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The Black Eyed Peas Host The Peapod Benefit Concert In South Africa

Hip-Hop trio The Black Eyed Peas are set to host The Peapod Benefit Concert in South Africa, the first major event for the group’s non-profit organization The Peapod Foundation.

The concert will be held May 28 in South Africa’s Johannesburg Stadium at Ellis Park.

Local South African artists and dancers will also participate in the event, whose proceeds will be donated to local charities that have yet-to-be announced.

“Two years ago we played to commemorate 10 Years of Freedom in South Africa and I made a promise that we would return to give a free show for the people who may never have the chance to get down and celebrate with The Black Eyed Peas, in the true spirit of The Peapod,” said Peas

frontman will.i.am. “It is with great pride that we bring The Peapod to South Africa thanks to the generosity of fellow Peas Fergie, apl.de.ap,

and Taboo, and our band Bucky Jonson, along with Miller Genuine Draft.”

Organizers are bypassing traditional distribution methods to disburse tickets through a network of local newspapers throughout the region.

Tickets will also be available manually within local townships.

The Peas have teamed with Miller Genuine Draft to distribute a portion of the tickets via a text messaging campaign.

Fans in South Africa can text their name to 40410. Each SMS comes with a local charge, with proceeds benefiting the Peas’ Adopt-A-School program.

Tickets via SMS are available on a first-come first-served basis.

If successful, applicants will receive a reply with a reference number that can be redeemed at a local Computicket outlet.

Each reference number allots the applicant two tickets only.

No tickets are available at the venue on the day of the event. For more info visit the Peapod Foundation’s official Web site

(http://www.peapodfoundation.org).

Black and Male in America

I read the recent New York Times cover story, “Plight Deepens for Black Men, Studies Warn,” with a great deal of pain and sadness. As a Black man who is in his late 30s, I have literally encountered every dilemma documented: I am the product of a single-mother led household, fatherlessness, horrific poverty, omnipresent violence in and outside of the tenements of my youth, and the kind of hopelessness, depression, and low self-esteem which led me to believe, very early on, that my world was just one big ghetto, that Black boys like me were doomed to a prison stint or a premature death, that there was nothing we could do about it.

For sure, much of my life has been spent attempting to both reconcile and ward off the demons of those circumstances. On the one hand I managed to get to college on a financial aid package because my mother instilled in me, in spite of her possessing only a grade-school education, a love of knowledge. But, by the same token, the cruel variables of my adolescent years followed me into adulthood, leading to temper tantrums, arrests, suspension from college, job firings, and violent behavior toward males and females which has only subsided in the past couple of years because of a renewed and determined commitment to therapy, healing, self-love, and spiritual transformation. I have had a very productive career as a writer and I have been homeless and hungry as a grown-up. I have traveled much of America lecturing and bringing people together, and I have burned more bridges than I care to admit. And I have been a great model for Black male achievement to some, while a symbol of the worst aspects of contemporary Black masculinity to others. It is not an easy balancing act, because most of us poorer, fatherless Black males, especially, were not presented with a blueprint for manhood as boys, other than the most destructive forms in our ‘hoods and via popular culture. Thus we find ourselves stumbling through minefields riddled with systemic racism, classism, drugs, guns, crime, gangs, minimal expectations, unprotected sex, disease, and death. We often have to figure this all out for ourselves, with little guidance or direction. And we are, indeed, those homeboys you see on America’s street corners, left alone to fester and rot our lives away.

For me these days there is a foundation, a calling, which has led, the past half decade, to my seeking solutions to this monumental crisis around Black manhood. I am brutally honest about every aspect of my life journey, I highlight it in my writings, and I talk about it on college campuses, at prisons, in churches. I organized a ten-city State of Black Men tour in 2004, and I have been a part of various think tanks, like the Twenty-First Century Foundation’s initiative on Black boys and Black men, in an effort to confront this catastrophe head-on. And I have placed my time and energies in full support of anti-violence and anti-domestic violence programs locally and nationally. Without question, so much of American maleness is rooted in the belief of White male superiority, patriarchy, sexism, homophobia, violence, materialism, and it is abundantly clear how those stimuli disproportionately and disastrously affect poor Black males. Or, rather, what was said in the New York Times article is accurate in each and every city I have visited: “We’re pumping out boys with no honest alternative.”

Part of the problem, undeniably, is perpetual governmental neglect at the federal, state, and local levels. If a similar article had been written with the heading “Plight Deepens for White Men, Studies Warn,” it would be considered a national emergency, monies would be earmarked for a domestic Marshall Plan focusing on these White males, and empowerment policies would be implemented immediately. It is disturbing to say that, regardless of all the hard fought victories of the Civil Rights Movement, we remain a nation profoundly damaged by racism and classism.

Little wonder, then, that as I work with and talk to younger Black males in urban settings they aspire to be three things: a rapper, an athlete, or some form of a street hustler. These limited life options exist because not only has governmental agencies largely abandoned this population, but so too has the Black middle class, and, specifically, those of us who are Black male professionals. It is a very obvious phenomenon to me: in segregated America, Blacks were forced to dwell in the same neighborhoods. Thus even if you were a poor Black male, you at least saw, in your community on a regular basis, Black men with college degrees, Black men who were doctors, lawyers, businessmen-Black men who offered a proactive alternative to the harsh realities of one’s poverty-stricken life. Integration not only brought about wholesale physical removal of the Black middle class, but also wholesale emotional removal as well. A broken relationship, if you will, that has never been mended. This is the vacuum, the gaping hole, for the record, that created hiphop culture, a predominantly poor Black and Latino male-initiated art form, in America’s ghettoes right on the heels of the Civil Rights era in the late 1960s, early 1970s. And this is why hiphop, to this day, with its contradictions notwithstanding, remains the primary beacon of hope for poor African American males. I cannot begin to count how many underprivileged Black males across the nation have said to me “Hiphop saved my life.” That speaks volumes about what we as a society and as citizens are not doing to assist the less fortunate among us.

So as we rightfully petition the government, on all levels, to work to improve the opportunities for poor Black males, to view this crisis surrounding Black boys and Black men as linked to the very future and livelihood of America, I issue a challenge to professional, successful Black males like myself: Become a breathing, living example for these poor Black boys and men. Share life lessons with them, mentor them, please, and do not be afraid of them, ever. And have the courage, the vision, to be a surrogate father for one younger Black male, particularly if you do not have children of your own, knowing that that very simple act may not only save a life, but several lives. I personally advise, here in Brooklyn, New York where I reside, at least five younger Black males on a consistent basis. No, it is not easy, but I feel I have an obligation to do so because I have been blessed to overcome so many obstacles myself. And I have the basic responsibility, by being mad real with them, of showing and teaching these younger boys to men how they can avoid all the mistakes I made. Yes, we must think as a community, not as selfish and nearsighted individuals. And it is direct action that we need, and direct interaction as role models, as big brothers, if the tide is going to be turned for Black boys and men.

