully, that’s probably more [apparent] on Saigon’s project than with ours. Because there’s so much riding on Fort Knox and Saigon, with Just doing the entire album. Whereas, with our situation, people knew about it before he became [involved]. They’ve definitely heard us before Just Blaze. He’s gonna executive produce [Naledge’s album], not Kidz. I mixed our entire album at Baseline [Studios]. We’re always bouncing ideas off him.

AllHipHop.com: You talk a lot about alcohol on this record, something Common also did in the late ‘90s. What role do you think drinking played in making School Was My Hustle.

Naledge: You wanna live righteously, but you still gotta recognize your faults. I recognize that in the Hip-Hop culture, a lot of it is built off of youth and rebellion. Being young, you develop habits. I’m from the Southside of Chicago, and I hung out with people that were drinkin’ and smokin’ at the age of 13. [On mixtapes, I had a song] “Clothes, Hoes, and Liquor” – a lot of people associate me with that song. “How this kid talkin’ this when he went to an Ivy League…” What the f**k, you think ‘cause I went… people from Ivy Leagues drink more than anybody I ever met. They got more money to go buy the drink. [Laughs] They worry about clothes more than mothaf**kas in the hood. The s**t just isn’t on blast. I had more sex [in college] than after I went to college. Everybody has vices. I acknowledge my vices. It’s a ritual. For me, it was alcohol. A lot of my memories, a lot of the stories I tell, I can almost name you the liquor that was associated with it. At the same time, I’ve had periods of time where I need to focus and stop drinkin’. I don’t think I have a problem, but it’s times where I’ll quit drinkin’ to get my mind clear. Like Common said on “The Truth” with Pharoahe Monch, “Constantly I seek it / But I need a six-pack to speak it.” But, at the same time, De La Soul [on “Declaration”] also said, “I never use the weed as a ghostwriter.”

Redman and Raekwon On Board for North American Rock the Bells Trek

New Jersey lyrical icon Redman will join Wu-Tang Clansman Raekwon as part of the North American leg of the first ever Rock The Bells world tour.

The month-long event, which kicks off Nov. 21 in Washington D.C., will touch ground in more than 20 major markets in the United States and Canada, including New York, Boston, Chicago, Seattle, Vancouver and Los Angeles.

Other performers include Keith Murray, Supernatural and special guest DJ Kool.

Redman will perform songs off his long-awaited Def Jam album Red Gone Wild, which hits stores March 2007.

The trek’s international focus serves as “a way to establish Rock the Bells in other markets that have not enjoyed the full festival experience,” said festival founder Chang Weisberg. “Rock the Bells started out the very same way in LA with multiple club dates and grew into something larger because it had integrity. We hope that by bringing quality hip hop shows to these other markets, eventually it will set the stage for something better.”

Launched in 2003 as a way to fill the void left by the lack of quality hip-hop events and tours, Rock the Bells has grown into annual staple on the West Coast.

The event follows in the vein of past festivals like Smoking Grooves and the Cypress Hill Smoke Out, while showcasing some of the biggest names in urban culture.

Past performers include A Tribe Called Quest, Lauryn Hill, Blackstarr (Talib Kweli and Mos Def), Dave Chappelle, De La Soul, Busta Rhymes, Cypress Hill, Jurassic 5 and Wu-Tang Clan.

Overall, Weisberg hopes festival goers find something worth appreciating.

“We want to expose new music, a new perspective, awareness, and a fresh mindset,” he stated. “That’s what conscious hip hop is about. That’s what Rock the Bells hopes to provide.”

The following are the North American dates for the Rock the Bells World Tour:

11/21

Washington, DC

9:30 Club

11/22

Myrtle Beach, SC

House of Blues

11/24

Greensboro, NC

The N Club

11/25

Hartford, CT

Webster

11/26

Allentown, PA

Crocodile Rock Café

11/28

New York, NY

BB Kings

11/30

Boston, MA

Avalon

12/1

Providence, RI

Lupo’s Heartbreak Hotel

12/2

Buffalo, NY

Buffalo Ballroom

12/3

Burlington, VT

Higher Ground

12/5

TBD

TBD

12/6

Chicago, IL

House of Blues

12/8

Park City, UT

Harry O’s

12/9

Denver, CO

Ogden Theatre

12/10

TBD

TBD

12/12

Vancouver, BC

Plush Nightclub

12/13

Seattle, WA

The Showbox

12/14

Portland, OR

Roseland Theater

12/15

Sacramento, CA

Empire

12/16

San Francisco, CA

Mezzanine

12/17

Oakland, CA

Sweets Ballroom

12/20

Los Angeles, CA

House of Blues

12/21

San Diego, CA

House of Blues

12/22

Anaheim, CA

House of Blues

*pending

Talib Kweli Launches Virtual World To Support ‘Ear Drum’

Brooklyn rapper Talib Kweli has found a new way to interact with fans by teaming with Second Life to launch his own three-dimensional virtual online world.

