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Police Officer Wins $10 Million Judgment Against Rapper Turk

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

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

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

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]

The Great Migration

Artist: Bronze NazarethTitle: The Great MigrationRating: 3 1/2 StarsReviewed by: Paine

When the RZA opted to play a more removed role from Wu-Tang Clan’s solo projects, there were several appointed heirs: Mathematics, 4th Disciple, and Bronze Nazareth. The last, a Michigan native, impressed RZA to the point of landing work on the Birth of the Prince album. Since, Bronze Nazareth has provided dusty chunks of funk for 2005’s Think Differently project. A product of the same movement, Bronze Nazareth’s hunger on his debut The Great Migration (Think Differently/Babygrande) must borrow from his days Greyhounding it from Grand Rapids to New York to get discovered.

Acknowledged only for his beats to date, it’s remarkable what Bronze Nazareth has to say. “Stolen Van Gogh” uses a brooding, slow flow that metaphorically reclaims the stolen artform. The cutting imagery is reminiscent of early Method Man work, though the flow is much more simple (in a good way). “Black Royalty” uses nature references to conjure images of self-pride. The diction is powerful, as the presentation is seamless.

The soulful grit of early Wu albums bleeds into The Great Migration. The brass and vocal chops of “The Pain” feel as though they were produced in 1971, unaltered. “Poem Burial Ground” uses a similar form, adding more contemporary drums. Beyond just interesting beats, Bronze brings lyrics from himself and guests that complement the music wonderfully. The album is dark truth. The music is as pained as the subject matter. Musically, this album’s only fault is that while Bronze Nazareth has some of RZA’s talents, the memorable interludes are hardly one of them.

Since the late ‘90s, Wu-Tang’s extended family has struggled for scraps of quality in their music. For those in search of channeling the excitement of those early days, Bronze Nazareth is the premier tour-guide on The Great Migration. While none of the original Clan members appear, Bronze, along with guests including Sean Price, Killa Sin, and Timbo King make do very well. Though the material is a bit chilly for an early summer release, this album is as true to Wu form as any in the last two years.

B.G. Recording New Album Executive Produced By T.I., Readies New Chopper City Projects

Only two months after the release of his album The Heart Of Tha Streetz: Vol. 2 (I Am What I Am), New Orleans rapper Christopher “B.G.” Dorsey has a new album in the works. 

B.G.’s new album B.G. Presents Life With Chopper City will be released by his record company Chopper City Records, which is distributed by Atlantic Record umbrella.

The album will also be executive produced by platinum recording artist T.I. and features Mannie Fresh, T.I., Juvenile, and Chopper City Records’ newest edition, The Chopper City Boyz.

“Each of The Chopper City Boyz has a different style,” B.G. said. “On my album, I chose

beats that would work with each member of the Chopper City Boyz and featured them on different tracks as a way to introduce them individually.”

The group, which includes B.G.’s brother Hakizzle, VL Mike, Gar and Sniper, is already gaining popularity from their appearance on B.G.’s The Heart Of Tha Streetz: Vol. 2 (I Am What I Am).

Chopper City Records will introduce another act to the world this year with the release of newly signed R&B crooner K’Jon’s debut album, This Is Me.

B.G. has sold over seven million records worldwide.

Mitchy Slick, DJ Quik Launch Tour

West Coast rapper/producer

DJ Quik will hit the road this summer for a nationwide tour beginning June 3

in Park City, Utah.

Quik will be accompanied

by Strong Arm Steady Crew member Mitchy Slick.

The tour comes

as Slick gears up for the release of his sophomore album Urban Survival Syndrome,

which features appearances from Xzibit, Kokane, Krondon, and Phil Da Agony,

as well as production by DJ Muggs, DJ Khalil, Fredwreck, and Jelly Roll.

As a producer,

Quik has helped garner gold and platinum-plated albums for 2Pac, Jay-Z, Snoop

Dogg, and Dr. Dre, among others.

Urban Survival

Syndrome is scheduled for release on July 19.

The following

is a list of DJ Quik and Mitchy Slick’s tour dates:

June 3, Harry

O’s (Park City, Utah)

June 4, The Big

Easy Concert House (Boise, Idaho)

June 7, The Big

Easy Concert House (Spokane, Wash.)

June 8, The Showbox

(Seattle)

June 9, Roseland

Theatre (Portland, Ore.)

June 10, The Filmore

(San Francisco)

June 13-14, House

of Blues (Los Angeles)

June 15-16, House

of Blues (Anaheim, Calif.)

June 17, House

of Blues (San Diego)

June 18, Marquee

Theat (Tempe, Ariz.)

Smack DVD Magazine Prepares First National Release

Smack DVD Magazine is planning their first release since entering into a distribution deal with Koch Records last.

Smack The Album: Vol. 1 features new, exclusive music from DMX, Young Jeezy, Fat Joe, Bun B, B.G., Juvenile, Maino and Stack Bundles among others.

The DVD segment includes videos, performances and interviews from Paul Wall, Mike Jones, E-40, Mannie Fresh, Murder Inc. and Funkmaster Flex.

The Koch deal marks the first time that the quarterly DVD magazine has had major retail distribution.

The two disc set will be sold at all Trans World Entertainment stores including FYE, Sam Goody, Target, Best Buy and Circuit City, as well as mom and pop locations.

“We are enthusiastic about the opportunity we have to bring our title to a national market,” owner and CEO Troy “Smack” Mitchell told AllHipHop.com. “It’s more than just a DVD – it’s a movement. Plain and simple, we are the streets.”

Since its inception in November 2002, Smack has sold over 750,000 copies of its DVD units.

The DVD magazine focuses on the various contents of the entertainment, movie, television, fashion and sports industries.

In related news, this fall Smack plans to produce a Raw & Uncensored DVD featuring previously unreleased footage from prior volumes.

According to reps, a Smack print magazine and documentary video series are also said to be in the works.

Smack The Album: Vol. 1 is scheduled to hit stores on June 6.

Obie Trice: Pour Out A Lil’ Liquor

Things should be good for Obie Trice. The artist’s debut album, Cheers, managed to sell over 500,000 copies. He’s a part of the reigning Shady/Aftermath machine and he’s about to release his sophomore album after a three-year sabbatical. But, Obie Trice has a bullet lodged in his head from an attempt on his life in December, 2005. The artist has a lot more than sales on his mind, with the recent loss of comrade Proof still fresh. As Obie prepares Second Round’s On Me, he finds himself pouring out a little liquor.