In June 2007 a group of us will be producing, in New York City, a gathering entitled Black Men in America…A National Conference. We will bring together Black male social workers, anti-violence facilitators, spiritual and religious leaders, artists, athletes, psychologists, media insiders, elected officials, policymakers, educators and scholars, grassroots activists, hiphop heads, the young and the old, for four critical days. The idea was conceived because it is evident to Black men like me that there is a national movement happening to redefine Black manhood. There are selfless, dedicated Black males struggling, throughout the United States and in the trenches on the daily, around this historic crisis. They have names like Byron Hurt, Dr. Mark Anthony Neal, Dr. Jelani Cobb, Charlie Braxton, Ed Garnes, Brian Smith, Robert Page, Thabiti Boone, Chris “Kazi” Rolle, Cheo Tyehimba, Dasan Ahanu, Ulester Douglas, Sulaiman Nuriddin, Rev. John Vaughn, Ras Baraka, Rev. Tony Lee, Lasana Hotep, Timothy Jones, and David Miller, among many others. Our goal is to not just talk about the problems so poignantly described in the New York Times article. At this stage we know what they are. Our intent is to create a holistic working conference where we offer strategies and models for Black male development that already exist, like Men Stopping Violence in Atlanta, or The Brotherhood/SisterSol here in New York, and how we can duplicate those models to impact very vulnerable Black males nationwide. If we do not do it, then who will?

Kevin Powell for Congress Fundraiser at CANAL ROOM

Join us for a fundraiser for KEVIN POWELL

Candidate for the House of Representatives

in the 10th Congressional District, Brooklyn, New York

TUESDAY, MARCH 28, 2006

7PM-11PM

CANAL ROOM

285 West Broadway

corner of Canal Street

NEW YORK CITY

$50 General admission

$100 VIP admission

$250 VIP admission with photo opportunity

PLEASE NOTE that cash contributions are limited to $100

CASH BAR

Business attire or casual chic

featuring a special performance by vocalist SHANNONE HOLT

Music by DJ COSI, DJ HERBERT, and DJ MARC SMOOTH of the legendary Freedom Party

For more information, please contact JENNIFER JAMES at 718-512-5124 or via email at [email protected]

If you cannot attend the event, please visit www.kevinpowell2006.org to learn how you can make a donation to Friends of Kevin Powell

Per Federal Election Commission requirements:

Contributions to federal candidates are not tax-deductible and are limited to $2,100 per individual and $5,000 per PAC, for each election cycle. Corporate, labor union and checks from foreign nationals are not permissible. Individual contributions must be made by an adult 18 years or older and come from personal funds.With all contributions please include your full name, address, occupation and employer.

Paid for by Friends of Kevin Powell

P.O. Box 24810, Brooklyn, NY 11202-4810

(718) 512-5124

The Outlawz And dead prez Unite for New Album

The Outlawz and political rap duo dead prez are hooking up to record a new album titled Can’t Sell Dope Forever.

Featuring appearances from Bone Thugs-N-Harmony member Layzie Bone and Messy Marv, the project aims to spark dialogue, while urging unity, power and progression in the streets.

The album title was inspired by Miseducated Society, a streetwise clothing company based in Atlanta whose “Can’t Sell Dope Forever” tee has become a staple in southern hoods, echoing the need for change without preaching down to its intended audience.

Both the Outlawz and dead prez insist there are other ways to be empowered beyond selling drugs and glorifying the drug game.

Can’t Sell Dope Forever also boasts cameos from newcomers Stormey and Malachi, as well as dead prez member stic.man’s mother Nora, who appears on the track “Believe.”

The album will be the first release from Affluent Records, a New York-based label headed by Oscar Sanchez, formerly of Def Jam and Violator.

The company, modeled in the same vein as Def Jam and Bad Boy, is distributed by Caroline/EMI.

“Dead prez and the Outlawz are some of the most explosive acts in the market today and we are very happy and proud to be able to launch Affluent with these world class acts,” said Sanchez. “I love their movement and respect their business. I’ve always been a fan. Now I get the chance to show the world with them their overall vision.”

A contest will also be launched to coincide with the album, which hits stores later this year.

Nelly Teams With Richmond Braves For Celebrity Softball Game

Grammy Award winning rapper Cornell “Nelly” Haynes, Jr. will be heading to Richmond, Va., next month to team up with the Richmond Braves minor league baseball team, for a celebrity softball game to raise money for inner city youth.

The event is scheduled to take place May 2 at The Diamond as part of Nelly’s efforts to raise funds for his 4Sho4Kids foundation.

The celebrity lineup includes Gabrielle Union, Michael Vick, Shawn Barber, Clinton Portis, Ahman Green and retired St. Louis Cardinals player Ozzie Smith.

“What we have done with 4Sho4Kids Foundation is bring awareness to all cities,” stated Chalena Mack, executive director for the foundation.

“With our recent catastrophe that our country has experienced with Katrina, our foundation made a commitment to help children of all ages in all cities, no matter where they are. So it is with great

anticipation and excitement that we come to Richmond, VA and give the fans a fun game for a great cause.”

Richmond radio stations 106.5 The Beat, Q94 and Sports 910 will host the event, along with Downtown Lockeroom and the Richmond Braves.

“We are thrilled to be able to host this wonderful event to benefit the 4Sho4Kids Foundation and help bring awareness and aid to the important work the foundation is doing on behalf of children in our community,” said Braves general manager Bruce Baldwin.

Founded in 2001 in Nelly’s hometown of St. Louis, the 4Sho4Kids Foundation aims to improve the quality of life for children with developmental disabilities, with emphasis on Down Syndrome and children born addicted to drugs.

Among other goals, the foundation also hopes to assist children with educational and health care resources in all major cities.

Every year, Nelly hosts a week of festivities in different areas to help raise money for his foundation. More fundraisers are planned this year

in St. Louis and Las Vegas.

Tickets for the softball event can be purchased through Ticketmaster.com.

Alternative News: Trey Songz’ Lawyer Comments On R&B Singer’s Recent Arrest

Trey Songz’ lawyer released a statement regarding the Virginia R&B singer’s riff with law officials at Clark Atlanta University.

Songz, born Tremain Neverson, was arrested April 6 by the Clark Atlanta Police Department on charges of obstruction of law enforcement and disorderly conduct.

The singer and his lawyer, Attorney Curtis L. Hubbard, Jr., deny the allegations.

“[Trey Songz] did not obstruct any law enforcement personnel, nor was his conduct in simply remaining seated in the vehicle disorderly or disruptive,” Hubbard said of the incident.

At the time, Songz was riding in the passenger seat of a vehicle that was stopped for a traffic violation on Clark Atlanta’s campus.

Witnesses say the singer was later arrested for not complying with the officer’s request for him to step out of the vehicle.

