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Sonny Boy: To The Core

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Alternatives

Those who love music and truly appreciate it can trace their musical roots back to their childhood. Imagine the early memories of rummaging through your parent’s records, only to be amazed by the intoxicating sounds that came blasting out of the speakers. Rick James, The P-Funk, Bob Marley, Miles Davis, Led Zeppelin… the youthful naivety of “discovering” classic sounds is unforgettable. For Shell Riser, better known as Sonny Boy – a childhood nickname given to him by his grandmother – these are fond memories.

Sonny Boy grew up performing with his church band, and after he saw a performance by the legendary group Zapp, he was inspired to sharpened his skills on various instruments. His diligent practice came into play as the ‘one man band’ produced wrote and played all of the instruments on his new album Psycho-Delic-Ghetto-Vibe. We recently reminisced with Sonny Boy about his days of digging in the crates and creating his own brand of art.

AllHipHop.com Alternatives: You played all of the instruments on your album. How easy is it to transition between them?

Sonny Boy: It depends on what mood I’m in. I may pick up an instrument one day, say, sit and write from the piano. It’s a mood thing.

AHHA: What was your affiliation with Prince’s Paisley Park record label? Did you play with the man in purple himself?

Sonny Boy: No, I didn’t necessarily play with Prince, as much as I played with people that worked for him. I played with a group that was on the Paisley Park record label. I came pretty close, but nothing substantial.

AHHA: When you were first coming into your musical career, was there a lot of music that blew you away, making you want to write and compose?

Sonny Boy: I started listening to my dad’s records. I got my ass whooped a couple of times for scratching them. I would get those records, and I thought it was amazing. Then for me, I was listening to all kinds of music: the P-Funk, Marley, I just got really into the music. I don’t know what it was. I had an organ in my room. I would always try to play the song that I was listening to. I had music posters all over my walls. When my father used to lay the albums out, after he was done with them, I would tape the covers to my walls. Man, I had Rick James, Blow Fly, and all kinds of that stuff on my wall.

AHHA: Sounds like you grew up a Soul baby, rummaging through you father’s records. Is that where you first learned to play music?

Sonny Boy: I studied from a jazz pianist. A lot of what I learned came from church. When I really needed to start getting it together, I played with this jazz guy for a few years. Then I started playing around the circuit. That’s how I wound up going to Minneapolis. It was a process.

AHHA: If an album had that kind of an impact on you, I can only imagine the type of effect that a live performance must have had. I read a little something about you seeing the legendary funk group, Zapp.

Sonny Boy: It was my first time seeing a concert as a kid. To see a concert with that many people… Again, I was playing in church, but I wasn’t playing my instrument the way they were. I was like, “Wow!” I saw Roger [Roger Troutman], who really didn’t get recognized as much as he played an instrument. He was a pretty well rounded musician. I was blown away to see him live in concert. The dude, he was just an excellent musician, so it just blew me away. At the time I was just a piano player, and I just wanted to be good at doing that. At the same time, I had love for all instruments.

AHHA: Did you start trying to change your style by breaking up notes or dabbling with improvisation?

Sonny Boy: I started really trying to mimic anything that I heard. I think that was the breaking point for me. I started playing in bands outside of the church. I would always watch other musicians play and go from there. I think that it was just a matter of being around it.

AHHA: Speaking of musical childhood memories, the opening track, “It Don’t Matter,” has a Fish Bone meets The Time type of funkiness to it.

Sonny Boy: [Laughs] It’s good that you get that vibe out of it.

AHHA: One day you sit down at the bass and the next another instrument. What inspires you to make a track?

Sonny Boy: I sit there and vibe. It’s really a number of things. With that track, I actually started with the drums first. They were working for me.

AHHA: Are there any misconceptions that people have about seeing you live versus hearing the album?

Sonny Boy: I don’t do songs to impress people by playing all of the instruments. You can play all of the instruments and still have a bad song. Upon completing a song, I see if I gave it all that it needed. I like working with other musicians just as well. People get the misconception that it’s a Prince thing; that it’s an ego thing about playing all of the instruments.

AHHA: With the ability to play an array of instruments under your belt, what’s one instrument that you have yet to learn, or are in the process of learning?

Sonny Boy: Alto Sax. I love horns.

AHHA: Would you say that it comes from a Miles Davis influence?

Sonny Boy: I actually met Miles once. I love Miles. I would say that he’s a big influence on me musically. On this record, I took a Miles-type approach, to just even try new things and see if I could make it work. That to me, is the type of songwriter and musician that I like to consider myself. I think that Miles was at a level… The guy did a Hip-Hop album, come on.

AHHA: You produced, wrote, and played all of the instruments on the album, which constitutes you doing most of the work. As an artist, do you find it hard to consider an album done?

Sonny Boy: I honestly had a hard time with that on this album, and still kind of do. I think that every real artist does. You’re putting works that you love out to the world. It’s very difficult to know that people are going to be sitting and listening in detail. I think that every artist has to stop at one point and be like, “Ok, you know what? This is what I have to offer.” When the writing was complete, it would take months just to let anybody hear it. It’s difficult to let stuff go sometimes.

AHHA: There’s a track on the album titled, “Josephine Brown.” What was the real Josephine Brown like?”

Sonny Boy: The song came from a girl that I knew on my block, [while growing up]. She was interesting to me because in this whole montage of Hip-Hop admiring, she was somebody who could actually think for her self, and be herself. Going to school, kids deal with the whole peer pressure thing. What was interesting was that she was on her own vibe – she was a good-looking girl. That’s where the song came from.

AHHA: On the album, it seems like you really paid attention to detail, but how do you follow up? Do you think of it as, “That album is over, time for a clean slate,” or

“Wow, that album was good. How do I follow up?”

Sonny Boy: For me, it’s a clean slate. People thought that the album was great. For me, it’s just go and get into where I am in my life. Examine the things around me, so I can write and get something that’s quality. That’s the first thing. That’s the starting point for myself. I don’t think a lot about trying to make something better. I don’t think, ‘this album versus that album.’ You shouldn’t get caught up in something like that, because it’s art. In art, you don’t have to or shouldn’t worry about that.

DJ Scratch: Face Off

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Features

H

aving traveled around the world and back again during his 20 years in the game, New York’s very own DJ Scratch is on a mission. This mission isn’t impossible, it is totally viable. He wants his home city to be recognized for quality music. That want is made clear in his recent Busta Rhymes and Swizz Beats hit, “New York S**t.”

But beats and track-boards are not all that keeps this legend motivated. The New York street bike community is where Scratch mysteriously rides on a Suzuki with a chromed out helmet to match his chain medallion. The former EPMD DJ unveils his identity. Whether it’s lacing hits for Busta Rhymes and LL Cool J, or popping wheelies, the face is revealed and the game is real.

AllHipHop.com: Everyone is on the “New York S**t” track right now; does it still feel the same hearing your tracks on the radio now as it did when you started producing?

DJ Scratch: Yeah I still get excited when I hear my songs on the radio, you know it’s been over 20 years now, and I still get the same feeling.

AllHipHop.com: Was that track made with Busta in mind?

DJ Scratch: Nah, it was just made with New York in mind. Me and Swizz were talking, and I was talking about how New York Hip-Hop basically doesn’t exist anymore and the South is 90% on the radio – no disrespect to the South. [But] I was telling Swizz and I said I wasn’t doing any records for any other region until New York has a banger. So we came up with this record and it was done five months ago. I had that beat for 17 years. I gave that beat to EPMD for their second album, but they didn’t use it. We did the record and played it for a couple of people, and it created a buzz and a lot of people didn’t hear it, but they heard about it. Flex heard about it; Angie Martinez heard about it. Angie Martinez used to call out on the radio and asked Swizz to bring the record up and let them hear it. We had to place someone on this track as it needed to be out there right now. If Swizz had done an album it would [normally take] a year and a half or whatever, I wanted the record out right now. Jay-Z heard about it, he backed up off it for a second. Busta heard it and he wanted it from the first time he heard it.