AllHipHop.com: How was the Anger Management Tour?

Obie Trice: We went all over the U.S., it was crazy. It was real fun to have everybody on the same tour. Me and my n***a, Marshall was just getting it in working.

AllHipHop.com: Any cities that stood out?

Obie Trice: The South was real dope. Atlanta, Houston, Dallas… everywhere was dope.

AllHipHop.com: How’d you know that you were in your element?

Obie Trice: Crowd participation. You spittin’ your s**t, and the crowd is right there wit’ you, looking at you, spittin’ your s**t verbatim, word for word. It’s like scoring a touchdown, man.

AllHipHop.com: How important is stage presence?

Obie Trice: It all depends on the song. If I got a song that’s crazy, a wil’ out song, I’ma rhyme and move accordingly.

AllHipHop.com: Since the last project, how have you grown as an MC?

Obie Trice: Cheers is a classic. It’s been almost three years since my last album, which is a long time. Second Round’s On Me shows a different Obie. I’m going deeper. I’m not the same dude. I think this album is more lyrical, more spontaneous. Second Round… Shows growth as an individual. I got 18, 19 songs on my album. Most albums come with 14 songs, and that’s a complete album. You don’t want people to get drowned in the music and not listen, but I give it all to you.

AllHipHop.com: Dr. Dre versus Eminem. Who takes the title of best producer?

Obie Trice: I’m going with Marshall. That’s my homey. Dre’s the man, but Em’ is sick. He got some s**t. He gives away beats! He don’t charge Nas or Jay-Z. Dre want a $150,000 to a million [dollars]. Eminem is a motherf**king artist. He’s a talented dude and you gotta respect him. He’s never been fake.

AllHipHop.com: No doubt. The world’s been giving it up for him. At this point, what separates Shady Records from the other labels out there?

Obie Trice: Marshall let’s you be the individual that you are. He listens to my music, gives his opinion, then mixes and masters it.

AllHipHop.com: The first song that I heard off of Next Round’s On Me was “Ghetto” featuring Trey Songz and producer JR Rotem. When I heard that, I was like… “Damn!” What went into that?

Obie Trice: I felt Trey Songz’ hook, and JR is a beast. I was right at home. “I’m from the motherf**king slums where the cops don’t come/ turn the lights on and the bugs don’t run/ you aint s**t without no gun in the ghetto.” That’s not just Detroit, it’s the whole world, especially us as black people.

AllHipHop.com: I agree completely. What do you miss most about Hip-Hop from ten years ago?

Obie Trice: N***as wasn’t killin’ each other like they are today. Hip-Hop was fun when I was young. You were speaking where you came from, and n***as respected it. Nowadays man… I don’t know if the crack babies are growing up or what, but it’s crazy. I got a bullet in my head right now as we speak.

Hip-Hop was fun for me; I had fun with the music back then. That was my passion. I was born to do Hip-Hop music. It goes way beyond another hustle. You can’t just jump into the culture; it’s a relationship that needs to be appreciated. Really, really appreciated. It’s a bond, more than just rap; it’s the significant other. It’s more than just saying that I can rap. That’s where a lot of n***as got it twisted. You can’t just be rapping just to rap. As a rapper you’ve got to have an objective. And you’ve got to have somebody in your corner with a good ear to give constructive criticism, not just a bunch of yes-men. It’s just like getting drafted to the NBA or NFL, it ain’t for everybody. There are a lot of dudes in the NBA that got drafted and sat on that bench. They were a part of the team but they never played. Rapping aint for everybody. We all aren’t stars.

AllHipHop.com: Would you consider yourself a star?

Obie Trice: I consider myself as a star, and as a dude that does it for Hip-Hop. I’m not trying to get over on you motherf***ers. I love the music. I don’t do it just to shine. I do it because I love Hip-Hop culture. I try to make music that people can appreciate. I love the music and the culture, always have and always will. But I’m a star.

AllHipHop.com: As a star, and as far as your career goes, where do you see yourself in ten years?

Obie Trice: I see myself making movies. I also see myself established as one of the greatest MC’s that ever did it.

AllHipHop.com: Our prayers and condolences go out to Proof’s family and the Shady Aftermath staff. What would you have fans of Hip-Hop and members of our community take away from this unfortunate situation?

Obie Trice: Us as Black men… there’s a lot of dudes that just take your life for no reason. I think it’s some bulls**t, truthfully. Not just from what happened to Proof… I mean, I saw my n***a on a gurney. I went to the hospital when they brought his body in, cold, one eye open… it’s just senseless dog. We kill each other ‘cause, “I don’t like you. You bump me walking through the crowd, and I’ll kill you.” And I’ll kill any n***a trying to take me away from my loved ones! And it’s sad that it has to be that way, but that’s how it is. N***as will kill you and not think nothing of it. I almost died New Year’s Eve…

AllHipHop.com: I don’t know your history of violence or of being shot, but you were shot in the head and survived. What’s your outlook on life like nowadays?

Obie: Trice: It’s still surreal to me. It’s funny that I didn’t get shot a long time ago. I’m from the hood and been in a lot of bulls**t; shoot-outs, n***as shot at me… it’s just a blessing that I can talk to you right now about my situation. It ain’t no hype – getting shot ain’t cool. I’m surprised that it took this long for me, and I get shot in the dome at that? I got a bullet in my head; it cracked my skull so the doctors ain’t want to pull it out. The nurses were like; “You had three angels in the car with you that night.” And four months later, my man gets killed. He wasn’t meant for that.

AllHipHop.com: You got any advice for all the gun-happy kids and rappers with assault rifles in all their rhymes?

Obie Trice: If you murder a person, that’s a track record. If you murder someone one time, you feel like it aint s**t. Keep laying n***as down, you gotta answer to the Man upstairs in the end. The n##### that shot me, all of that s**t comes back around. I’ll give it to this summer, they gon’ be talking, n***as want to express themselves. I don’t care who the f**k you is. If it was a real killing type of n***a, he would have killed me. The person that shot me was just a hatin’ ass n***a. I don’t owe anybody s**t. I ain’t took no work from nobody. I might have f**ked somebody’s b*tch. If that’s why you want to kill a n***a, then you’se a fag. I aint never snitched on nobody and I gets it in Detroit. I f**k with trife life. I f**k with real people. It’s just a sad situation.