That day, Songz’ mother April Tucker released a statement professing her aggravation with the event.

“[Trey] is being held…for obstruction of justice and disorderly conduct for merely refusing to get out of the passenger seat of a car!” Tucker said. “I can’t even fathom that these fraudulent charges will stand up in a court of law.”

As a result of the altercation, Songz, whose debut album Gotta Make It was released last year, suffered several injuries.

“[The injuries] were non-life threatening, which he received treatment for at Grady Memorial Hospital,” Hubbard explained. “Mr. Neverson [Songz] has faith in the criminal justice system and he is confident that the charges currently pending against him will be dismissed.”

Songz was unable to directly comment due to the advisory of his legal team.

The allegations are being resolved in an Atlanta court.

Family of Slain Bouncer ‘Terrified’ For Safety, Struggling To Pay For Funeral

The family of the man allegedly shot by Detroit rapper Proof voiced concern for their safety following a shooting earlier this month.

Police say Keith Bender Jr., 35, died April 18 after being shot by the D12 member at the CCC nightclub on 8 Mile Road.

Proof (born DeShaun Holton) was also killed during the incident, which is still under investigation by authorities.

“We are absolutely terrified for our safety,” said Bender’s aunt, who wasn’t named for fear of retaliation against Bender’s family. “We wanted

to talk to the media long ago, but we were afraid for our lives, therefore we’ve been keeping kind of a low profile.”

The family would like to hold funeral services for Bender, who was a retired Army officer at the time of his death.

Despite a $1,000 donation from Peace in the Hood for the burial and the establishment of the Keith Bender Memorial Fund at Chase Bank, the family is struggling to pay for the service.

The funeral is planned for 10 a.m. Thursday (April 27) at New Galilee Baptist Church, 11241 Gunston in Detroit, with Pastor John Mack of Greater New Hope church officiating.

“We need to embrace this family with our hearts — and now our checkbooks — so that the struggle they are already experiencing is not so severe,” said the Rev. Horace Sheffield, who donated New Galilee Baptist for the service. “We also need to start the healing process so that our community can avoid any more senseless deaths like this one.”

Bender’s aunt, who described her nephew as “personable, jovial, humorous, kind and generous,” believes Bender’s death signifies a need for better policing as well as an end to violence in hip-hop, a

crackdown on illegal guns and more community involvement.

Donations to the fund may be given at any Chase Bank branch.

Che’nelle: World View

There are many words that Che’nelle’s camp use to describe her sound- ‘NuUrban’, ‘Rhythmic’- but truth be told, the dancehall influence underlining her melodies are hardly invisible. While Jay-Z looks at the UK Grime scene to bring some originality back to Hip-Hop, DJ Sir Charles, a longstanding DJ in New York City, headed to a remote city in Australia after coming across Che’nelle’s MySpace page. He returned to NYC determined to get her signed to a major label. Weeks later, as the Christmas season approached in 2005, Che’nelle was sealing her fate with a six-album deal on Virgin Records.

This Malaysian-born, Australian singer, songwriter and producer is now back in New York re-recording a large chunk of her original tracks for her soon to be released debut album. Although she realizes that America might take a while to fall for her rhythmic sound, she’s living the international dream of artists all around the world. Before she headed back to Australia (on a 20 hour flight) to open up for Kanye West’s tour, Che’nelle took time out for Allhiphop.com, so we can get to know her before all the others come a-knocking.

AllHipHop.com Alternatives: So how does it feel to be signed to a major label?

Che’nelle: It started off to be really overwhelming, now it’s like, “Sh*t, we got to start working.” I’m just trying to get my mind re-focused.

AHHA: In a nutshell, tell us how you got into the music business? Did you work with anyone locally in Australia?

Che’nelle: I started when I was four or five years old. In Malaysia my dad had a karaoke joint, and I was always there singing. I moved to Australia when I was 10, and my mum used to put me in competitions in malls [and other places]. During school I was in a band, and I did that for about four to five years, and that’s where I got my performance skills. After I finished high school, I decided that music is what I wanted to do, so I went on a search for the best R&B and Hip-Hop producers in Perth. At that time there was only two – Audius and B-Side. Audius is more commercial, while B-Side is more deep urban. I worked with B-Side for about three years.

AHHA: You also studied music at this time?

Che’nelle: That’s right. At the same time I met B-side I entered University for a Diploma in Contemporary Music. I built a home studio and began recording my own vocals.

AHHA: What was the sound like at that point? When did dancehall play a part of it?

Che’nelle: Even when I first started, the way I sing and the way I do my melodies, always has a dancehall thing to it. But I actually never knew it would become the direction I would go in. At first my sound was very R&B. My songs are very much a cross between R&B and soul, not very much Hip-Hop, but there are elements of Hip-Hop in it. And, yes, a lot of dancehall.

AHHA: How did your major deal come about? Tell us the story of how a small town girl gets signed to a major label in America.

Che’nelle: It’s so unreal! Australia is the most isolated country in the world [geographically] and Perth is one of the most isolated cities in this country. My manager, Amy, put up a MySpace page around May last year. A couple of weeks later [Sir] Charles, who runs his own label called Skip, and is now my production manager in New York, left a message to call him.

We were a bit skeptical, but we thought we would give it a shot. We had been talking to him for almost seven months. Through those seven months his whole plan was to understand me, see my vision, and see what I was like as an artist. He loved what I did. He tried to create a little bit of buzz too, because he’s a huge DJ in New York- a part of the Bumsquad crew.

After eight months he came all the way to Perth to see us. He was really serious. I showed him the studio and how I worked. He went back to New York very excited. In a week he called me back and said Virgin Records was interested in my stuff. He had a meeting with the CEO following week and put me on speaker phone – I think I was a little shocked. I went to New York, met everybody the first day, second day I was in my lawyer’s office going through the contract they had offered me. By the third day, I had signed it.

AHHA: Was [Jermaine Dupri], President of Virgin’s Urban division, involved in the deal? Have you met him yet?

Che’nelle: No, he wasn’t there when I was there. I think he was in L.A. Basically because I’m under Skip, Skip is the imprint, and I’m signed to Virgin through them. Labels can be so confusing. I met hundreds of people from Virgin, because every department is involved in the project. All the departments are so separated but they still work together.

AHHA: Tell us more about the music.

Che’nelle: Well, we recently did a cover of “I Fell in Love with a DJ” which we originally recorded over an R. Kelly loop. We did it as a promo mixtape thing, but Virgin really liked it and wants to release it. The song is dancehall crossover beat. The departments at Virgin are so confused because it’s urban, pop, dancehall- it’s everything.

AHHA: What did you listen to growing up? A lot of dancehall fans are going to be wondering how some girl in Perth got into this style of music?