AllHipHop.com: Has Swizz got co-production on this track? As a lot of people appear to think that this is actually his beat?

DJ Scratch: No, Swizz is just doing his vocal on there. When Busta’s album comes out, it will show that the production credit goes to DJ Scratch.

AllHipHop.com: Since Busta aligned with Aftermath, you don’t appear to be involved in his projects as much as you once were; is there a reason for that?

DJ Scratch: Since Busta left Elektra Reords, we didn’t work as much and even his first album on J Records, I had no tracks on that album. I always give Busta the hit singles that he needs, because if nobody knows what to give Busta, I know what to give Busta. Artists want to try new things and you have to let them do new things and hopefully they are successful and if they are not, they can always come back home. I wasn’t on the Genesis album, but I did five tracks on that album; the one after that, It Ain’t Safe No More, only one track made the album. Everyone tries new things. He was doing his thing and I was doing my thing. I just want him to win regardless; even if I don’t do any tracks I will help him pick his tracks. You know it all came back together and look what happened.

AllHipHop.com: That seems true of LL Cool J too. After working with The Trackmasters in recent years, he went to you for G.O.A.T. How did that come to be?

DJ Scratch: Well that was basically through the Funk Master Flex [and Big Kap] project, The Tunnel Album. I gave a beat to Flex, it was the track “Ill Bomb,” Flex put LL on it and he killed it and that is one of my favorite songs out of my whole discography. I went to do the scratches on the song, and LL was there in the studio, and he asked me if I had any beats. I gave him a CD with six songs on it, and he picked all of them for the album.

AllHipHop.com: What sort of an experience was that for you working with him?

DJ Scratch: Man, I had always wanted to work with LL, he is basically the “G.O.A.T.,” he has been here the longest, he has the most consistency, he is still current. You know his first fans are 40 years old now. It was a great experience working with LL, he works professional, he writes fast as hell. In the studio, he gives advice on life and on business; it was a cool relationship. Both of us have been in the game near the same length of time and we are still current, as when he was on the mic, I was on the turntables. We shared a lot of stories, but working with LL was a great experience.

AllHipHop.com: I heard your intro-track on Rampage’s album, Have You Seen? is crazy…

DJ Scratch: Well that is another guy, Rampage, Flipmode family, he hasn’t had an album out in nine years. I was like, “S**t, I have tons of beats, and he said he was working on his album, and he was telling me he was working on his project. Of course I am going to support him regardless. So I didn’t give him some C-Class beat that I had because it wasn’t going to generate that much money you know what I mean, I gave him the hottest s**t, and it is about preserving this s**t and helping people out.

AllHipHop.com: So working on independent projects like Rampage’s doesn’t bother you?

DJ Scratch: Oh not at all. I didn’t even charge him for that beat.

AllHipHop.com: Yeah he mentioned that he didn’t pay for any beats on his album.

DJ Scratch: Yeah, I mean people always want their money. I could have definitely got some cake for that beat from someone else. Like when [DJ] Premier heard that beat, I was overseas. He hit me up telling me the beat was retarded.

AllHipHop.com: So it’s got to be something big if that is what Premier is saying.

DJ Scratch: Yeah I mean people like Premier and Beatminerz, that’s my satisfaction right there. Those are the guys I look up to on some producing s**t.

AllHipHop.com: How is your School of Turntable Arts working out? Is that still a go with you being out on the road so much?

DJ Scratch: That’s still a go. I do classes on Saturdays and Sundays. Obviously, with touring, I haven’t been doing them lately. It is like one-on-one tutoring, and I am teaching DJs the basic art of DJing. I am not teaching them how to scratch and do a bunch of crazy s**t, I am teaching them the basics. A lot of DJs watch the DJ battle videos and they are learning advanced scratches, but they don’t know the basic s**t. When I taught myself how to DJ, I took ideas from Kung Fu movies when I was training myself. I used to have my brother’s turntables, and his needles were really light, and you couldn’t scratch on the record so I had to figure out how to make my hands light so I could scratch on these wack ass turntables. So I took the idea from a Kung Fu movie and I put ankle weights on my wrists, and practiced with those on everyday for months. I am letting you into a secret right now. I used to teach myself with these weights and I am not sure if people have ever done anything like that, but there is so much strain on your arms and your shoulders so from doing that it is painful at first. Once I took them off, my touch was so light and my arms were so strong at the same time and I was so fast that I could cut on anyone’s turntables. Back then, the needles weren’t made for scratching, so you had to put your quarter on there – or your nickel, depending on your needs. I was able to scratch with no quarter.

I teach them placement when you are DJing. The DJ ramp [isn’t] big on some stages, and you only have a couple of inches of foot room behind you when you are up there. I always gotta do tricks, and if you can only take one step back, you can’t really do much. So I used to practice with two milk crates on each side of my feet and spin around where I had just enough room to do that, spin around clockwise, spin around counterclockwise, everyday and that basically made me stay in one spot and do tricks; so when I get on stage with a little riser I can still do tricks and not fall off the stage.

AllHipHop.com: Motorbikes appear to be important in your life, is that your hobby?

DJ Scratch: Yeah, besides DJing, that is. [laughing]

AllHipHop.com: So what do you ride?

DJ Scratch: I got a Ducati 998 and I got a blue Suzuki GS XR 1000. The Ducati is just like the Bentley, it is powerful as hell.

AllHipHop.com: Is that the appeal of bikes, the power?

DJ Scratch: Yeah, if you are a bike rider, everyone wants a Ducati. It is a street bike, but a classy bike – fast enough to blow everything else out of the water. It is multi you know (laughing.) The Suzuki, that is one of the fastest bikes on the street and I went and got that customed out. I painted it and I chromed it. When I ride around, I ride around with a chrome hockey mask on and a chrome helmet so people don’t know who I am.

AllHipHop.com: Well if they know their Hip-Hop history they should.

DJ Scratch: Yeah, one day I didn’t ride around with the hockey mask on. I parked up on this bike strip and the guys that were standing next to me with their bikes, they was talking about me – they was saying they had seen this dude in Brooklyn, and he has a chrome bike, he had chrome knuckles on his gloves and he had a chrome f**king hockey mask on. When he said the hockey mask, the other guys were like, “Yeah I seen him too.” I jumped in the conversation and I was like, “Yeah, I saw him down Atlantic Avenue.’ It is like a secret identity.

For more on DJ Scratch, visit www.djscratch.com.

Boot Camp Clik Plans ‘The Last Stand,” Other New Projects

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

Legendary rap crew

The Boot Camp Clik is gearing up to release their album The Last Stand, which

features all eight group members, as well as production by some of Hip-Hop’s

most notable producers.

Pete Rock, The

Large Professor, Dat Beatminerz, 9th Wonder, Ill Mind, Coptic, Marco Polo &

Sic Beats crafted the group’s latest album, which features Buckshot, Smif-N-Wessun, OGC, Sean Price and the return of

Rock (of Heltah Skeltah).

"Timing permitted

it to feature all the original members," Buckshot told AllHipHop.com. "We

didn’t say ‘oh now, we are gonna get together and do this.’ We never stopped

f**king with each other."

Rock, of the critically

acclaimed group Heltah Skeltah, returns to the rap collective after signing

with DJ Lethal’s label in a deal with Geffen Records.

The album was never

released, but the rapper is now working on a new album titled Monstah Musik,

in addition to his reunification with the Boot Camp Clik.

"Don’t sleep,

this album is something people are going to acknowledge," Buckshot said.