Detroit is a small working-class city. Word gets around. It’s so small, certain n##### talk like b###### sometimes, even though Detroit is made up of real motherf***ers. I love my city and that’s why I can’t move. All we got is downtown where everybody pulls up at the same spot; all the killers, hustlers, everybody. It’s not like New York City; it’s only a few spots.

AllHipHop.com: What’s the economy like in Detroit right now?

Obie Trice: We’re $130 million dollars in debt. If we don’t have the money by June, the state is taking over. That’s called receivership. That’s crazy, laws is going to change… the s**t is crazy. N***as is broke for real. So when they see Obie Trice, Eminem or D12, they like “f**k y’all n***as!” And all we doing is chilling and embracing you. We from “the D,” so we trying to indulge in the things we’ve always been doing. It ain’t like you going to see Nas or Jay-Z walk past, it’s no stars like that. But, if you don’t like me, who gives a f**k? N***as die over that. That’s when it gets real hectic.

The Game Arrested In LA Suburb

Rapper The Game

was arrested this past Saturday (May 20) in Burbank, Calif., and charged with

possession of a dangerous weapon after police pulled his vehicle over in the

suburb of Los Angeles.

The Compton, California-bred

rapper, born Jayceon Taylor, was detained around 9 p.m.

Sources told AllHipHop.com

that Game was pulled over for having no license plate on his 2006 Bentley and

having a tint on his windows that was too dark.

While police did

not confirm why the rapper was initially stopped, Lt. Puglisi of the Burbank

Police Department did confirm that Game was arrested, charged with possession

of a dangerous weapon, and released on $20,000 bail.

Sources also told

AllHipHop.com that police found a set of brass knuckles in the rapper’s car,

resulting in his arrest and his vehicle being impounded.

Representatives

for The Game did not comment.

Back 2 Da Basics

Artist: Yo GottiTitle: Back 2 Da BasicsRating: 3 1/2 StarsReviewed by: Anthony Carr

With the surging of Southern Hip-Hop’s influence within the last year or so, many artists from cities like Houston, Atlanta, and Memphis have been trying to gain even more national attention. North Memphis’ own Yo Gotti hopes to take advantage of the Southern renaissance with his new release Back 2 Da Basics (TVT) and gain the visibility that could give him the status of a Mike Jones, Paul Wall, Lil Jon, et al.

Back 2 Da Basics mixes mainstream, radio friendly, street, and party style songs that will surely grab listener’s ears. The Fate Eastwood produced “I Got Them” features Cash Money’s Lil Wayne & Baby riding a bass heavy track that is sure to please car audio enthusiasts. All three artists carry the track perfectly with Baby shockingly coming correct. The album has many gems that are fated to have the replay button mashed over and over again. “Gangsta Party”, with southern vets Bun B and Eightball, is one of those standouts. Blending a smooth bass-line, claps, and a perfectly sampled Marvin Gaye, the trio handles the track with ease. Jazzy Pha returns to his Memphis roots on “A Part of Thugs”, giving Gotti a chance to show his ability to tell a story.

Yo Gotti, a savvy veteran even if you’re not familiar with him, has put in work on Back 2 Da Basics. But despite its commercial appeal, the album’s downfall is the fillers. Songs like “U A Gansta Rite” and “I’m a Thug” suffer from the same topic, different beat syndrome. Otherwise Yo Gotti gives those that are willing to listen a solid listening experience. Since all eyes seem to be on the South at the moment, hopefully sticking to the basics will have listeners looking for more.

The Art of 16 Bars (DVD)

Artist: DVD ReviewTitle: The Art of 16 Bars (DVD)Rating: 3 1/2 StarsReviewed by: Sidik Fofana

Finally, there’s an instructional DVD for MCs by MCs featuring real MCs. The Art of 16 Bars (QD3 Entertainment) is a documentary slash boom bap 101 4seminar narrated by Method Man on the “how to’s” and the “one-two, one-two’s” of being an MC. It glosses over everything you need to know from how to take paper and write rhymes to how to make paper and write checks. Featuring interviews with lyrical black belts like Nas, Rakim, Aesop Rock, Kanye West, Raekwon, etc, the Art of 16 Bars is an unmistakable blueprint of success from the artists who have propelled themselves to Hip-Hop’s forefront.

Broken up into sections on Hip-Hop history, writing, sampling, freestyling, biting, and the ins and outs of the music business, the documentary is easy to follow and well organized. QD3 Entertainment was not playing with this project. The footage is extra glossy, the cinematography is on point down to the soundtrack and transitions, and Method Man’s gritty journalism gives the film a rebellious but credible edge.

What’s good about the Art of 16 Bars is that each artist highlighted in the film speaks on their strength. Raekwon talks about how to write a hot 16, Supernatural drops the science of freestyling, Kanye tells his secret to crafting a catchy song concept, and KRS-One acts as Hip-Hop’s tenured professor, speaking about the foundation of Hip-Hop and why rappers do what they do.

Highlights from the documentary include Shock G’s (Digital Breakdown) precise impersonation of how great MCs like Nas, Biggie, and Tupac vocally deliver their rhymes. Also, the film jumps a bracket with Jadakiss’ humorous “i-don’t-give-a-fudgeness” which pops up throughout the film . “I always need shot of wine or suttin’ before I perform. Millions of shows I done, but I still get butterflies…” he confesses.

Still, the Art of 16 Bars is far from the quintessential Hip-Hop documentary. Catering to a mainstream audience, the film shows a preference to highly commercial artists. This is not the type of project that entirely gives light to those who will be remembered with time (106&Park Freestyle Friday champ Jin gets a whole fifteen minute segment). Also, it is more of a how-to film than its rival film The Art of Rhyme released last year, which displays MC’s actually doing their craft. Nonetheless, The Art of 16 Bars is a nice grocery list for those shopping in this game called the music industry.

Soundtrack To Dolemite Reissued On CD

The soundtrack

to the cult classic film Dolemite is being reissued by Relapse Records

for the first time on CD.

Representatives

for Relapse told AllHipHop.com that the reissue will contain rare and exclusive

bonus tracks, radio ads from the film and the sequel, a 28-page-booklet written

by Moore’s biographer Mark Jason, and never before seen photos.

Rudy May Moore

conceived the smooth street character Dolemite in the mid-1960’s after

hearing a panhandler tell a story about "Dolemite," a mythical black

hero with super strength who could kill women with the power of his love-making.