Che’nelle: I know! Seriously, I am the strangest story. Growing up my dad would play Tom Jones. My mum would play Diana Ross. My mum listens to a lot of reggae. It would always be playing in the background in my house, and I always remember the beat. Besides that I grew up with Whitney, Mariah, Aretha Franklin, Chaka Khan. Right now I listen to a lot of commercial stuff- from The Carpenters to Beyoncé. I get into phases of rock and trance, but I always come back to R&B.

AHHA: How do you think America will handle your music?

Che’nelle: Don’t take this the wrong way but America is so used to the American sound. They might be confused at first, but I’m confident that people will want to listen to new styles of music, to a whole new vibe. They will eventually get used it but it will take time. I kind of like that way though. I felt that way with India.Arie. The artists that grow on me are they ones that I love forever.

AHHA: Tell us about the upcoming album. Any collaborations?

Che’nelle: It’s a journey because each song is a story. I like to party, but I’m deep too. The album is almost done. Virgin is happy with so many of the songs that I’ve written, so now we’re in the process of choosing tracks. Producer-wise we’re checking to see if a collaboration will happen. Rich Harrison just passed me a beat, so we’ll see if I can do something with that. A lot of producers are actually new producers with mad skills, and I’ve produced a couple myself. Maybe the second album I’ll have more chance to collaborate with other artists.

Brandon Watson: Friendly Game of Baseball

The Beastie Boys’ Mike D compared his string of hits to Rod Carew’s in the 1994 single, “Sure Shot.” Phife Dawg made a similar simile, comparing A Tribe Called Quest to “the Braves and the Yankees” on 1993’s “Award Tour.” However, ever since baseball went on strike in ’94, it seems Abner Doubleday’s invention may have lost its connection to Hip-Hop. While Peter Gammons and Harold Reynolds might not care, we at AHH say, “Why is that?”

We went looking for answers in the Washington Nationals’ outfield as the MLB season started. Balancing his time between the New Orleans Zephyrs – a AAA affiliate, and the Nationals, some baseball analysts believe that Watson stands a shot at Rookie of the Year in this young ’06 season. An avid Hip-Hop fan, and affiliate of car-maker to the stars, 310 Motoring, we spoke to Brandon about America’s Pastime and why Hip-Hop needs to come on back now.

AllHipHop.com Alternatives: As a Center Fielder, I know you probably didn’t choose to play the position, but what Center Fielders were you looking up to as a kid?

Brandon Watson: I always had my eye on Kenny Lofton when I was younger. I could kinda relate to doing what he was doing, as far as getting on base, and not always hitting home runs – stealing bases, and playing good defense. That’s somebody that I looked up to.

AHHA: Ironically, last year you did hit a homerun, and were caught stealing twice in two attempts…

Brandon: [laughs]

AHHA: Respectfully though, I gotta imagine that the homerun felt real special…

Brandon: It was definitely different to hit one in my first game in the big leagues. I didn’t expect to do it. I first hit a double down the right field line, then hit an opposite field homerun in Houston at my debut game. I just hit a homerun somehow. No, I didn’t steal any [bases] while I was [playing at the major league level] last year, but my game is stealin’ bases and gettin’ bases.

AHHA: So Pitchers and Catchers should be on the lookout this year?

Brandon: Definitely this year. [laughs]

AHHA: How soon after you were called up did you get to play?

Brandon: Everything was the first day. They called me up to play.

AHHA: Being in Houston, was anybody in your family able to attend?

Brandon: Yeah, I had my brother and my dad in the crowd. It was a Sunday afternoon game that I got called up. We had Monday off. Tuesday was my debut. I got to Houston on Monday night.

AHHA: That’s dope. The Yankees and Mets are an exception. But in the rest of the country, with the exception of hockey, it seems that baseball is perceived as not Hip-Hop. Why is that?

Brandon: It’s hard. It’s a lost art. Baseball is a sport that you play as a kid. A few people continue it. Others just go to basketball or football. You really do have to love it to play it. Nothing’s gonna be given to you. You have to earn a lot in baseball. When you go and get drafted, you don’t go straight to the league. You go through the minor league system first. If you do well there first, then they put you in the big leagues. I went through every level. Football and basketball, you go right outta college. Baseball, you get a trial period. You gotta top the system before you can jump in. There’s a couple people that have just gone straight to the league. [The Washington Nationals] have a guy – Ryan Zimmerman, he made it in the same year. That’s very rare, but he’s just an exceptional talent.

AHHA: It’s funny, because that’s very much the Hip-Hop attitude: “Yo, I want it now. I can’t wait.” I think battling and performing is a good minor league system for rappers to see if they’re worthy of that deal.

Brandon: I agree. It’s definitely different. You might think you’re ready, but you never know until you’re through it. It’s important to play minor league ball in a smaller city. I played in Burlington, Vermont – that’s all they have. There’s still 10,000 people at the games. [At the opening game on April 4] we had 55,000 people [at Shea Stadium] in New York. It’s a bigger stage with the same game.

AHHA: The age-bracket is another thing. Barry Bonds is over 40. Granted, Flava Flav and Ice-T are too. But most Hip-Hop kids may have a hard time relating to somebody who could be older than their fathers. Who in baseball, represents the Hip-Hop mentality?

Brandon: That’s a good one. That’d be like a Gary Sheffield of the New York Yankees. He’s one of the guys that stays the same. He voices his opinion. He’s smart and down to earth. He’s of the few brothers that you can talk to about stuff. Eric Davis is a retired player, who is like a mentor to me in talking about the game. He’s Hip-Hop too, ‘cause I can relate to what he says.

AHHA: Having grown up in Los Angeles, he really must’ve been that dude – from his later years with the Dodgers.

Brandon: Yeah, him and Darryl Strawberry were my guys.

AHHA: That was definitely a team that had the Hip-Hop attitude. The ’91, ’92 Dodgers. You also had Roger McDowell in the bullpen – another character on the squad. The MTV Rock & Jock years.

Brandson Watson: Yupp, yupp. Rock & Jock, that’s right…

AHHA: So what music do you get when you come up to bat or get juiced or whatever?

Brandon: I listen to whatever’s… I mean, my all-time favorite is Tupac. I’m always gonna love him. When we were [at home, I came to the plate to] TI’s “What You Know.” I go with the beat that’s goin’ on in the street. I like all Hip-Hop and R&B.

AHHA: Now Tupac, I believe, had a 310 Motoring license plate on his ’95 Jaguar in the All Eyez On Me insert. 310 is family to you, right?

Brandon: Basically, when I was a kid, my dad did a commercial for 310, called “Phone Zone.” It was a low-budget lil’ commercial, but my dad was glad to do it. Later on, they developed into this big 310 company later on in life. Now, it’s just history. Marc [Laidler] is my uncle, and I love him, and he’s a good dude, and I’m so happy for him. To blow into what they are – from the “phone zone” till now, it’s great.

AHHA: On the strength of that, what are you whippin’ right now?