"This album will revitalize the game. We give the people good hip-hop and

that’s what this album is about."

The group recently

returned from a 17-city European tour of 8 European countries to promote the

new album, as well as other releases in the label’s extensive catalog, which

includes classic albums like Enta Da Stage (Black Moon), Nocturnal

(Helta Skeltah), Da Storm (O.G.C.), as well as recent releases like The

Chosen Few (Boot Camp Clik), Total Eclipse (Black Moon), Reloaded

(Smif-N-Wessun), Chemistry (Buckshot and 9th Wonder) and Monkey Barz

(Sean Price).

"Every show

was packed on the European tour, that was a good thing," Buckshot continued.

"Now we are going to start the tour in the United States to keep everything

going."

Dates for the United

States leg of the group’s tour are currently being lined up and confirmed.

The Last Stand

hits stores July 18 on Duckdown Entaprizez. Sean Price’s Jesus Price

Superstar hits stores this September.

AHH Stray News: Ludacris & Kanye, B.I.G., Cam’ron, Nelly

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

Ludacris and Kanye

West defended their song "Stand Up" against copyright allegations last

week in a Manhattan courtroom. The lawsuit alleges that the Ludacris and West

took the hook for the hit single "Stand Up" from I.O.F’s (Its Only

Family) song “Straight Like That.” According to court documents, I.O.F’s

label, BMS Entertainment/Heat Music, claims they handed a demo of their song to

Ludacris on four different occasions between August 2002 and May of 2003. "There’s

a lot of rap songs that say ‘like that,’ ‘yo,’ ‘what’s up’ or ‘throw your hands

up,’ " West testified. "Whatever people say in the ‘hood, it ends up

on records. That’s what hip hop does." The lawsuit seeks an unspecified amount

of damages. If a jury finds Ludacris and West guilty, a second phase of the trial

will begin to determine the amount of financial damages to be awarded to I.O.F.

A U.S. District

Court Judge accused lawyers that represented the family of the Notorious B.I.G.

in a wrongful death lawsuit of deceiving her into declaring a mistrial. U.S.

District Judge Florence-Marie Cooper contends that lawyers for the Brooklyn

rapper’s family lied and "absolutely deceived" her after claiming

the Los Angeles Police Department (LAPD) withheld crucial evidence from an informant

that may have linked officers to the murder of the B.I.G. in March of 1997.

Cooper made the statements upon receiving a report prepared by a private investigator

for the plaintiffs which showed that the family attorney’s were privy to

the informant’s remarks as early as 2002. In response to the accusations, Perry

Sanders, attorney for the Notorious B.I.G. family, indicated that while he initially

told the court he had no knowledge of the informant; he later recanted those

statements. Sanders told the Associated Press that he advised the court that

he had been "previously contacted" by the person in question after

realizing the mistake and that this was a ploy by city attorney’s to “use

this against us.” The case is currently scheduled for a re-trial later

this year.

Harlem rapper Cam’ron’s latest album Killa Season moved over 114,000 units off the shelves

last week, landing the album at No. 2 on The Billboards 200. Killa Season marks

the second time Cam’ron has debuted in the #2 spot on Billboard. His previous

effort, Come Home With Me, debuted at #2 in 2002, selling 226,000 copies

in the first week. Killa Season is Cam’s first album release after

signing a $2.5 million dollar deal between his Diplomat Records and Warner Music

Group’s label, Asylum. The disc features guest appearances by Dip Set members

Juelz Santana, Hell Rell, JR Writer and Jim Jones. In addition to his new album,

the Harlem rapper also makes his directorial debut in the DVD companion to the

album of the same title. Killa Season the DVD, features Cam’ron star

playing the role of "Flea," a basketball player turned hustler who

rises up the ranks of the New York drug trade.

A Pittsburgh, Pa.

songwriter has filed a civil lawsuit in the Southern District Federal Court

of New York against Nelly, The Neptunes (Chad Hugo and Pharrell Williams) and

‘NSYNC alleging copyright infringement. Ben Freeman claims that the ‘NSYNC

Grammy nominated song ‘Girlfriend’ infringes on his song ‘Be

My Girlfriend,’ which he registered and copyrighted in 1995. Freeman lawsuit

asserts that there are striking similarities between the two songs and alleges

that ‘NSYNC was given a copy of the song in 1999 for review. A total of 22 defendants

have been named in the lawsuit. As of press time, label reps for the artists

were unavailable for comment.

Too $hort: Keep On Truckin’

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Features

As the well-known freaky tale goes, Too $hort’s multi-platinum dreams started in the streets of Oakland. Close to a quarter century later, the after-effects of Todd Shaw’s still-monumental achievements still reverberate throughout the Town (as the city is affectionately known), and on blocks all over the country. Whether it’s encouraging the current generation of Hyphy youth in the Bay Area, or making moves in his more recent home, the ATL, $hort has stayed current like few of his veteran status have managed.

With the Lil’ Jon produced single, “Blow The Whistle” ringing out everywhere and preparations for the sweet 16th album, Up All Nite still in progress, $hort Dog took some time to talk about the Hyphy movement and offer some guidance for not only the Bay Area, but artists all over. He also reveals more of his tremendous goals and how he plans to drive towards true independence until the wheels fall off. Just don’t ask him to ghostride the whip.

AllHipHop.com: You seem to be particularly feeling your Bay-ness right now, really digging into the local scene and helping people out. Have you always taken that much initiative?

Too $hort: From day one, I always felt like if someone like a Rappin 4-Tay or Spice-1 rises to the surface, and you could just see they got a hot song and you could just see the talent in them, I always immediately go to that person and say, “Let’s do something together; let’s work. Do you need any help? Can I help you? What you need?” I’m passing on the word to the insiders in the industry, the executives and whatever. I’m just doing whatever I can to help people in the Bay Area make the right decisions and get the right shine on them.

And we’re doing it right now with the whole Hyphy thing. We talk on the phone all the time, me and 40, and it’s like, we gotta do something for the youngsters. We’ve gotta present this Hyphy movement to the masses so that the youngsters can just step into it and really show you what it is.

AllHipHop.com: What’s been some of the advice you have been giving to these younger cats riding on the Hyphy movement?

Too $hort: I’m telling ‘em right now, I’m saying, “Do you know that the hottest sound to all the kids – everybody around the country – is music that makes you bounce?” If you look at the Dipset, they’ve been doing that bounce stuff. You can say they’re biting on ATL, biting on the South, it doesn’t matter. It’s bouncing, it sounds good; the kids love it. You can throw all your eggs in the Hyphy basket and think it’s a new thing and jump on the bandwagon. But really I’m saying the Hyphy is a hot sound – it’s an uptempo West Coast sound, it’s hot. But at the same time, why are people from the West Coast scared to make bounce music? People from the South actually borrowed many, many elements from the West Coast – that whole Tupac thug swagger – to create Crunk, you know what I’m saying?

I’ve lived in Atlanta since ’93, I was there before Crunk. I’d come back here [Oakland] over the years and talk about OutKast, 8Ball and MJG, UGK and people would say, “We don’t wanna hear that s**t!” The West Coast was dissing the South and so was New York while the South was steadily brewing and really coming up, ’94, ’95, ’96. They didn’t want to accept it. I remember in ‘98 being told by a record company executive in New York, “Don’t bring me that Lil’ Jon s**t. That s**t will never sell outside of Southeastern America. That’s for down there, we don’t want that s**t.” And we see where Lil’ Jon went with it. I just feel like it could be a local sound, it could be a national sound. It could be whatever, but you can’t control it. You just gotta let it do what it’s gonna do.