Moore released

several albums under the moniker Dolemite, but the albums were so raunchy

that they were regularly banned from record stores. Moore issued his self-financed

debut Eat Out More Often in 1970 under his own name.

In 1975, he shot

the low-budget spoof Dolemite in Los Angeles and followed with the films

The Human Tornado (1976) and The Devil’s Son-In-Law (1977).

Images from the

movie have since been incorporated into various Hip-Hop videos, and the character

has had an influence on scores of rappers, including Ice-T, Ol’ Dirty Bastard

and Snoop Dogg, who featured Moore as Dolemite in his 1994 video for "Doggy

Dogg World," from Snoop’s breakthrough album Doggystyle.

"Without

Rudy Ray Moore, there would be no Snoop Dogg, and that’s for real," Snoop

Dogg said of the pioneer, while fellow West coaster Ice T added: "Dolemite

is really the flyest man of all time in film history. People just don’t know.

He shaped a lot of Black men including myself with his strength and his ability

just to show us how we are."

In 2001, it was

announced that rapper LL Cool J would star in a remake of Dolemite for

Dimension Films.

The soundtrack

to Dolemite hits stores June 27 in the United States and July 3 internationally.

New Mixtapes By Eminem and Lloyd Banks On The Way

DJ Whoo Kid is preparing to invade the mixtape circuit with a pair of upcoming releases.

The Hot 97 disc spinner has aligned with Eminem for a new Shady Records mixtape titled The Re-Up.

The album is a collaboration with the Detroit rapper and his resident DJ, Alchemist, and will feature music and freestyles from Obie Trice, D12, and 50 Cent, in addition to Eminem, who returns to the mixtape scene after a hiatus.

DJ Whoo Kid will also unveil Lloyd Banks’ new mixtape Mo’ Money in the Bank Pt. 4 – Gangrene Season is Now.

The project, according to G-Unit leader 50 Cent, is the lyricist’s best music and collection of freestyles to date.

Whoo Kid, who can be heard every Saturday on Sirius Satellite’s Shade 45 channel with G-Unit Radio, is expected to complete his Bay Bidness Pt. 2 mixtape with E-40 and DJ E-Rock, as well as a French mixtape with DJ Cut Killer.

Both releases are will be available soon.

Mo’ Money in the Bank Pt. 4 – Gangrene Season is Now hits streets Thursday (May 28), while The Re-Up is slated to be released in another week.

Listeners can win free CDs by tuning in to Whoo Kid’s Sirius radio show and his POW! Radio show on Hot 97 over the next two weeks.

50 Cent Takes Top Honors At ASCAP Awards

G-Unit rapper 50

Cent was named Songwriter of the Year yesterday (May 22) at the 23rd annual

ASCAP Pop Music Awards.

The rapper received

the honor for his contributions to "Candy Shop," "Disco Inferno,"

"Hate It Or Love It," "How We Do," and "Just A Lil

Bit."

Although 50 Cent

wasn’t at the ceremony, he voiced his appreciation in a video message, stating,

"I want to tell you that I use you for energy. I listen to the material

that you create…it helps me move to the next level…it inspires me

to write even more exciting material."

The occasion marks

the second time the wordsmith received the ASCAP Pop Songwriter of the Year

honor.

Hosted by ASCAP

President & Chairman Marilyn Bergman, the ASCAP Pop Music Awards spotlight

the songwriters responsible for some of today’s most popular music.

Other honorees

included Jermaine Dupri and Sean Garrett, who picked up four awards each; Scott

Storch (3); and Dr. Dre, Ludacris, Missy Elliott, Nelly, and The Game (2).

Dupri, Johnta

Austin and Seal received the Song of the Year award for co-writing Mariah Carey’s

hit single "We Belong Together." The song tied with Green Day’s "Boulevard

of Broken Dreams for the award.

EMI Music Publishing

took home the award for Publisher of the Year for the fourth consecutive year.

The company was

honored for a host of songs, including the Black Eyed Peas’ "Don’t Phunk

With My Heart," Alicia Keys’ "Karma," and Destiny’s Child’s "Lose

My Breath."

More than 700 songwriters,

recording artists and music industry leaders attended the event, which was held

at the Beverly Hilton Hotel in Los Angeles.

Guru & Solar: Group Therapy

T

hroughout his career, Guru has rhymed in allegory. Classic material like “Now You’re Mine” and “Just To Get a Rep” never used names, but let driving words teach valuable lessons on life. Three years after Gang Starr made their last record, Guru reflects on the last chapter in the group’s life and the lyricist tells a story that’s not so ambiguous. The group that showed so many fans what it meant to be respectful and respected at once, felt disrespected by the industry, their label, and seemingly, each other.

Today, Guru says he’s in a better place. The Boston-born MC says he has been sober for four years, many thanks to his new partner, Solar. Together, the duo released Guru’s Street Scriptures in 2005 to mixed reactions. While the record sold respectably, critics and fans scrutinized Guru’s decision to go solo, and Solar for being the one to take on DJ Premier’s duties.

Freshly healed, Guru and Solar embark on a new Jazzmatazz project in 2007 with strengthened bond. Both look warmly at the future of their 7 Grand label while Guru puts issues from his past to bed with perfect clarity.

AllHipHop.com: Jazzmatazz, as a series, seems to have always been about emotional release. Historically, they’ve come at times when you weren’t in the middle of other projects. That seems true now. What emotions are coming forth in Volume 4?

Guru: This is gonna be the best one, in my opinion. That’s due to the fact that…the first one was an experiment; the second one continued. The third was more like a compilation because I had so many outside producers. The first two were more organic. This one is Guru with Solar, with a pure musical vision. Our relationship is growing. This is going to be an example of that growth and intensity. Lyrically, this is my best work. Solar’s production is pushing me in new realms, lyrically.

AllHipHop.com: On Version 7.0: The Street Scriptures my favorite record was “Cave In.” Lyrically, it impressed me. Guru, you said, “A lot of cats owe me for the game I lent them.” Many in Hip-Hop would agree. In your eyes, what is it you feel you’ve given?

Guru: The game I’ve given Hip-Hop is ‘be yourself and manifest your lyrics.’ Being able to spit and all that is great. But how you living? As far as the [lyric], that’s multifaceted. A lot of MC’s can make a good record, but can they make a good album? Do they have a stage show? It’s a total package of an MC is what you get with me. That’s where the game is at.