Brandon: I got a Range Rover. I’m about to get a Benz in the next couple months.

AHHA: All done up?

Brandon: Yeah, it’s not done yet. But they took care of me.

AHHA: It doesn’t involve you, per say. But nobody’s ignoring this steroids topic. Being a new guy tryin’ to make a bid for Rookie of the Year, how do you feel about this hangin’ over baseball’s head?

Brandon: Anytime you have something negative around your sport, it’s not good. But it’s gonna end up bein’ all right ‘cause it’s taken care of, they got the testing in. Baseball’s clean again, and that’s the most important thing.

AHHA: If anybody on AllHipHop plays fantasy baseball, can you make a convincing argument on why players should follow you? I’m sure, as a rookie, you’re a bargain.

Brandon: I’m a bargain. Everybody knows I’m a rookie. This’ll be my full season in the big leagues. If you can get me, may as well go ‘head and grab me, ‘cause I’m gonna play and do all I can: steal bases, score runs, and hit for average. I’ma do what I need to do to be successful.

Hip Hop Street Credentials, Vol. 1 (DVD)

Artist: DVD ReviewTitle: Hip Hop Street Credentials, Vol. 1 (DVD)Rating: 3 1/2 StarsReviewed by: Jason Hortillas

Hip-Hop documentaries are now as common as half naked women in music videos. To the dismay of fans of the clothing impaired, Insomniac Inc. puts out a film that takes another route from typical movie making. Shining light on artists that wouldn’t typically be featured on film, Hip-Hop Street Credentials (DVD/Insomniac Inc.) brings you into the world of Hip-Hop’s unsung heroes who do not get as much airtime as their commercial counterparts.

Narrated by Insomniac Inc. head Israel “Iz-Real” Vasquetelle, the documentary is more like a series of interviews giving artist insight on varied topics such as out of the trunk music selling and the emphasis on music over marketing. Features include Kool Keith, Aesop Rock and Kutmaster Kurt, amongst many others. As the title suggests, the film is at its most raw when allowing the viewer to see these interviews uncut. The option to see these interviews in cinematic format is available as well.

Each one of the artists have a particular characteristic that make them original- Immortal Technique and his brash political commentary, Pee Wee Kirkland regurgitating old lessons he now teaches to the youth, or Saul Williams’ view on the differences between spoken word artists and MCs. Each feature is totally different from the next- producer, poet, battle emcee and the list goes on. With over three hours of footage, all the material is hard to soak into the brain in one sitting. Both the Saul Williams and Immortal Technique interviews are the most provocative, ultimately making the film what it is.

A Demand for Black & Brown Unity

Below is a speech I gave in Watsonville, CA on April 17th 2006. I was invited to come down and speak by the Watsonville Brown Berets. Fred Hampton Jr. of the P.O.C.C. and Immortal Technique also represented HARD that day.

It was an amazing display of racial, political, religious and Hip Hop unity. There were b-boy circles, tons of performers, spoken word poets and vocal performers. Mexican, Black, Asian, White, Arab and Native Americans all came together in peace. There was no violence and no threats of violence. I must commend the Berets on making everyone feel welcome, secure and for running an efficient schedule. I don’t have the official numbers but I estimated about 700 people to have been in attendance.

As Salaam Alaikum,

My name is Adisa Banjoko. I am the author of Lyrical Swords Vol. 2: Westside Rebellion. It deals with Black and Brown unity. It deals with a lot of political and social issues that we face every day. I speak in a lot of places. Sometimes it’s prisons, sometimes it’s universities. Today I am honored to be here with the Brown Berets. I am honored to be here with the beautiful people of Watsonville.

I came today to talk about peace and unity. Peace and unity is something that we absolutely have to have in this moment, dealing with the Bush Administration and the things we face today. The Black people of America cannot do it alone. The Latino people cannot do it alone. The Arab cannot do it alone. The Muslim, the Christian and the Jew cannot do it alone. The Buddhist cannot do it alone. We have to be unified in this moment.

Peace and unity are both byproducts of knowledge. Meaning that when I first got into knowledge of self, as an African American, I was only focused on that. It took me a moment to learn about the beauty of the Mayan people, of the Aztec people, of Cesar Chavez and Delores Huerta.

I had to do that to be a true humanist. You have to read about humanity! If all I read about is me, and all I care about are the struggles of the Black man- then I’m going to have a very small window [to see the spectrum of life through].

We have to take the time to defend one another. We cannot be afraid to defend one another. I am here defending you. Defending what you stand for. Defending your rights. This is your land. I won’t pretend that it’s not. I stand here today as a descendent of slaves. I am a descendent of SLAVES.

I am Muslim. But the Dali Lama was here in the Bay Area just the other day with Hamza Yusuf from the Zaytuna Institute. They built upon the peaceful nature of both of these faiths. My faith has been demonized by the press.

Since 9/11, many people from Saudi Arabia, many people from Pakistan, many people from Palestine, Iran and Yemen were harassed. They were sent to prison and abused by this Bush Administration. This was because of their faith, because of their race.

We must make America live up to its words on paper. Not just for my sake. Not just for your sake. Its for the sake of all people who walk on this soil. We deserve this justice. We are not asking for anything that is not already on paper. We are not asking for anything we don’t already know that belongs to us here. It belongs to us here!

When you look at the ghettos across America, we’re very lucky to be on the West Coast. Our integration levels are much higher than in other places like New York. The Blacks and Latinos don’t always mesh [out there]. That’s tragic.

But that’s why the Bay Area is so special. That’s why we have to seize this moment right now. That’s why we cannot hesitate to defend one another in this moment. My father is originally from New Orleans- from the Magnolia projects. My mother is originally from Monroe, Louisiana.

But when my father came to the Bay in his youth, he grew up in the Mission District. As a young boy, I was always around Delores Park. I was always around 24th and Mission. I was always around my Latino peoples.

I don’t have another frame of reference for Latino peoples than my brothers. I have no other frame of reference. It’s the first brotherhood I knew.

Whether you are Mexican, Nicaraguan, Panamanian, Brazilian, Puerto Rican- we are all in the ghetto together! Oppressed by the same people. Struggling to get the same knowledge- that they hide from us in the schools. Struggling, to not be abused by the police. Struggling to find work and provide for our families, for our children and be safe.

Unity is the key. Arab unity. Black unity. Latino, Muslim, Christian, Buddhist Jew. The realest of us. THE REALEST OF US! We are all attacked by this administration. But there is another enemy.

Before I get to the other enemy, I must mention that these people who attack us…who don’t like events like this…This is why today’s event is so important. These people don’t respect our history and they don’t want our children to know it. They don’t want your children to know their beautiful history- of Aztlan. They don’t want my children to know the beautiful history of Africa.