The new venture will allow fans to visit his Brooklyn brownstone, which will feature online amenities such as a pool table, bar area, chill-out room, as well as a rooftop stage where the rapper will stream live concerts from around the country.

Created by the San Francisco-based Linden Lab, Second Life is a site that allows users to live out alternative versions of their lives in the 3-D, computer-generated environment.

“Second Life is the logical progression for online web communities and brings web interaction to life,” said Corey Smyth, who co-owns Blacksmith Records with Kweli. “You are able to enter the mind of your favorite artist through online concerts, neighborhoods and basic one on one interaction. We are excited that Talib Kweli is part of such a progressive community and look forward to continue to build with Second Life.”

In addition to interacting with Kweli, Second Life users will also have exclusive access to new video content and material from Ear Drum, Kweli’s upcoming album from Warner Bros. Records/Blacksmith, which has been penciled in for a 2007 release.

Ear Drum will feature production from Hi-Tek, Rick Rubin, Mad Lib, Kanye West and guest appearances from Norah Jones, UGK, Sizzla, Jean Grae and others.

The Hidden Bruise of Forbidden Fruits

There was a poetitorial written a few months back that addressed the impassive glances of Dick Cheney and John Edwards when they overlooked the impact of AIDS on African-American women. And yet, while this inactive stance deserved to be called out, a few of the more astute AllHipHop patrons noticed another blatant discrepancy: the poem failed to place any accountability in the hands of the Black community.

There exists within the Black community, a vow of silence that aids and abets the AIDS threat with deafening volume. It is a silence of shame that has haunted our people through several generations. It’s hard to explain, but when it comes to imperfections within our families, it seems that the quicker and stronger reflex is to cover up and deny before we address and admit to them.

OUR sons can’t have AIDS because OUR sons can’t be gay. That’s why we’d rather traipse halfway around the world to address AIDS in the open terrains of Africa rather than confront it in our own backyard. Not to say that the epidemic in Africa is trivial, but how can we fix a problem in another country while our people are dying here – in our displaced, yet native land?

Much the way some true Africans will space themselves from their American counterparts, we’ve created a distance large enough to disassociate ourselves from this disease because of how it behaves and the blemish it places on whomever’s connected to it. If our women have AIDS, it’s because they’re either sleeping with men in lapsed or disregarded judgment or because the men have forced themselves deep into the closet for fear of being disowned. It’s a sickled cycle full of skeletons that we need to deal with – lest these ‘dead men walking’ turn our dying livelihood into a thriving necropolis.

“Undercover Brother Lovers”

Undercover brothers these days

Are ripping sons from mothers

with diseases like AIDS.

It’s no longer a theme plague for

gays, hypes, fiends and addicts.

Undercover brothers these days

Make suckers for love deeply afraid

As poisonous covers smother

comfort with H-IVy league status.

You know the adage

that catches ladies up:

On average, there’s a

famine for lady luck –

To safely pluck good men

to love is a number’s game.

Numb from the vain

attempts of layin’ up

With these lame exempts

from player’s clubs,

Their faith’s been slung

through the sewers of lovers’ lane.

These lovers lay in the

bane of awkward spaces

From lookin’ for love in

all the wrong places.

They’ve all but wasted

their grown-up intuition.

Glued to dudes with

something to hide

‘Til they come up with

bruises and HIVes…

They willingly brood with

wool over their eyes

to soak up suspicions.

With broken senses enhanced,

A provoked vixen begets

conviction for her man.

Though wincin’, she knows her stance –

her man is straight!

So though crooked as Nixon’s scams

And riddled with nicks and scabs,

She’ll piddle with this p####

and advance her damage rate.

Though B-littled A little by

his sexual deviance,

She’ll O-mit his sexual malfeasance.

She won’t test him even –

not with those ABs of steel!

Besides, it was only a compliment

When those lonely women accosted him…

Why admonish him if

young blood’s got whip appeal?!!

Hidden and concealed beneath

such fabric cloaks,

Undercover brothers

perform magic shows.

DL cats are a tragic joke –

forget Hughley and Eddie Griffin.

These dudes are deadly weapons

That are fooled by a deadly obsession…

As daily suppression’s

fueled hugely by petty traditions.

As forbidden fruity pebbles

make waves in the pond

And shoes get unsettled from

the grains they lodge,

Society aims at it hard to get it

beneath and beyond its insole’s keep.

That’s why these cats toss

red herrings and cover-ups

Like fat capitalist,

red-wearing Republicans

Making public runs and fronts

that stun like Mark Foley.

Incensed men with a bone to pick

Are the wrong victims to

get screwed over with.

If bent over in the pen –

what man admits to it openly?!!

Whether raped or the

acting c### provocateur,

They lack the prophylactics

to block the worm…

Talk to the wardens –

no condoms transmit like an open feed.

This transcends hopes and dreams –

if not stockin’ rubbers

means no sex is happenin’,

Then a lot of pregnant teens

have conceived immaculate.