AllHipHop.com: That beat, albeit a loop of a classic, is always a pleasure to hear.

Solar: I was the second one to address that particular composition. Melle-Mel and [Grandmaster] Flash had done it [as “White Lines”]. It was a different time, and they used different equipment to do that song. The lyrical content was very reflective of a hedonistic lifestyle that was being led in the ‘80s. In 2005, it was almost like a righteous Sopranos episode. Guru’s the don, speaking like, ‘Y’all thought I was dead. I’m the godfather of this.’

AllHipHop.com: When Snoop made Doggfather, the record was criticized ‘cause it did not have Dre production. The same happened to Wu without RZA. Solar, do you feel you were unfairly judged just because you were filling DJ Premier’s role?

Solar: I say quite a bit.

Guru: A lot!

Solar: An excessive amount, to the point where it’s detrimental to Hip-Hop. If I succumbed to that, you’re talking about a whole talent – a whole career, that would be shut down by negativity. I’m not gonna succumb to it. Thank God that the fans, worldwide, have risen this album. We’re over 100,000 units, this is very successful. The interest is there in ‘Guru and Solar.’ I’ve been blessed, but at the same time, there is a reason for concern. The industry has become this close-minded and this hostile towards a new producer with a new sound.

Guru: Or to an artist who wants to recreate himself. People cling to the past too much. For Gang Starr fans, that disappointed me. Gang Starr was never about that. If you listened to my lyrics with Gang Starr, it pointed to a time like this, where I’d have control over my creativity.

Solar: I was disappointed that people didn’t give me more props for not sounding like Premier. He is one of the most ripped-off producers of all time. I still hear beat reels mimicking his style. Sales-wise, the A&R’s and record companies would have been much more eager to have three to five Alchemist and Premier type beats than they was of what I was bringing. They asked, specifically, for that sort of thing.

AllHipHop.com: Solar, in the aftermath of this, will we be seeing your work more places?

Solar: It looks like there will be. Honestly, I feel like the collaborations I do as a producer are gonna have to include Guru. That’s how we see it. So when you see Guru working on another project, it’ll either be a Solar produced track, or a project that we thought he should be on.

AllHipHop.com: I interviewed DJ Premier in December. I asked him if “Counter Punch” on Big Shug’s album would be the last time Hip-Hop fans heard Guru over a Premier beat. He said, that Gang Starr was merely on hiatus because of Virgin Records’ promotion of The Ownerz. Your comments?

Guru: I don’t agree with that. I don’t see us working together. The way I see it now, I don’t see that happening…for a few reasons. That song, “Counter Punch,” it was real old. That song was so old that they shouldn’t have put it on that album. But I guess they wanted something with me on it. I guess he was putting a good spin on it, but I don’t agree at all.

Gang Starr had reached its peak with me. I moved on. I wanted a whole new musical vision. When we were recording The Ownerz, that whole situation was frustrating. During the recording of that album, I was already looking for a way out. That was the last album under our contract. Yeah, I would say the label screwed up certain things. But I’d also say that a lot of things were already screwed up.

AllHipHop.com: On a money side or personal side?

Guru: Both.

AllHipHop.com: That hurts me as a Hip-Hop fan – the same way when CL Smooth aired out Pete Rock on our site two years ago. To a Hip-Hop purist, that’s not unlike The Beatles breaking up…

Guru: There’s a saying that all good thing gotta come to an end, sometimes. That’s just that. All my favorite artists were able to recreate and reinvent, so I had to do that. On many levels, as an artist, I wasn’t getting the proper attention or stimulation of my creative talents. The Ownerz, I didn’t like the album, I didn’t like doing it.

AllHipHop.com: Do you wish it wasn’t out there?

Guru: No, not like that. I just knew, when I was doing it, that it was our last.

Solar: Let me add something that I feel is relevant. I sympathize with your, and anybody else’s feelings. When I came into the picture, The Ownerz was in progress. What I saw in Guru was an alcoholic. He was drunk all the time, that’s fact. He was functioning. We met as friends. I had no ambitions to produce with him, or get involved with Gang Starr or anything. I was just Guru’s man. But I did make friends with everybody in the Gang Starr Foundation. I got to see a man that was at the end of his rope. Virgin wasn’t really committed to Gang Starr at all at that point. Premier and Guru had disconnected from each other. If they weren’t in the studio doing a song, there wasn’t nothin’ goin’ on with them two. They weren’t fighting or bickering, but there was nothing there. Nobody was excited about The Ownerz. The fans need to understand this.

Guru: He had his own crew, I had my people – me and Solar. I used to always to always talk about these major labels influencing our music, and how disgusting it was. That’s where we started ‘bout putting a label together. Solar encouraged me to do it – just me. I called him back like, “Why don’t you get down with me?” Then it came down to me and my drinking and all of that. A week later, I quit. I haven’t taken a drink since. You can hear that on “Surviving the Game.” When I rhyme, I rhyme about what really goes on in my life. I have always wanted to do my label. Premier was well aware. But he never mentioned wantin’ to do that with me. He did it on his own. At that time, that whole Virgin situation was frustrating. I couldn’t do outside projects – as a vocalist, without their approval. Premier could produce anybody and do anything he wanted. That was a messed up situation.

AllHipHop.com: What about the mutual connections you have and the Gang Starr Foundation? Are they forced to decide between the two?

Guru: At the time, the Foundation was all breaking up too. All this happened together. Jeru had already left. I see him on occasion, that’s a good brother, I got love for Jeru. I see Lil’ Dap. Melachi had gotten locked up. He’s out now, doin’ better. At that time, the Foundation didn’t exist.

Solar: The money had dried up too. When Gang Starr was in their hiatus, they were touring, making lots of money. They were able to support that entourage. I don’t wanna make it sound like these guys weren’t loyal and didn’t have love. They did. They were a family – a family that was financially health. At the end, D&D was goin’ broke, it wasn’t an affluent situation. People that were there during healthier times… it’s a delicate thing. You can stand there and be supported, or you can go out and support yourself ‘cause you can’t be supported anymore.

Guru: I’ll take it one step further. That was a point where I had to me. I wasn’t concerned about that. Those guys could’ve chosen any type allegiance that they wanted when we left. They chose to go with Premo. That’s fine with me. I don’t have a problem with it. I knew that.