Even in LA, that Dr. Dre sound ain’t never went nowhere. I was listening to some new stuff that come from G-Unit that kinda had the Dre feel. It don’t bounce, it ain’t Crunk, it ain’t Hyphy, it ain’t East Coast. It’s the Dre sound and it’s hot. So that’s certified West Coast music, they keep bringing that sound and it’s permanent. I’m not scared to make bounce records. I’m hanging in there, I’m working with all the South artists, I’m bringing producers to my studio to make me Crunk tracks, bounce tracks, Snap tracks. I’m doing everything, let’s just have it come out. Jay-Z knew that s**t. On his first album, he worked with me, a California artist. He worked with cats like UGK and he got with Timbaland and ended up doing bounce records and records that sounded like an East Coast artist. He knew that to absorb and accept all the elements of Hip-Hop was a successful move. I knew the s**t, Biggie Smalls knew the s**t – that’s why he made different kind of records and tried different styles and made records with like Bone Thugs-N-Harmony and s**t.

AllHipHop.com: Regardless of what happens, as usual, cats in the Bay will complain about being ripped off…

Too $hort: I don’t care about that originality s**t. I’m into bank deposits, I don’t give a f**k about originality. I don’t use anybody’s rhyme, I’m never gonna use anyone’s signature whatever, I’m never biting on anybody. Me personally, I’m the one who’s always my lines borrowed. You know, everybody wanna say “b*tch” like Too $hort, so no comment on that! I appreciate it. Every time somebody say “b*tch,” I like it. I’m really not condoning all these Bay Area muhf**kers running around talkin’ bout, “Man, they’re stealing from us, they’re stealing from us!” Steal it back muhf**ker, s**t! Quit complaining!

AllHipHop.com: What can you say about your next album Up All Nite? Who produced it?

Too $hort: Jazze Pha did half of the album, and Lil’ Jon did the other half. I got a few miscellaneous producers, but basically they did the whole album. I’m in the process of doing the last couple of songs. I’m trying to do some different elements like work with T-Pain, and Will.I.Am from the Black Eyed Peas, just to get some different type of stuff.

AllHipHop.com: Between your song “Blow The Whistle” and E-40’s “Tell Me When To Go,” Lil’ Jon has been making some key Bay Area anthems. You’ve worked with him for years, but what’s it like working with him right now?

Too $hort: If you wanna get real technical, Lil’ Jon is the n***a who put the stamp of approval on Crunk, right or wrong? He’s the n***a who brought it to the world, right? The Crunk had been there before Lil’ Jon, but he took the word and he took the Crunk movement, and he brought it to the masses. And basically, that woulda never happened had I not been in Atlanta and I not been in the right place at the right time and stepped in and helped Lil’ Jon get out of the situation he was in so he could move on with his career, you feel me? That’s why he’s working with E-40, that’s why he’s working with me, ’cause it’s in appreciation for – you know, he was stuck in a f**ked up situation and I stepped in and just helped. I didn’t make him, I didn’t promote him, I didn’t invent him. All I did was help him. And he’s been reaching back and helping me ever since. I never knew he was going to be double, triple platinum, MTV, Chappelle Show. I just knew he had talent and I was helping out another youngster who had talent. And he’s been helping us like a muhf**ker. He’s delivering us hit records – Lil Jon just stands next to you, it’s like a hit record. If he jump in your video, it’s on MTV, you feel me?

What I’m trying to say is he appreciates the Bay Area. Not just that $hort Dog helped him, but he likes the Bay Area. Lil’ Jon been telling me for two years, “Man, they crazy out there in the Bay with the Hyphy s**t.” He wasn’t saying it was gonna be the next hot thing, he liked it ’cause he’s from that Crunk s**t: Jumping around bumping into each other. Lil’ Jon made “Burn Rubber,” that was like one of the hyphiest songs ever. Nobody really knows he made that beat. He appreciates us, we appreciate them.

AllHipHop: So will you and E-40 be the ones to really bring Hyphy out to the masses?

Too $hort: Nope, I think 40 and Too $hort are going to endorse it, and I think that if 40 or Too $hort tried to take it to the masses we’re almost just like perpetrating a little bit. We shouldn’t be the pied piper that leads ‘em in, we should just present it. Keak da Sneak or Mistah F.A.B. should. It shoulda been Mac Dre to be the one bringing it to the masses, but his life was cut short. I think it’s on the next generation. Me and 40, all we can do is help. It’s an endorsement, that’s all. ‘Cause me and him sat around and talked about the youngsters and how much our songs influenced them, but me and 40 don’t jump out of cars and ghost ride the whip and go stupid hanging out of windows. We don’t do that s**t. Somebody who does that needs to lead it. Mac Dre did that stuff. Keak da Sneak does that stuff. Mistah F.A.B. does that stuff. They need to lead the moment. 40 and me just need to be the Bay Area ambassadors we are, just stayin up on the throne or whatever and just overlook the masses and just say, “Handle your business.” I’m trying to be a guiding light.

AllHipHop.com: You recently dropped the “Gangsters and Strippers” mixtape/compilation on your Up All Nite label. Do you have a distribution situation worked out for your label?

Too $hort: It’s a little premature [to talk about] but we’re starting our own label without any involvement. We’ve got our own distribution, everything, our own marketing department. We don’t have a deal with Koch, or Navarre, or City Hall, we’re doing our own thing, figuring out a way to get back into the record stores. We own the manufacturing equipment, everything. I’ve been dealing with this thing for the last three years on the low. I’m not afraid to say it now – the last few years, I haven’t been saying anything about it, but I can certify it now that we’ve really been brewing. I’ve been rebuilding, learning how to be independent the right way. The only thing I don’t have is the truck, the 18-wheeler to ship the CDs out. And, believe me, the first chance I get to buy it, I’m buying it.

Too $hort is one of the great legends interviewed in Tamara Palmer’s book Country Fried Soul: Adventures in Dirty South Hip-Hop (Backbeat Books). Check it (and her) out at http://www.myspace.com/countryfriedsoul

X-Men: The Last Stand (Film)

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Reviews / Music

Artist: Movie ReviewTitle: X-Men: The Last Stand (Film)Rating: 3 StarsReviewed by: Edwardo Jackson

After some helpful backstory establishing the power of now-deceased mutant Jean Grey (Famke Janssen), X-Men: The Last Stand (20th Century Fox) throws us into the not-so-distant future where mutants – genetically abnormal humans with various superpowers and skills – are tolerated but not quite accepted, as evidenced by the Department of Indian Affairs-ish Cabinet level position of Secretary of the Department of Mutant Affairs, staffed by the blue-coated, puffed chest Beast, a.k.a. Hank McCoy (Kelsey Grammer). When Warren Worthington (Michael Murphy) discovers a cure for mutancy that potentially restores mutants back to normal humans, not only does his own, mutant-winged son Angel (Ben Foster) refuse treatment, but also the government’s promotion and weaponizing of the cure gives credence to the troublemaking Magneto’s (Sir Ian McKellen) grassroots revolutionary mutant movement called the Brotherhood. Trying to head off a Magneto-provoked war to eliminate humans before they can “cure” mutants, Wolverine (Hugh Jackman) and Storm (Halle Berry) lead the young but conflicted X-Men into battle for humanity.

Sounds neat, huh? You know what they say about best laid plans… Despite a slam-bang premise with plenty of overtones of equality, prejudice, tolerance, and ethics, X-Men is a bloated, exposition heavy bore. Overstuffed with more mutant superpowers than screentime, to the point you have no idea who these people are or why we should care, X-Men is so proud of its plot, it takes every opportunity to explain it to death. Too much setup, not enough blow up. C’mon, it’s summertime – if you want verbose, expository filmmaking, go see The Da Vinci Code. The Simon

Kinberg (Mr. & Mrs. Smith) and Zak Penn (Elektra) script is so talky that you’re all but lulled to sleep before the final battle in San Francisco can even go down.