That policy’s hardly accurate –

‘don’t ask, don’t tell’ don’t work.

Providing jimmies doesn’t

advocate sex in jail,

But denial’s a river that

saturates death in cells

That’s swept females into

vast swells below the earth.

What’s their soul worth if none

address this disastrous pandemic?

Why travel the whole earth

to dress Africa’s appendage?

We’ve got a Diaspora of women

dying in states of united medleys.

Why don’t our reverends preach

it to choirs and converts?

Why is there hesitance in

leaders of tireless concerts?…

Why’d they retire like codgers

releasin’ silence so deadly?!!

Why is it Reggie? – ‘cause we’re all

appalled and speechless

To find out OUR sons

juggle balls and peaches.

That’s the image we all speak in –

deacons and deviates alike.

Judgmental and homophobic,

We hush and fuss fickle over the notion…

With explosive emotions,

blinded bigots can’t see the light.

We concede to fright – once tempers flare

with night-vision gay-dar equipped,

The vision impaired turn blind eyes

to distance gays at arms length.

Bright as day, such ‘logic’ robs our sensibility.

Even those spiritually enlightened

Seem empirically frightened…

Chastisin’ gay specs with beams in their eyelids

that can’t be sensed visibly.

Don’t get tense with me –

you know our community.

We always bomb with scrutiny.

Like Islamic mobs of mutiny –

our resolve is dutifully rigid.

But when I see unlawful unities,

Though my remarks disregard its impunity,

I can’t launch darts immutably

dipped in lunacy’s liquid.

Hidden beneath such memorial quilts,

These ‘menstresses’ sneak with deplorable skill.

They share agendas in horrible guilds

of unscreened actors.

As unseen factors torridly build

From unclean match-ups of immoral guilt

Mashed up passion fruit spoils and spills

into jars of pristine stature.

I don’t mean to be

the bastard who generalizes,

But polarized views create static

on the wool of general eyelids –

Pulled to hide genital hybrids,

visual blindness is society’s solution.

So as the wool cover-up

becomes spools of fine yarn

That binds a dis-comforter

over the whole nine yards…

We can’t cry: ‘Not in my backyard!’

and j###### ‘til our eyes

lose their prime usage.

© 2006 Reggie Legend

Steel Waters, Inc.

[email protected]

Ludacris Inks First Ever TV Deal, Producing ‘Halls of Fame’

Ludacris has inked a development deal with MTV’s teen-oriented nighttime network The N to executive-produce and star in the new series, Halls of Fame.

The drama program revolves around 21-year-old singing sensation Starla and her sister Taylor, a 15- year-old aspiring fashion designer.

The girls attend the Philadelphia High School of Performing Arts.

As transplants in the city, the sisters find themselves challenged by competition at school, relationships and other pressures.

Halls of Fame promises to be a realistic journey into how young people can get started in the entertainment business,” Ludacris said in a statement. “It’s about working hard and being dedicated toward your goals and will hopefully help to empower more kids into believing that they too can realize their dreams.”

In addition to a recurring role, the rapper will write and perform original music for each episode of Halls of Fame, which is also executive-produced by Dallas Jackson and produced by Amani Walker.

“Whether it’s music, fashion, dancing or acting, everyone has to start somewhere,” Ludacris said. “Hopefully this program will show teens one way to go about it as well as the realistic obstacles they’ll come up against. And there’s no better place than The N for this show.”

In related news, Ludacris will reprise his role as Darius Parker on NBC’s hits series Law & Order: SVU in 2007.

Dionne Warwick Taps Rap, R&B Singers For New Album

Legendary singer Dionne Warwick is planning a new contemporary album titled My Friends & Me.

The diverse album will feature guest appearance by Da Brat, Mya, Kelis, Cyndi Lauper, Debra Cox, Reba McEntire, Gladys Knight, Angie Stone,

Chante’ Moore and others.

The Grammy-winning singer’s 45th anniversary was produced by her youngest son, Damon Elliot.

“I’m thrilled to be back in the studio and this time with my son,” Warwick said in a statement. “With 45 years in the music industry I’ve had an amazing career. I’ve had the pleasure of working with some of the world’s greatest musical minds in the business. Just being able to commemorate this phase in my life and work with artists I personally enjoy is truly a blessing.”

In the 1980’s, the singer was a staunch critic of Gangsta rap along with C. Delores Tucker.

But while Warwick’s foray into Hip-Hop may be somewhat of a new journey, Elliott is a well established producer who has conjured hits for Bone Thugs-N-Harmony, Beyonce, Jessica Simpson, Destiny’s Child, Gwen Stefani, Mya, Pink and others.

Warwick launched her career in 1962 with the Burt Bacharach and Hal David-penned classic, “Don’t Make Me Over.”

She has had over 60 chart hits, including “Walk On By,” “Do You Know the Way to San Jose” and “That’s What Friends are For.”

My Friends & Me is scheduled to be released on November 7.