AllHipHop.com: Guru, Hip-Hop history suggests that Young Guru isn’t the first time something like that has happened. Rev Run began his career as ‘Son of Kurtis Blow.’ There’s two Dr. Dre’s. Def Jam even had South Central Cartel, which is comprised of two members, Prodeje and Havoc, which is identical to Mobb Deep… am I missing something?

Guru: First of all, people using each other’s names is that they have no knowledge of that person. One’s from the West and one’s from the East, like Dr. Dre. That happened to be a coincidence, if you believe in coincidences. That’s different than someone having the knowledge of me and my life’s work, and still taking the name and putting a “Young” in front of it. That’s very offensive. What are we gonna have now? Young Rakim? Young KRS-One? I would be appalled at that. I would be appalled if someone called themselves Young Premier. That, to me, was totally disrespectful, uncalled for, and I’m not goin’ for it.

Solar: I’m born and raised in New York, a true New Yorker. I’m a success story who made it before I made it in music. I feel that any man should be responsible for his actions. Nobody was steppin’ up to ask Young Guru what was goin’ on. I did it. I got his number up at D&D [Studios]. I called from D&D to Baseline [Studios] to speak to him. He was there. I heard him in the background. He started clownin’, me son. I heard “f**k them” in the background, specifically. That information was translated to Guru. The fans don’t know that element. I’m sure that Run didn’t disrespect Kurtis. Maybe ‘cause [Young Guru] is at Roc-A-Fella, and they’re taking this position, he thinks he doesn’t have to talk to Guru. But it just looks you’re putting the “Young” in front just to diss Guru. Maybe he thinks Guru’s washed up. I’ll take it one step further to see what his motivations were, they weren’t honest. In his AllHipHop.com interview, he said that Premier told him it was okay to use the name. That’s irregardless. It’s Guru’s name.

Guru: That’s cowardice. I don’t condone that activity.

AllHipHop.com: Thank you for sharing all of this.

Guru: It’s important for the readers to get the story from the horse’s mouth. Come see us live. We got one of the best Hip-Hop shows on the planet.

Rapper Twista Planning Next Album, Acting Career

Chicago rapper Twista is hard at work on his fifth album and will be adding the role of actor to his growing list of titles.

The rapper’s new album Adrenaline Rush 2010 is due in stores on June 20.

“I was putting together a mixtape, but the label heard the music and said, ‘No we have to have an album,'” Twista told AllHipHop.com. “So now it’s gonna be an album. We do it way big in the studio.”

Twista’s reputation in the rap game has led to collaborations with the likes of Mariah Carey, Jay-Z, Kanye West, and a host of others.

“I got something coming out with Monica soon. It’s so many people I can’t just name ’em off top,” Twista said of his recent alliances. “Puffy [and I] are working on some music, me and Pharrell are working on some more music [so] I work with everybody….It’s a blessing.”

Twista is featured on the Mission Impossible III theme song “Impossible.”

In addition to his own set, the quick-tongued rapper is also in the studio with Speed Knot Mobstaz, working on their new album, and plans to begin building his acting career.

“I aint know too much about acting, but I got one of the best acting coaches,” Twista said. “I ain’t gonna reveal no secrets or nothing, [but] we gonna put it down right and you’re gonna see Twista doing it real big on the screen.”

Rappers Can’t Save You – The Death Of The Internet

America’s Black misleadership class, which is nearly indistinguishable from its Black business class, has struck again. In a stunning coup, a mainline African American voting rights group has been enlisted on the side of AT&T and other telecom monopolies in their legislative push to privatize the Internet and roll back hundreds of agreements with local communities that force these monopolies to extend Internet and cable service to poor and rural communities around the country.

A time-worn corporate technique for dishonestly manipulating public opinion is to create what are called in the world of public relations, industry-funded organizations and front groups. The indispensable site SourceWatch.org spells it out like this:

"An industry-funded organization receives funding from a company or industry and often acts as a mouthpiece for views that serve the industry’s economic interests… Industry-funded organizations come in many shapes and sizes… trade associations, think tanks, non-profit advocacy groups, and media outlets. Some of these organizations serve as ‘third parties’ for public relations campaigns. The third party technique has been defined by one PR executive as ‘putting your words in someone else’s mouth.’

"A front group… purports to represent one agenda while in reality it serves some other party or interest whose sponsorship is hidden or rarely mentioned. The front group is perhaps the most easily recognized use of the third party technique. For example, the Center for Consumer Freedom (CCF) claims that its mission is to defend the rights of consumers to choose to eat, drink and smoke as they please. In reality, CCF is a front group for the tobacco, restaurant and alcoholic beverage industries, which provide all or most of its funding…

For this legislative sales season, the telecommunications monopolies have created a deceptively named corporate mouthpiece called Hands Off the Internet. Its chief public spokesman is former Clinton White House official Mike McCurry. A look at the Hands Off member organizations reveals a list of the usual suspects like the American Conservative Union, the Center for Individual Freedom, and the notorious National Association of Manufacturers. As bankrollers and hosts of the party, one expects to see AT&T and Cingular listed, and they are.

Renting Black Republicans is neither a new nor a big deal, so the National Black Chamber of Commerce, which recently fronted for the proposed privatization of Social Security on the grounds that fewer African Americans lived to collect it, is along for the ride too. In their attention to detail the telecom monopolies have even rented the traditional contingent of Black preachers, constructed them a web site and bestowed upon them the title of Ministerial Alliance Against the Digital Divide.

Black Commentator was quite surprised, however to see one of the mainstays of Black voting rights activism listed among the members of the telecom astroturf group: the National Coalition on Black Civic Participation. How and why did this happen? What does it mean for NCBCP and for what remains of the civil rights movement?

Why Network Neutrality is a Black Issue

On April 27, Black Commentator published two stories about CBC member Bobby Rush’s sponsorship of this year’s noxious telco legislation. We explained how the Rush-Barton Act, also called the COPE Act or HR 5252, would kill off public access TV, strip towns and cities of the right to force cable monopolies to serve blacker and poorer areas in return for being able to do business in the wealthier parts of town, and allow companies to charge web sites like this one for allowing content or email to reach users. We called attention to the acceptance of a million dollar donation by a tentacle of AT&T to a not for profit organization associated with the congressman. All this earned us a call that morning from a Chicago-based defender of the congressman.

Black Commentator was making a big mistake, the caller told us, by leading with the issue of network neutrality. Our deeply misguided caller accused us of playing into the hands of white media activists. Network neutrality, she said again and again in the course of an hour long conversation, was just not "our issue.”