Or it might just be Ratner’s fault. Brett Ratner, the pinch hitter for the X-Men franchise when Bryan Singer got a “Super” calling and all-around Comic Con/Internet nerd whipping boy, enjoys playing with ILM wizardry for all the superpower magic of mutancy, but rarely are these powers harnessed in any meaningful, character developing way as in the first two movies. Everyone’s character seems a shade more muted/diluted, as if they were playing for the assistant coach after the head coach got ejected from the game. For a movie with such big ideas and stars, the John Powell (United 93) musical score is surprisingly timid and unheroic.

Here’s a cure for mutancy: pop in X-Men 2: X-Men United on DVD and,

if you must, wait for The Last Stand to hit the video stand.

Edwardo Jackson ([email protected]) is an author and LA-based screenwriter, visit his website at www.edwardojackson.com

Killa Season

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Reviews / Music

Artist: Cam’RonTitle: Killa SeasonRating: 3 StarsReviewed by: Martin A. Berrios

Recently it seems that Cam’ron Giles’ name has been on the tip of everybody’s tongue (no h###). It’s kind of hard not to be considering all that’s happened with Harlem’s golden boy within the last calendar. Dude bounced from Def Jam, was shot during an attempted carjacking of his Lambo’, and called the king of New York ugly. Whoa. Fresh off from dropping his first feature movie, he comes back with his fifth album of the same name Killa Season (Diplomat/Asylum). While he sticks to his usual script to keep the movement moving, Cam fails to show any growth when all eyes are on him.

With money always on the mind, he opens up with “Killa Cam.” He showcases Dipset freshman 40 Cal with a couple of quick sixteens. The Fight Klub veteran gets a little shine with some strong mixtape style punch lines over some bouncy production. Cam follows up the brief intro over speedy high hats and gun claps. Honorary Queensbridge kicko Alchemist also checks in on the album’s first single “Wet Wipes.” Cam makes it look easy as he talks like sex on some synthesized keys.

In regards to lyrical content Cam’ doesn’t get deeper than his usual talk of wears, ones and weaves. He does find time to slickly address his ulcer problems on “I.B.S.” with bars like these: “Regurgitating, green, yellow, burgundy, boom/But what came of urgency soon/What, the emergency room.” Additionally, blow is personified on his hustler’s tribute “White Girls.” The Beat Firm chops up a funky soul sample to serve up the album’s stand out beat.

In past efforts Killa has been plagued with his share of misses. This time is no different. King Jaffe Joe drops the ball with the paltry “He Tried To Play Me.” Taking hints from the Cheers TV show theme for a hook isn’t that piff. Also the closer “Love My Life” falls into the generic let’s save the only introspective song for last spectrum.

The repetitive talk of his Harlem World hustle might be too much for those who aren’t down with the purple and pink, but overall die-hard Dipset fans shouldn’t be disappointed with Killa Season. Block favorites such as the “Get ‘Em Daddy” remix and the Jay-Z dis “You Gotta Love It” are also included on the disc. Cam reps his set the only way he knows how.

It’s Not A Rumor (Mixtape)

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Reviews / Music

Artist: A-Pinks/DJ Whoo KidTitle: It’s Not A Rumor (Mixtape)Rating: 3 1/2 StarsReviewed by: Brandon Edwards

The Empire State breeds envy. New York MC’s are in a weird situation at the moment, and with the Southern hemisphere enjoying much deserved success and mainstream airplay, up-and-coming east coast MC’s find it hard to fit into the rotation. There’s no need to bring New York rap back, it never left. The Apple is a place that breeds superstars and legends [Jay-Z, Nas, 50 Cent, LL Cool J, B.I.G etc.]. We’d all agree that those are Hitchcock shadows to step out of and Shaq Diesel sneakers to fill.

Competition is fierce and unpromising for amateurs. Queens has a reputation for birthing some of the best rap talent to date. This native has a sharp wit and limber flow that will distance him from Tuesday and Thursday’s trash. Highly capable of rubbing elbows with NY’s premier fire starters, Ravenswood Projects’ own A-Pinks is confident in his ability to outshine anyone bar for bar on a higher level. Long scratch goes far in business, especially in the music industry. With his DeadArm team assembled, moves are being made and ground is being conquered through dedicated promotion and a tireless work ethic. Hosted by DJ Whoo Kid, It’s Not A Rumor is A-Pinks’ fifth solo mixtape.

The opener, “All On Your Own” produced by Grand Larceny is the heavyweight of It’s Not a Rumor. Relentless keys with dark undertones and overbearing gun blasts set the stage as A-Pinks delivers a heavily G-Unit influenced introduction. Descriptively crafting the reality of strength and loneliness in independence and success, A-Pinks fiercely growls about doing whatever it takes to get to the top by his damn self; “One man militia wit’ a viscous hunger pain/I refuse to be another what’s his name.”

It’s Not a Rumor briefly falls short with below average filler, glimpses of gangster rhetoric and a few lackluster bars sprinkled throughout. After missed lay-ups with his unnecessary renditions of “Mind Playin Tricks On Me” and “10 Rap Commandments,” A-Pinks quickly rebounds with the well-scripted “If My Hood Could Talk” and sincere ceremony “Everybody’s a Gangsta”. It’s this kind of distinctive thinking, song making maturity and social awareness that allow A-Pinks to shine. Hopefully the masses will catch on to this versatile young talent as he gains popularity and elevates his network, proving that gossip takes a back seat to quality effort.

Eminem Accuser Arrested on Misdemeanor Charges

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

A 23-year-old man who accused rapper Eminem of stealing his lyrics has been arrested on three misdemeanor charges.

Somerset Borough police charged Shawn Steven Baker Thursday (May 25) with harassment, making terrorist threats and disorderly conduct after he left 12 threatening messages over the past three months with the Somerset County district attorney’s office and county detectives.

The aspiring rapper, who resides in Meyersdale, left the messages in response to authorities’ slow response to a private criminal complaint he filed with the DA in February against Eminem.

In the complaint, Baker claims Eminem stole rhymes with lyrics for two songs, “Rain Man,” and “Just Lose It.”

The Tribune-Democrat reports that Baker’s complaint was dismissed by the DA’s office, who later received what police referred to as threatening phone messages with foul language, as well as a packet of information on civil rights and copyright violations.

Among the victims listed on an affidavit of probable cause were district attorney Jerry Spangler, secretary Kim Darr and Detectives Jason Hunter and Scott Fogleson.

The affidavit also stated that Baker ignored warnings from the DA’s office to stop the calls.

Charges were brought after authorities reviewed phone records and victims’ statements.

Baker has since been arraigned and sent to Somerset County Jail in lieu of $15,000 bond.

Foxy Brown To Stand Trial In July For Assault

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

Foxy Brown will stand trial July 17 for allegedly assaulting two nail salon employees in a dispute over a manicure, a judge ruled today (May 26).

Brown, born Inga Marchant, will face misdemeanor assault charges.

Prosecutors say the rapper, 26, punched and kicked two employees after they allegedly refused to let her leave the salon when Brown refused to pay her $20 dollar tab.

Brown allegedly struck one of the employees in the face and body with a cell phone in her closed fist and hit the manager of the salon.

Manhattan Criminal Court Judge Gerald Harris also issued orders of protection today for Myoung Yi and Sun Ji Song, the two employees allegedly assaulted by the rapper.

Brown rejected a plea deal with prosecutors and has maintained her innocence. In December 2005, Brown was handcuffed to a court bench for allegedly disrespecting the court, over chewing gum.

The rapper was ordered to apologize or face 30 days in jail and a $1,000 fine for contempt of court.

British Rapper MIA Denied Entry Into U.S.

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

British rapper MIA was reportedly refused a visa by American immigration officials due to the political content of her lyrics.