But this other enemy- they are people within BOTH of our cultures. We have to work against the people who look like me- but they are against Black and Brown unity. We need to work against the people who look like YOU- but they are against Black and Brown unity. Because they can hurt this more than the Bush Administration, more than right wing republicans. More than any of them! We need to cleanse our own people, of the bigotry, and the fear [that causes distrust in our hearts].

I will take it on, on my side. But I need you to take it on, on your side so we can be truly united. I spoke just a few weeks ago at San Quentin Prison. I was on the exercise yard, and I spoke to every group of people on the yard. Two minutes after I left there was a fight on the yard between Black and Brown. This is unacceptable.

I was just talking to them right before it happened. I said “Y’all need to be going back to the Brown Berets and y’all need to be going back to the Panthers.” Understand that I was speaking on the same soil where George Jackson and Jonathan Jackson were killed. We need to get back to that [way of living together].

But a lot of the conflicts that do happen between Black and Brown happens because of drugs. It deals with crack, it deals with meth, it deals with ecstasy. It deals with things that dehumanize both of our people. Drugs have been used to destroy Black and Brown people.

We have to keep our children out of gangs. We have to be dedicated to that. We have to keep our children knowing that there is more beauty in knowing about Aztlan than knowing about the blunts. We have to let them know there is more beauty in then knowing about Africa, than knowing about crack, and thizzin’ and going dumb. We need to get smart in this moment.

We need to get smart in this moment! We need to fight in this moment! We cannot be afraid in this moment!

Cesar Chavez, Delores Huerta the Brown Berets the Black Panthers are better than any drug they can try and feed our children.

We have to be open enough to learn about other faiths. I do my best to read about other faiths all the time. I am a nonviolent man of God. I follow a Prophet of Peace. The Prophet Muhammad, peace be upon him. But I am not afraid to die for this. I’m not afraid to die for anybody in this room. I’m not afraid to die for the truth that Malcolm, that Martin that all of these freedom fighters before us- [loud applause roar]. If they did not do it, WE would not be here today. Lets be honest about that.

But yo, nothing’s going to hold me back, or block me. They gonna have to pop me to stop me. This is why I’m here.

The corporate media machine does a great job of brainwashing our children. Of having our children wish that they were in jail. Of having our children on dope and violent against one another. They make it easy for them to fight against one another. We have to start taking the time privately and publicly to start squashing that.

An organization that I represent is called Project Islamic H.O.P.E. It’s based in LA and led proudly by Najee Ali. If you go to www.islamichope.org you can see that he’s working with the Mayor of Los Angeles to host a beautiful Black and Brown unity conference (June 3rd 2006).

I hope everybody goes to that. One day will not solve this. We have to make sure we are working tomorrow. We have to make sure we are working next month. We have to make sure that we are reading and reaching out.

I was just talking to my brother, Anas, on the way down. He said, “Look we have to utilize the internet. All of the organizers before us never had the ability to use the internet as a tool to organize. Just to find out our respective histories, let alone have direct contact. We have to use all levels of technology and all levels of online and offline strategies.

But you know brothers like Davey D promoted this event real hard. He was one of the ONLY people who went down to LA and supported y’all in that march. I’m sorry that more African American leaders from the old guard haven’t supported you. I don’t know what’s going on with them. I don’t know what it says about their original intent that more of them did not step up and openly support you in Los Angeles.

But I am here. The young Muslim leadership is here. The young Black leadership is here. This is our time and I am with you. My people are with you. I promise you that. My man Apakalips from the Universal Zulu Nation is with you. Shamako Noble from the Hip Hop Congress is with you. Artists like Paris, T-Kash, Aya De Leon, Immortal Technique, Dilated Peoples, Nate Mezmer, Self-Scientific. Follow those artists! Support those artists! They love you. They are rappin’ for you right now. You must support them.

Don’t let your kids watch BET. Don’t let your kids sit down in front of MTV. We have to be honest about this. Right now my man D Labrie from East Oakland is gonna spit this piece called “Black & Brown”. I told him I was doing this event, he kicked it to me over the phone and I had to have him come down and let you hear this. That’s my time. ALLAH U AKBAR! God is the greatest. May God bless ALL in this room so we can unite and fight every day.

Adisa Banjoko’s next lecture is entitled “Lyrical Warfare: Hip Hop,Religion and Politics in the New Century”, at Dickinson College in Pennsylvania on Monday April 24th @ 7 PM. Rapper One Be Low will be ripping the mic at the close of the lecture. For more information email [email protected].

Sugar Hill Gang: And You Don’t Stop

I

n the annals of Hip-Hop history, the reputation of The Sugar Hill Gang has been tarnished by the controversy surrounding band member Big Bank Hank’s unauthorized use of Grandmaster Caz’s rhyme book. The pioneering rap crew has been called “inauthentic” and labeled as “Jersey rap puppets” in the mainstream media.

In an AllHipHop.com exclusive, two of the group’s original members, Master Gee and Wonder Mike, address the criticism they’ve received over the years and air out some long-held beefs, not surprisingly, with former bandmates like Big Bank Hank and the alleged shady practices of Sugar Hill Records. Currently juggling between music and traditional nine-to-fives, the duo is working on an independent album, and plan on releasing it by the end of the year. Fan or not, these MC’s guided Hip-Hop through it’s infancy in 1979 with “Rapper’s Delight” and sent the genre into the mainstream. Read on for a candid, brutally honest interview with Hip-Hop icons.

AllHipHop.com: The Smithsonian recently premiered a Hip-Hop exhibition, and it’s now in full swing. Although you weren’t at the inauguration, were you guys approached at all for the project?

Master Gee: Through our management, we’ve been getting in touch with the people running the exhibit, and they are actually looking for things to be donated for it. From what I heard, it’s going to be a huge exhibit commemorating the whole beginings of rap music. I’m getting ready to donate a custom-made tour jacket that has “Master Gee” on the front and “Sugar Hill” in the back. It’s a frozen-in-time kind of piece. I heard [Grandmaster] Flash donated a hat and a mixer, so I’m trying to keep it in the same form as that.

Wonder Mike: I might contribute a newer jacket so I can get that s**t out of my life. I’m looking to entirely move on. That’s a part of my life that is over. After 26 years, f**k that, it’s finished. I love all the fans and the recognition and the place I have in history. The rest of it, they can keep.

AllHipHop.com: Since 1982’s 8th Wonder, the music stopped. What gave you been doing since?

Master Gee: When I left in ’85, I got involved in the magazine industry, doing sales as a cold caller, going door-to-door. I was mentored very well and then I started my own company selling magazine subscriptions for the last ten years. I stopped recording and touring with them since ’85. With me stepping away from the group, [The 2nd Master Gee] felt that it was his opportunity to go on the road and take my place. He was involved in all the sessions, but he never performed on any of the hits, “Rapper’s Delight,” “Apache,” “8th Wonder.” That’s all me.

Wonder Mike: I had a ten-year break from music from ’84 to ’94. When we disbanded, I went and started a painting company doing interiors and exteriors and all that.