But when a Black member of congress accepts a million dollar telco donation for a supposed community-based project in his district, and turns up as co-sponsor of telco legislation to redline and disempower Black communities nationwide, along with suppressing everybody’s freedom of access to the Internet, it is indeed a Black issue. When AT&T rents Black ministers and Black Republican sock puppets like the National Black Chamber of Commerce, and even recruits the National Coalition on Black Civic Participation to its team, network neutrality has very definitely become a Black issue.

The incongruity of the National Coalition on Black Civic Participation finding itself in bed with AT&T, the American Conservative Union and the National Association of Manufacturers is downright striking when you look at who serves on the NCBCP Board of Directors. To start with, there’s Dr. Howard Dean, whose campaign for president would have been impossible without a free and open Internet. There are luminaries like Dr. Joseph Lowery and Dr. Ron Walters of the African American Leadership Institute. We counted at least a dozen representatives of labor unions, including an assistant to AFL-CIO president John Sweeny, the UAW and UFCW, AFCSME, SEIU, and both national teachers unions and the A. Philip Randolph Institute.

After an NCBCP staffer assured Black Commentator on the phone that “Yes, we signed off on that,” Black Commentator phoned and emailed more than a dozen NCBCP board members affiliated with labor unions. Of the six that returned our calls or emails, all claimed to be unaware of the connection between NCBCP and the telco front group. Those few we had actual conversations with before this article was posted expressed horror at the company NCBCP seemed to be keeping, and some said they’d be taking the matter up with NCBCP executive director Melanie Campbell.

Our assumption is that some NCBCP staff and board members committed this act of treachery against the interests of African Americans in return for a sizable donation with which to continue some of its actual good and commendable work. As disturbing as this is, it may not be the first piece of dirty money NCBCP has solicited or accepted.

NCBCP prominently displayed a Wal-Mart banner at a summer event on voting rights it held in Washington DC, prompting questions at that time from some people close to the organization. Black Commentator cannot say with any certainty what Wal-Mart is getting for its money from NCBCP, but the basic motives of Wal-Mart, and the mission of anyplace with a name like “National Coalition on Black Civic Participation” seem fundamentally and irreconcilably at odds. We hope that NCBCP’s board members will find the time to untangle these questions soon.

“This is something they did without my knowledge, probably without the knowledge of most of us,” a union member of the organization’s board told Black Commentator. “If we knew about this, or about an NCBCP affiliation with Wal-Mart or the National Association of Manufacturers, I’m sure we’d have had a lot to say about it.”

In the three decades of NCBCP’s existence, labor unions have consistently been among its principal contributors. That support threatened to falter in recent times, partly due to changes in campaign finance laws that favored other types of organizations, and partly as a result of cuts in those kind of expenditures by some unions and by the AFLCIO.

Members of what we call the “Black business leadership” class consulted their speed-dial lists, opened up their rolodexes and delivered the National Coalition and its hard-won credibility into the hands of AT&T, and of Wal-Mart, and who knows who else? Whatever else you can say about this bunch, they know an opportunity to pick up an undervalued property when they see it.

In a Black Commentator cover story last October titled Where the Left Lives, we cited a recent study by the Bay Area Center for Voting Research of 250 American cities ranking them in order from most to least conservative and most to least “liberal.” The conclusions were not the least bit surprising to us at Black Commentator.

“The nation’s remaining liberals are overwhelming African Americans.

“The BACVR study that ranks the political ideology of every major city in the country shows that cities with large Black populations dominate the list of liberal communities. The research finds that Detroit is the most liberal city in the United States and has one of the highest concentrations of African American residents of any major city. Over 81% of the population in Detroit is African American, compared to the national average of 12.3%. In fact, the average percentage of African American residents in the 25 most liberal cities in the country is 40.3%, more than three times the national rate.

“The list of America’s most liberal cities reads like a who’s who of prominent African American communities. Gary, Washington D.C., Newark, Flint, Cleveland, Baltimore, Philadelphia, and Birmingham have long had prominent Black populations. While most Black voters have consistently supported Democrats since the 1960s, it is the white liberals that have slowly withered away over the decades, leaving African Americans as the sole standard bearers for the left….

The message seems clear enough. If labor values its only stable base constituency, and its own future, it must invest more heavily in the grassroots organizations that work in and for Black America. Otherwise some of those grassroots organizing efforts will die, some will be stillborn, and too many others will be subverted by corporate dollars.

Network Neutrality and Competition

Finally, if network neutrality becomes a Black issue when telcos can buy, sell and rent Black organizations, when a Black congressmen accepts a million dollar telco donation and sponsors legislation that allows the industry to redline and disinvest in our communities, that’s a Black issue too.

Bobby Rush, in his statement answering the Chicago Sun-Times offers the transparent legalistic defense to conflict of interest charges, that since the donation was from a single company and the legislation benefits several telcos, no conflict exists. What else can you expect from a legislative body that elects its Speaker, its majority and minority leaders not on the basis of who has the most compelling vision for the nation and its people, but who can raise the largest number of corporate dollars? To anyone not mired in the culture of corrupt public officialdom, Rush’s position reeks of a conflict of interest, whether it meets the legal definition or not.

The congressman, his donors, and their front organization, Hands Off the Internet claim that handing over the Internet to private corporations and eliminating network neutrality will lower the cost and improve the quality of Internet service for everybody. This is nothing short of an outright lie. According to Stanford University’s Dr. Lawrence Lessig in a recent interview with Robert McChesney, broadband Internet access in France, Japan and South Korea and several other countries is cheaper, faster and more widely available than in the U.S. In every case, they do this by making the provision of service to everyone law and public policy, not leaving it up to “the market” or the whims of private corporations.

The whole “free competition” and “leaving it up to the market” argument flies in the face of how AT&T and other telco and cable monopolies came into existence and how they actually conduct their business. As the Univeristy of Illinois’s Dr. Robert McChesney explained recently on Democracy Now:

”…the phone companies and the cable companies, which provide Internet access to 98% of Americans and almost all businesses, are viewing – you know, they are companies that were set up by the government. They’re not free market companies. Their entire business model has been based on getting monopoly license franchises from the government for phone and cable service and then using it to make a lot of money. And they’re using their political leverage now to try to write a law basically which lets them control the Internet…”

”…what they want to do desperately is be in a situation where they can rank order websites. And websites that come through the fastest to us, to the users of the Internet, (will be) …the ones that pay them money or the ones they own. And websites that don’t pay them come through slower, much harder to get, or in some cases, they’ll have the power to take them off the Internet altogether.”