MIA’s lyrics are said to support the Sri Lankan political group Tamil Tigers and the Sri Lankan armed forces.

The rapper, born Maya Arulpragasa, was planning to visit the United States to work on her new album with various Hip-Hop producers.

Shortly after the incident, the London-born Sri Lankan rapper posted a blog on her Web site telling fans, “Roger, roger, do you hear me, over? The U.S. immigration won’t let me in, I’m locked out. They won’t let me in. Now I’m making my album outside the borders.”

Last year, MTV banned MIA’s single “Sunflowers” because it was a song about a suicide bomber.

Rapper Beanie Sigel Heads Straight To Studio After Shooting, Details Emerge

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

Rapper Beanie Sigel was released from a Philadelphia hospital this morning (May 25), after suffering gun shot wounds to both arms in what police believe was an attempted robbery.

Sigel rode away from the University of Pennsylvania Medical Center in a chauffeured vehicle with a towel over his head and his arm in a sling.

The rapper was shot earlier this morning around 8:00 a.m. Sources told AllHipHop.com that Sigel was found near 22nd and Sigel Street, the street from which the rapper’s name derives.

Sources said his family has a residence in the area.

Sigel told police that five black men in two vehicles boxed him in and that a bearded man in jeans and boots opened fired, hitting the rapper once in his upper-right arm.

Sigel’s wallet, watch and other items were taken.

The rapper was treated for his injury and released. Police have yet to announce suspects in the shooting, and detectives are unsure where in Philadelphia the shooting actually occurred.

Reps for Sigel told AllHipHop.com that the rapper went straight to the studio after the shooting to finish recording songs for his new album, tentatively titled The Bad Guy.

Sigel is planning to release an untitled song to this weekend (May 27).

In November, Sigel was briefly jailed by a Philadelphia Family Court judge for missing back child support payments.

In September, the rapper was acquitted of attempted-murder charges in relation to a 2003 shooting in front of a Philadelphia bar. The next month, his stepfather Sam Derry was shot and killed and then set on fire. Police arrested a 22-year-old Philadelphia man for the murder.

Former Editor-In Chief Of The Source Jailed

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

Dasun Allah, the former Editor-In-Chief of The Source magazine, was jailed yesterday for six months after being convicted of striking two people with a satchel filled with gravel earlier in January.

According to the New York Post, Manhattan prosecutors charged that Allah, whose real name is David Blanks, hit a pair of strangers with the satchel on Jan. 8 while in Harlem with no discernible motive.

Authorities charge that Allah hit the men in the head and caused “substantial pain.”

The 32-year-old scribe, who has written for the likes of the Village Voice, had pled guilty in March and was free on $5,000 bail.

Allah has another case pending where he stands accused of decimating a Jehovah’s Witness sanctuary in October of 2005, a felonious offense if he is convicted.

According to reports, the editor was booted from the religious sect 13 years ago and claimed they “mentally molested” him.

Lupe Fiasco’s Debut Gets Pushed Back

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

Lupe Fiasco’s Food & Liquor has been pushed back from its June 27 release date, a result of an early leak of the freshman debut.

The highly-anticipated album was leaked to the Internet over a month ago to the ire of the artist and Atlantic Records.

A representative for the label confirmed that Lupe has begun recording new songs for a revised version of Food & Liquor.

In a previous report, Lupe suggested that he has secured feature appearances from Jay-Z, Pharrell, Jill Scott, Three-6 Mafia and others.

“My project wasn’t completed, there’s all a lot of other things I had orchestrated and arranged for the album. The leak kind of takes away from the experience I had planned for myself and for the experience I had planned for my fans,” he said. “You see the kids that have downloaded it from the Internet and s**t, that’s them. They’re not going to experience it on June 27th, but my audience is way bigger than [that].”

Atlantic Records has not released a new street date for Food & Liquor.< br>

Wendy Williams Talks ‘Drama,’ Prepares First Novel

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

Radio personality

Wendy Williams is entering the world of literature with a new series of novels.

Williams’ first

book Drama Is Her Middle Name: The Ritz Harper Chronicles Vol. 1 is part

of an on-going series about her alter-ego, Ritz Harper, a famous radio personality.

"She gets

to be super-sized by a backstabbing college friend," Williams told AllHipHop.com

of the novel’s main character. "It’s kind of like a moral thing, like,

‘Would you do that?’ She just runs away with her new super-sized fame money,

fortune, the whole bit. Ritz starts my series of novels."

Published by Harlem

Moon and written with author Karen Hunter (LL Cool J, Karrine "Superhead"

Steffans), Drama’s storyline somewhat mirror’s that of Williams’ actual

career, and according to a press release for the book, "readers will salivate

as they try to figure out where the fictional Ritz ends and the real-life Wendy

begins."

Williams, who

will release the next novel in the series in December, also revealed that she

is the new spokesperson for liquor brand Alize. "You’ll be seeing cutouts

and all that other kind of jazz in stores very soon," she said.

Drama Is Her

Middle Name : The Ritz Harper Chronicles Vol. 1 hits shelves June 20.

BREAKING NEWS: Rapper Beanie Sigel Shot

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

Philadelphia rapper

Beanie Sigel was shot this morning (May 25) on a South Philadelphia street.

While details are still being confirmed, sources told AllHipHop.com that Sigel

was shot in a robbery attempt.

Police said shortly after 8:00 am, 5 men

in two vehicles boxed the rapper in and that a man with a beard, jeans and boots

open-fired on Sigel, striking him twice in the arm.

Sigel drove himself

to a local hospital where he is being treated and expected to recover.

Police Officer Wins $10 Million Judgment Against Rapper Turk

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

A police officer

that was injured in a shoot-out with former Hot Boy Tab "Turk" Virgil

has won a $10 million dollar judgment against the rapper.

The judgment stems

from a shoot-out in a Memphis area apartment complex in January 2004. As

SWAT team members raided the apartment seeking a cache of drugs, Deputy Chris

Harris was shot in the jaw, hip arm and calf.

A

jury convicted Virgil, after ballistics

evidence found gunfire residue on his shorts. The rapper has maintained his

innocence and denied firing a weapon.

In August of 2005,

Virgil was convicted of being a felon with a handgun, a fugitive with a handgun

and a drug addict with a handgun.

Virgil made his

mark as a member of Cash Money Records’ hit group, The Hot Boys. The group

featured fellow New Orleans rappers Juvenile, B.G. and Lil’ Wayne.

Virgil was sentenced

to 12 years in prison for attempted second-degree murder. The rapper was also

sentenced to 10 years for being a felon, drug addict and fugitive in possession

of a firearm. The rapper the sentences consecutively.

Shawnna: Heads Home

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Features

S

hawnna has been “gettin’ some” for almost a decade – props, that is. While Ludacris’ Disturbing Tha Peace brand made Shawnna an artist that registered with a Southern, audience, this Windy City native dropped a group album nine years ago. As one-half of Infamous Syndicate, Shawnna was rushed into the studio, and later displaced as a young mother with disillusions of industry grandeur.

With a hit-record on the radio trailblazing for her sophomore release on Def Jam, Shawnna has little reason to reflect on her simpler times. Still, the rebel daughter of Blues legend Buddy Guy revisits her path to prominence. The DTP first lady, remembers the basement and the people in it. Chicago is caught between worlds, and so is its newest celebrity, old to the new.

AllHipHop.com: What do you think is Chicago Hip-Hop, and how does Chicago’s style flow into it?

Shawnna: Chicago style can be trademarked by the way that Twista raps. I think that most rappers like to spit like that around the Chi, but we don’t like to be in a pigeon hole and rap to that specific style. Pretty much though, we can rap anyway and fit in with any style of rap.

AllHipHop.com: Your father was a Blues musician…

Shawnna: Yes, his name is Buddy Guy. He was just inducted into the [Rock & Roll] Hall of Fame.