AllHipHop.com: A lot of people, including myself, weren’t even alive when you made history with “Rapper’s Delight.” I know you were very young when you made that record. What were you doing at the time it was recorded?

Master Gee: I was 17 when I made that record, and I was just getting ready to go into 12th grade in high school. I was DJing at the time, and that brings me to a misconception that a lot of people have about us. A lot of people think that we were put together to record the record and we didn’t have any history. I was doing parties and rapping several years before getting discovered and doing “Rapper’s Delight.” I met the guy that turned me on to [Sugar Hill Records founder/producer] Sylvia Robinson, and them while doing a party for his girlfriend. When Sylvia approached us with the idea of doing the record, I thought it was pretty clever.

Wonder Mike: “Rapper’s Delight” was recorded in August and May [of that year] was the first time I ever heard of Hip-Hop. My cousin brought over a boom box and there were these guys from New York rapping on the tape and I was like, “What is that?” This is rap, baby. So, I listened to it and I started making rhymes at my job in my head. That’s how I came up with the “Chicken tastes like wood,” s**t. I asked my cousin to join his group and the rest is history.

AllHipHop.com: What was the initial reaction you had to the track when you first heard it?

Master Gee: Because of the fact that I was DJing and rapping in peoples’ basements and dancehalls, we ended up rapping to [Chic’s] “Good Times” at almost every party. That was our anthem that we used to turn the party out. Not the guitar part [mimics riff] but the actual break. The first songs that we did [as the Sugarhill Gang] were all songs that we used at the party. “8th Wonder” was a break, “Apache” was a break, “Good Times” was a break. My favorite break of them all was “Catch A Groove.” If you buy the Sugarhill Gang album, it’s the beat to the song called “Sugarhill Groove.”

AllHipHop.com: What was the vibe like in the studio when you recorded the vocals to “Rapper’s Delight?”

Wonder Mike: It really was cool. I had a sense of history in the making as it was happening. In terms of global recognition, it happened a lot faster than I thought it was. The vibe in the studio was like, “Wow, I think we got something here.” Before the demise of Sugar Hill and all the bulls**t, it was a good feeling.

Master Gee: It was a great experience because it was so new. My father was a recording engineer, so I had been in studios before but recording rap music was new to me. It was a very exciting thing because nobody was doing it, aside from King Tim [III] who had the “Fatback” record.

AllHipHop.com: Do you ever feel like a pioneer?

Master Gee: To a certain degree, yes. We kinda created the rap star. Before us, there was no rap star. Young people didn’t aspire to be a rapper and we gave the people another choice in our environment to become successful. You either had to be an athlete, an entertainer of some sort or, if you were lucky enough, involved in business. Once we became successful recording artists that happened to rap, we opened up a whole new avenue for people to be successful in.

AllHipHop.com: I want to build on that and ask you who are some of your favorite rappers that are out now?

Wonder Mike: I listen to some, as long as they don’t glorify killing other brothers. I’m 48 years old. I grew up and they were shooting water cannons on our people and sicking dogs on them, beating women down and setting kids on fire. I can’t really listen to violence and black-on-black crime s**t.

Master Gee: I like Busta Rhymes because he’s so creative. I’m really feeling Common. He’s so unique. I know, technically, there had to be a start for these people to come out and, I just happened to be the person who got the opportunity to start it. I don’t look at it like, if it wasn’t for me, there wouldn’t be them. Somebody had to get it going, and I’m that person, Mike and I. And Hank.

AllHipHop.com: What’s up with Hank? Your myspace page promotes the two of you and Big Bank Hank is notably absent from it. People may not know that Hank used Grandmaster Caz’s rhymes for most, if not, all of his Sugar Hill raps. Do you think he’s been getting a rough deal as far as how he’s been portrayed, historically?

Master Gee: The truth is the truth, man. He didn’t write the lyrics. He’s a hell of a performer, totally awesome when it comes to performing lyrics, and his voice is so classy. As far as the lyrics go, he didn’t write them. You gotta give credit where credit is due.

Wonder Mike: I love Hank. He’s like a brother to me. But every man has to make his own decisions. I decided to leave the group when I did, and he decided to stay on.

AllHipHop.com: Speaking of that, you both performed “Rapper’s Delight” with Grandmaster Caz in place of Hank, and you have each said that it was one of the best performances you’ve ever done, maybe even, the best of all time?

Master Gee: Absolutely. You see, we got clumped together with [Hank’s failure to write his own lyrics]. At first, people were trying to say that none of us wrote our stuff; we were called inauthentic. We ran into Caz on a number of occasions and we had a lot of friction with him. Eventually, we had to come to terms and sit down with Caz and his people and let them know, when [“Rapper’s Delight”] came out, we didn’t know that stuff wasn’t his. Hank was coming from The Bronx, and Mike and I came from Jersey and we didn’t know what was going on in The Bronx at that time. To say that we were down with it, or privy to it, is a falsehood. So we wanted to legitimize the whole thing and give [Caz] the opportunity to do his s**t. That’s why it was such a great performance. I’ve performed “Rapper’s Delight” 10,000 times, but to hear this person perform his own lyrics is indescribable. No one knows your lyrics like you do.

Wonder Mike: We did that about five times at different venues. I think that it would be a big thing if he came on the road and did “Rapper’s Delight” with us. I still got a lot of love for Hank, but this would be, like, setting things straight a little bit. Hank is the voice on “Rapper’s Delight” and that won’t change, but Caz is the writer and he raps the lyrics different from Hank. Hank has a very forceful, aggressive style. But Caz says them in a smoother, slicker way. When I heard it for the first time, I was like, “Damn. That’s the way it’s supposed to sound.”

AllHipHop.com: But, how does Hank feel about this?

Master Gee: He’s gotta give credit where credit is due. It is what it is, man. If somebody wrote my lyrics and they finally got the credit for it, I would have to give them their props too. That’s what Hank’s gotta do. I mean, we all know each other and time has made it possible for the truth to be told. What me and Mike are doing now is working to get out and let people see the real deal, because some people aren’t even sure about who’s who. They think that this other guy is Master Gee. Fortunately, because our music is timeless, the public is going to have the chance to see what is the truth. They need to see Wonder Mike and Master Gee perform so they could see the song done the way it’s supposed to be done.

AllHipHop.com: Ok, I’m going to play devil’s advocate. Grandmaster Caz performing “Rapper’s Delight” is not the way it was originally performed, do you agree?

Master Gee: [It isn’t], but Grandmaster Caz is also the person who wrote the lyrics. Now you get the chance to see the original lyricist and the original performers do the song. I would love to see me, Hank, Wonder Mike and Grandmaster Caz perform “Rapper’s Delight.”

AllHipHop.com: Could you ever see the 2nd Master Gee perform the song with you also?