”…there’s no technological justification for this. There’s no economic justification. It’s pure corrupt crony capitalism. They’re basically using their political leverage to change this so they get a huge new revenue stream, and it gives them an inordinate amount of power over the Internet.”

In the interview, McChesney also discusses the impact of cable and Internet service to minority communities and how this will be affected by Rep. Rush’s legislation.

”…one of the core fundamental aspects of telecommunications policies historically… was the requirement that the phone companies, if they were going to get these monopoly licenses to make a pile of money, they had to serve the entire community. They couldn’t discriminate against neighborhoods, against cities. They had to give universal access…they hate that. They basically want to serve just wealthy and middle class communities and skip poor and rural communities. And they’re trying to write it into the law that they can basically… redline, that they can be discriminatory about which communities they offer their best services to and only offer in the most lucrative communities.

Congressman Rush concludes his defense by observing that “The real conflict here is America’s unwillingness to invest much needed capital in (oppressed) communities like Englewood.” His legislation though, allows telcos to deny our communities investment in their own communications infrastructure. Cheap, ubiquitous and comprehensive broadband access is as necessary to the economic well-being of our community as good streets.

By the time this Black Commentator article is printed, almost 700,000 Americans will have signed the petition against the telecom bill that Bobby Rush co-sponsored and NCBCP has endorsed. We urge any Black Commentator reader who has not yet done so to add your name to the list. By the time it comes to the House floor later this month, there may be a million signatures on the petition against it, despite the fact that no mainstream news outlet will cover the story. Whether or not you’ve already emailed, do call your own representative in Congress today and tell him you oppose HR 5252. Thanks to our readers and hundreds of thousands like you, the tide is turning against this atrocious legislation.

They say that the other superpower in the world today is public opinion, and that the only force stronger than organized money is organized people. Given the wave of public revulsion at this naked grab for power and profit on the part of the telecom industry, it’s not at all too late for Bobby Rush to find a way to withdraw his sponsorship. And it’s not too late for NCBCP to remove itself from the telecom front organization, and to undertake a general reconsideration, in light of its historic mission, of who it takes money from and why.

Black Commentator Editor Bruce Dixon can be contacted at [email protected].

AHH Stray News: Violence At Jim Jones Show, Gnarls Barkley, Wyclef, Czar Squad DJ’s

A police officer

was assaulted and one man was stabbed yesterday (May 21) at a Jim Jones concert

in Buffalo, N.Y. The rapper was performing at The Tralf nightclub on Pearl Street

when over fifteen hundred extra people showed up but could not get into the

concert. Police were summoned as people rushed the front doors, and a female

officer was struck on the head, according to reports. David Jones, 36, was taken

into custody for the assault. He was taken to a local hospital after police

learned he had been stabbed. Jones underwent surgery and is currently in stable

condition. Another man was shot and killed while sitting in traffic on Pearl

Street. An unknown gunman came up to 21-year-old Lamar Williams’ vehicle and

open-fired, instantly killing the man. Police have not yet arrested anyone in

connection with Williams’ death.

Gnarls Barkley

has been tapped to perform at the 2006 MTV Movie Awards. The duo of DJ Danger

Mouse and rapper/producer Cee-Lo recently released the album St. Elsewhere.

Their first single "Crazy" became the first single to reach No. 1

on the UK singles chart simply based off downloads. If the track maintains No.

1 for a ninth week, it will tie Queen’s nine-week run for their hit "Bohemian

Rhapsody." The 2006 MTV Movie Awards airs June 8 at 9:00 p.m. ET/PT.

Casting has begun

for the new HBO show Wyclef Jean in America. The series is loosely based

around the life of the Haitian born rapper/singer, who moved to New York at

the age of nine. Wyclef went on to form the rap group The Fugees before embarking

on a solo career. The series will be written by Danny Hoch, Seth Zvi, and Wyclef,

who will also provide the soundtrack for the series.

Czar Entertainment

CEO Jimmy "Henchmen" Rosemond and Victor Herrera have announced the

formation of a new DJ collective, the Czar Squad DJ’s. Rosemond, who manages

the careers of Too $hort, Rick Ross, Shyne, The Game, Mario Winans and others,

said the collective is designed to help launch the careers of music artists

and DJ’s. Czar Squad has 18 professional DJ’s throughout the United States,

Canada and Europe and includes such notables as DJ Warrior, DJ She-Devil, Kris-Stylez

and Chris Brown’s DJ, Babey Drew. “The Czar Squad D.J.’s is designed

to offer new and established artists the opportunity to gain exposure, while

giving fans the chance to hear fresh talent which they may not be exposed to

from their local radio station,”Rosemond said. “My objective is to

build the Czar Squad D.J. initiative into the premiere DJ movement in the world

by offering quality music and creating a presence in every major market.”

Snoop Dogg Claims His Space On The Internet, Launches 4AllMyDoggs Fan Club

Snoop Dogg’s official

Web site, Snoopdogg.com, has initiated a new fan club called 4AllMyDoggs.

The rapper’s home

on the web will offer concert tickets and "Snoop Authentic" memorabilia,

including stage props used during touring.

"All my ‘Doggs’

are looking for a fan club and Web site about me that tells it like it is,"

Snoop Dogg said in a statement. "I want to keep it real for them and make

it like we’re hanging out talking about music, movies, honeys, life, whatever

… no matter whether I’m

touring or not."

Paid Inc., a Worcester,

Massachusetts-based company that specializes in building fan sites for celebrities,

will operate Snoop’s fan club, as well as the ticketing and merchandising arms

of the Internet business.

The company will

also redesign and manage Snoopdogg.com, and add new content that includes on-stage

and behind-the-scenes streaming video, photos and audio clips from his extensive

stash from concerts, television and movies, and personal audio messages from

Snoop.

"We are very

excited to be working with an icon who crosses over from music to sports and

lifestyle markets," said Paid Inc. VP Kristen Kuliga. "We believe

that an important part of building and maintaining fan loyalty is helping celebrities

stay connected with their fans both on and off tour."

Snoop Dogg recently

completed a tour in Japan, Australia, New Zealand, and South Africa, as well

as an infamous trip to Europe that led to the rapper being barred from England

for a brawl in London’s Heathrow airport.