AllHipHop.com: How did his art and Blues music affect your work?

Shawnna: He actually didn’t want me to get into rap. When it comes to rap, all he had [heard] was the violence that the media labels it with. Because he wasn’t a part of that generation, he didn’t really know. When it comes to rap, it was just me, my friends and whoever wanted to show some support. My mom was the one that cut the checks for me to get into the studio and buy certain equipment that I needed, without him knowing. Now he sees that I’m on this path that I won’t turn around from, and I have gotten a lot of recognition for what I do. It was more of a situation where he couldn’t beat me; he had to join me. [Now], he’s more open to what I’m doing and he has more of an appreciation for it.

AllHipHop.com: Was it difficult to do Hip-Hop without his approval?

Shawnna: It wasn’t very difficult. He was out of town a lot, because he was always touring anyways. He wasn’t going to the Hip-Hop clubs or the areas that I was going to. It was just when it was time to go to college, and I wasn’t going, that’s when it all kicked in. By that time though, I was signing my first contract with Relativity Records. Just like with my kids, my daughter is into fashion, music, and television, you can’t deny it.

AllHipHop.com: Where in Chicago did you grow up?

Shawnna: When I was younger, we grew up in the city. When I was in high school, I was in the suburbs: Country Club Hills.

AllHipHop.com: How is it different being in the city and suburbs?

Shawnna: Basically, the only thing that is different is the commute.

AllHipHop.com: How did you overcome the credibility issue of the suburban rapper?

Shawnna: Once you get the DVDs of me in the hood, that’s the only way people can really see. It’s not really what comes out of my mouth, it’s really what comes out of the streets. I won’t say anything [more], I’ll let people see for themselves.

AllHipHop.com: A lot of the Hip-Hop artists develop together in basements and crews, were you involved with any of them?

Shawnna: Everybody, I was real close was everyone. People from Do or Die, we still bump into each other. We partied together, all that stuff.

AllHipHop.com: How is it different going from the basement to some of the best studios money can buy?

Shawnna: The difference is the microphones. The exclusiveness and the intimacy that you get in the basement is lost when you move to these other studios.

AllHipHop.com: Who else started up with you in the basement?

Shawnna: My homegirl, Lateefa, who was in the [Infamous] Syndicate with me, Cap-One and my little brother, Ice Dre who produced “Splash Waterfalls” for Ludacris. A lot of family business going on in the business.

AllHipHop.com: Many people don’t know. Tell us about Infamous Syndicate…

Shawnna: It was me and my good friend, Lateefa. We signed a deal with Relativity in ’97, and we put a quick album, [Changing The Game] together. We went on some tours and opened up for everybody, anyone you can think of. That really put us on the map, and got people to see that it was time for women to step up in Hip-Hop.

AllHipHop.com: What happened with the group?

Shawnna: Relativity. I don’t know what happened with on the business end; they were taken over by Loud [Records]. They left it in our hands to either continue or get out of the deal. We had some management issues, and I just had my son, so I really wanted to be with him. I took about a year or so off, to make sure I was there for my son. But the rap life was calling me, and my family was telling me to go ahead and get back in. so I got right back.

AllHipHop.com: Is it difficult to have children and having the career you’ve built for yourself?

Shawnna: Seeing how much they love it makes it a lot easier. But if they wanted me to be around all the time, then it would be a lot harder. They got my back.

AllHipHop.com: The gang life in Chicago had a lot to do with making and breaking in the Chicago Hip-Hop scene. Were you involved with that?

Shawnna: I always repped with the Fo’s [short for the local gang, “Four Corner Hustla”]. But in the basement, we were in there for business. They made n***as leave that s**t outside, we were in there to make hits.

AllHipHop.com: Do you think it helped you or hurt you?

Shawnna: When I got on, we weren’t really about that anymore. We were more about hustling. That’s why you hear me rep every single gang in Chicago, because it’s not about separation, it’s about making money.

AllHipHop.com: What do you think keeps Chicago separated?

Shawnna: Chicago is a city of hate. I don’t know why. It was like that before I was born, it’s going to be like that after I’m gone.

AllHipHop.com: Do you think we’ll ever achieve the unity that cities like Atlanta have achieved?

Shawnna: As we get artists on bigger platforms like Kanye, Twista, Da Brat, and myself, people will have more to believe in.

AllHipHop.com: Why do you think that you Kanye and Twista broke out the way you did?

Shawnna: It’s all about timing. Kanye and Twista hit at the right time, I put out “Getting’ Some” at the right time, and it’s all about making the right moves now.

AllHipHop.com: Let’s talk about the “Getting’ Some” video, a lot of Chicago figures showed up.

Shawnna: I had to do that. It was for me, it was for my city, and it was for the industry to show how much support I have at home.

AllHipHop.com: What was the feel at the video shoot like and how did it feel to be there?

Shawnna: I wanted the shoot to be like a party. I don’t drink when I’m working, but I like people to drink — of age of course. But people have to have a good time.

AllHipHop.com: Why the beauty shop?

Shawnna: I feel that the beauty industry is a big part of the Midwestern region as a whole, so I just wanted to represent for us.

AllHipHop.com: Who do you think pioneered the style with the faster flow?

Shawnna: It was a group called The Snypaz.

AllHipHop.com: When did it click with you?

Shawnna: It was on a local radio station — one of those ones where if you drove too far, you couldn’t hear it anymore. I heard it, and I had never heard anything like that before.

AllHipHop.com: What are you listening to these days?

Shawnna: I’m bumping the DTP of course. I love the new Mobb Deep, I like the new E-40. I like the mixtapes more than the albums, because not a lot of people are dropping right now. I like everybody.

AllHipHop.com: Of everybody, who is featured on your new album?

Shawnna: I kept it in the fam. DTP all day.

Diddy Producing Untitled Dance Series For MTV

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

MTV announced an agreement today (May 24) to produce a pilot for an untitled dance competition series produced by Sean “Diddy” Combs, producer of the successful Making the Band series that airs on the music network.

According to reports, Combs’ untitled show will focus on street dancers from around the country.

Combs announced a first-look production agreement with MTV in March of 2005.

“It gives me a chance to create content but it also doesn’t limit me to do things outside,” Combs noted after signing the deal.

The new series comes on the heels of Combs’ reality show Celebrity Cooking Showdown, which aired on NBC.

The show, hosted by Alan Thicke, featured various celebrities racing to complete a fancy meal before a studio audience.

NBC was originally scheduled to run the series for five consecutive nights beginning April 17, but canceled it in April, with two episodes remaining.

In related news, Combs will reprise his Broadway role in the stage classic A Raisin in the Sun.

Combs will star in the TV version of the play, which will also feature cast members Phylicia Rashad, Audra McDonald and Sanaa Lathan.

Combs starred in revival of the play, which was nominated for four Tony Awards in 2004.

A Raisin in the Sun originally opened in 1959 and featured Sidney Poitier, Louis Gossett Jr. and Ruby Dee.

Algebra: The Real Math

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Alternatives

There seems to be no end to the musical talent coming out of Atlanta. Where urban legends are made and trap muzik is played, the Peachtree state has become a mecca with bragging rights to some of the most gifted singers, songwriters and producers in the game. True to form, the newest member on her way to represent Atlanta’s elite roster is Kedar Massenberg protégé, Algebra.

After singing background for many acts including Monica and Bilal, Algebra – her given name – calculated her moves to become more than just the silky voice that played the back. Soft-spoken but determined, she taught herself how to play guitar and proceeded to hit Atlanta’s open mic circuit. Eventually, Kedar found her and signed her as the first act to represent the revamped Kedar Entertainment Group.

She recently took her show on the road as the opening act for both Kem and Keyshia Cole, and continues to touch audiences with her raw talent. Her voice is reminiscent of India.Arie with the spirituality of Badu, but she clearly remains an equation all her own. AllHipHop.com Alternatives took some time to vibe with Algebra about embarking on her latest musical voyage.

AllHipHop.com Alternatives: What do you remember to be your first introduction to music?

Algebra: My mother singing. My mother is a singer, songwriter. She’s a musician – just growing up around her and my great-grandmother. My mom said she used to sing to me while she was carrying me so that’s probably what it is.

AHHA: Do you recall when you decided to make a career out of making music?

Algebra: Yes I do. The way that I was raised – I couldn’t do a lot of things on the weekends. Like I couldn’t wear pants, and stuff like that, so in order for me to get the opportunity to do anything, and not do the things that my mom wanted me to do, I joined the gospel choir. She’s a minister so she was like, “Yeah!” I kind of finagled my way into doing stuff like that. When I started taking it really, really serious? Around eighth grade, going into high school – I went to a performing arts high school.

AHHA: Now were you able to listen to secular music?

Algebra: Yeah, my mother loved music. She was very open-minded about music. She’s one of those people that good music is good music regardless of where it’s coming from. Now I don’t want you stripping, doing none of that, but if it feels good and it makes you happy and makes you feel emotional, sad, whatever, then its good music. It wasn’t a strict church background or upbringing. It was more like this is The Word – you have to know this. Before you can sing this R&B song you got to be able to sing this. If you’re gonna decipher through this R&B song, secular, then you have to be able to tell me what this gospel song means. It was real.

AHHA: Some of your first work as a professional was as a background singer. Did that experience play a role in your decision to try your luck as a lead singer? Or was being a solo act always the agenda?

Algebra: It played a big part in it. I’ve done groups before. I’ve done background with people before. I never had a desire to just [be in front]. It just evolved into that. I mean I love doing background. I still do background for some of my friends now. If Rashaan Patterson calls, “Algebra, I need you” – I’m there.

AHHA: Who would you say were some of your earliest musical influences?

Algebra: Besides my mom, I know I have to keep bringing her up. I was brought up on quartet music. The Harrison Gospel Singers – that would be very, very underground for the gospel world. The Spiritual Horizons. My mother listened to a lot of Aretha Franklin, Donny Hathaway, Earth, Wind & Fire, funk music – she was heavily into that because she’s a bass player so her thing was a bass line. I was there! She loved it. I got more into Nina Simone the older I got; I relate to her so much.

AHHA: What, or who, would you say inspires your songwriting?

Algebra: Sometimes I don’t know where it comes from. I mean I know where it comes from. Sometimes I’ll listen to a song and be like, “Wow, where was I?” Sometimes I just don’t know. It’s honest, I do know that, but I won’t remember what mind frame I was in. I have to say God. I never force it.

AHHA: You had the opportunity to work with two-time Grammy-nominated songwriter, Bryan Michael Cox, who has worked with some of the best in the industry.

Algebra: [smiles] Yeah! That’s my buddy.

AHHA: How would you say that experience contributed to your songwriting game and/or the depth of your album?

Algebra: Well, I’ve been knowing Bryan for a long time, and he’s one of the producers that have believed in me for a long time, even before the Grammy’s, before the accolades and the recognition. He’s a music lover himself and I would always tell Bryan I didn’t want the records that he gave everybody else. I wanted what he did when he shed – and by that I mean when he’s just by himself and getting into the groove of things. He didn’t want to do that but for some reason like a month went by and he did it. And it’s easy to work with him. He’s a good guy. It’s very balancing for me because he’s Hip-Hop, he’s R&B, he’s jazz, like nobody would ever know but he can really play jazz. He’s really good. And me, learning so much, I think we bounce pretty good off of each other. A lot of people will hear some of the songs that he’s done, they won’t know that Bryan did it, because he’s just one of them kind of guys.

AHHA: In the early days of your career, you did the ATL open mic circuit? How did that experience help you prepare for the real deal?

Algebra: It prepared me for loneliness – for being alone. The open mic circuit was all about doing cover songs. I’m the worst at doing covers, because I never remember the words, and I end up freestyling over somebody else’s song. [laughs] But it kind of forced me to learn how to play guitar and write my own songs and really go out there. It humbled me a whole lot. It’s always something bigger than what you’re bringing to the table so it helped.

AHHA: How did you connect with Kedar?

Algebra: Motown. He was over at Motown, and I would not sign that paperwork unless this guy heard me, and understood me because, of course, I’m playing the guitar a little bit. The way I look or dress, it’s not necessarily mainstream and very glammed out. It’s very relaxed and comfortable. So going to any other label is like, okay, well we already have another India, we already have another Lauren, we already have another Erykah, Jill, and that’s not what I do. But he heard me and he understood that, and that was key, and I don’t think anybody else would. Even though now we’re not at Motown, but I still believe that he gets it. I mean he coined the phrase ‘neo-soul’, so he understands what I am and what I’m not, and not a lot of people in the music industry would’ve understood that.

AHHA: Kedar is responsible for the start of some incredible careers: Erykah Badu, D’Angelo, Chico DeBarge. As a rookie in Kedar’s camp and first release on the new label, does the fact that the bar has been set so high set off intimidation or motivation?

Algebra: Motivation! That’s great. It’s always a problem, especially with female artists, there’s a competitive spirit, or a competitive thread. It’s kind of like Kedar is their ex-boyfriend, now he’s my boyfriend now. It’s not that! It’s so not that. He’s responsible for them, and he kind of guided their careers and it’s a very big…it’s a respect factor. If it wasn’t for Erykah then there are a lot of things I wouldn’t be able to do. If it wasn’t for India[Arie] – D’Angelo as well. And a lot of other artists: Chico DeBarge.

There’s just so many other soul artists, but unfortunately Rhythm & Blues has been turned into this fashionable thing. If you don’t have the straight hair, it’s very typical, and I’m not downplaying anybody, but at a certain point in everybody’s life, you change. You know what I mean? I had a perm. I loved my perm but at one point in my life it’s like I have never known the texture of my hair, and I got some nappy stuff. [laughs] But just to know that you give comfort to yourself and it’s not about religion or spirituality. It’s about you finding you and finding your person. So I think with Kedar – he found these artists, he kind of molded them, but he allowed them to do what they do. He manages Joe, and Joe is mainstream R&B – but at the end of the day, this is what this man does, and nobody can do a Joe album. Nobody.

AHHA: Records, tapes or discs you could not live without?

Algebra: Okay, where do I start. I cannot live without my Nina Simone collection; my Donny Hathaway collection. I cannot, cannot live without my Bilal records. I cannot, cannot, cannot live without my John Meyer. [whispers] I cannot live without him. I love you, John. [laughs] Young Jeezy, of course. And I cannot live without my [gospel artist] Kim Burrell records. She’s phenomenal. Once you hear her, she’s what every female R&B girl wants to sound like. She’s kind of like the equivalent to – I wouldn’t say the equivalent, but she kind of came up under the direction of Karen Clark’s parents of The Clark Sisters family. Not even the way she sings, she just has a ministry in her songs. I think I love her more for her songs than her voice.

Donny Hathaway, he could just hum and I’m gone, but it’s something in the way that they give it and what they say, it means so much. Nina Simone, when she’s singing cover songs, it’s how she’s singing it, not even about the way she’s singing it, it’s how its projected through her.

AHHA: What would you like people to take away from this project?

Algebra: No matter what it takes, define what your purpose is. Whether it’s the music, the song, situations – that should be everybody’s mission. I just kind of preach that a little bit in my music just by giving my situations and how I feel. And know that change is inevitable; you’re gonna have good times, bad times. Think outside the box no matter what – and don’t be so judgmental. [laughs]