Master Gee: No. First of all, you’re not supposed to use someone else’s name. There was never an agreement made between him and I. As far as performing, he didn’t write the lyrics, he didn’t record the songs. He’s not really entitled to say that he’s me. There’s only one original member performing as the Sugar Hill Gang right now, and that’s Hank. The rest are stand-ins and they’re duping the public. When people go out to see them, they’re not getting the real deal.

AllHipHop.com: You guys have gotten a rough deal as far as the history of the Sugar Hill Gang has been portrayed. But, if it weren’t for you guys, a lot of people would be out of a job; do you know what I mean?

Wonder Mike: A lot of these people that hate on us weren’t there when all these R&B groups pulled the plugs on us and turned the lights off during our performances back in the day. We had to set their punk a#### straight. We opened up for them and then we ended up headlining in a month. We kicked the damn door in for Hip-Hop and now everybody else is coming in to eat. Nobody f**king recognizes that. No one showed us any respect; we had to take the damn respect.

AllHipHop.com: Do you have any regrets about the Sugar Hill experience?

Wonder Mike: One time, we came out and surprised Busta Rhymes while he was on the Vibe show. We came out while he was doing an interview and he gave us a hug with tears coming out of his eyes. The next thing I knew, Sugar Hill was suing him for using Hank’s lyrics for “Whoo-Hah! Got You All In Check.” Come on, man, that’s just dumb. The same thing happened backstage at the second VH1 Hip-Hop Honors Awards with the Beastie Boys. They were jumping around like little kids, excited and happy to see us. Then, here came Sugar Hill again, suing them a few weeks later for something else that they used. All that happy, teenage, horses**t I used to say in the past about Sugar Hill [Records] is out the window. I will never go back to them. It will be all good once people know that we’re not with those clowns anymore.

Master Gee: Listen man, our music is a part of everyday life. Somewhere in the world, everyday, our music is being played. I can’t be mad at that.

Concert dates and tour info can be found at www.myspace.com/mastergeenwondermike.

Big Mike: Champion Sound

If you know anything about the next level world of the mixtape, you’ve heard about Big Mike. Because of his hands-on grind, he’s become an award winning tastemaker in the mixtape bazaar and garnered worldwide fanfare. With a catalog catering to the listening needs of the streets coupled with his D-Block affiliation, he has all the creditability he needs to take his dreams to the highest heights. This past week, Big Mike joined New York’s Power 105.1 FM to spread his tastemaker touch to the tuner.

While other DJs litter their mixtapes with recycled verses, DJ Big Mike prides himself in putting out exclusive songs from premier signed or unsigned artists. Even through over saturation, week in and week out he ushers in a new mixtape as to never drift off into the mixtape abyss. His biggest work to date is “The Champ Is Here” mixtape he and DJ Green Lantern did with Jadakiss. On his way to film MTV’s Direct Effect, DJ Big Mike takes the time to share with AllHipHop.com what’s next for him and why he doesn’t issue his stamp of approval for just anyone.

AllHipHop.com: How long have you been in the game?

Big Mike: I’ve been making tapes since about 2000, and DJing since about ’94, so I’ve been doing this for about twelve years.

AllHipHop.com: You’re a real DJ, not one of those Mp3 DJs, that’s cool. Do you remember the first album you messed up learning to scratch?

AllHipHop.com: That’s the one thing people fail to realize about mixtape DJs, they think we are not real DJs. I came out under the tutelage of famous New York DJs like DJ S&S, and you know he’s toured all over the world. One of the albums I used to practice scratching on was Lords of the Underground “Funk Child” twelve-inch. I had a friend I went to school with who was a DJ and I was an aspiring DJ, so when he would go upstairs to take a phone call or something, I would practice scratching on his albums and mess them up.

AllHipHop.com: How did you get into the Mixtape DJ circuit?

Big Mike: You know, I have always been a fan a mixtapes, but I live in Connecticut so it was a little harder for me. I would always go to New York to places like Brooklyn, Jamaica Queens, or whatever to go buy clothes with my dudes—I would pick up tapes, but they would have the songs everyone else had not the exclusives. I found out the guys who were getting the exclusive that weren’t being serviced were getting them on the Internet; I hooked up with this kid who was pulling them off the internet and started putting my tapes out like every week with exclusives. From there, I kept grinding and it led me to working with the big dogs like the D-Blocks and the G-Units.

AllHipHop.com: USA Today recently gave DJ Clue for taking the mixtape scene to a major level. Would you agree?

Big Mike: Most definitely. Back in the day, Clue would be the one to have all the exclusives and I was like, “I want my tapes to be like that.” Absolutely gotta big up DJ Clue.

AllHipHop.com: You won the Justo Mixtape Award for Best Hip-Hop Mixtape DJ of 2005. What did you do to set yourself apart to be nominated and ultimately win?

Big Mike: I actually won three [awards] last year. I won “Best Duo” with my man Green Lantern for the Jada Kiss joint “The Champ is Here.” We also won “The Mixtape of the Year Award” for that joint too. What set me apart is just the grind, have a tape out every week you can’t front on that.

AllHipHop.com: With you churning out these tapes every week, how do collaborations with these artists happen with you and the artists having such hectic schedules?

Big Mike: Sometimes it’s hands-on. But with my schedule being hectic, and an artist’s schedule even more hectic with touring and prior commitments, even if they don’t do something specific for me, I’ll always have something new from an artist. They’ll call me and let me know they have this or that artist for me and they’ll send or email the songs to me. If I’m calling, they know it’s for good reason, they know I need something, let’s go!

AllHipHop.com: How did you hook up with D-Block?

Big Mike: My man Supa Mario is the manager over there, he kept his ear to streets and seen the moves I was making. He just called me and was like, “When you dropping? Let us know, and we’ll have something ready for you.” Those D-Block boys, The Lox, they are some of the realest cats I know, just really down to earth, easy to get along with, I just gravitated towards them. As a group, they are my favorite rappers, and Jada Kiss is my favorite rapper, period. Contractually, no, I am not signed to D-Block, but they dominate most of my CDs. I show that love because I am really blessed to be working with them.

AllHipHop.com: Jada Kiss hands down is truly a great artist. Do you think because he stays true to who he is and dares to say things others won’t is why he hasn’t attained the major success he is due?

Big Mike: I think he hasn’t been in the right situation where he could hook up with a Dr. Dre or something like that. If that were to happen, the sky’s the limit for him. One thing about The Lox is they are not a gimmick, these dudes really spit; there’s a reason they were on all the Kay Slay tapes back in the day, or on all the Big Mike tapes now, those guys are the underground champions. No one over there is going to sell themselves/souls for that; until the right situation comes along, they’ll be the underground champs.

AllHipHop.com: Tell me about this big deal you just landed?

Big Mike: I have a lot of deals in the works right now. I just landed a nice deal with Zingy Ringtones, where I’ll have a world wide mobile mixtape. Every month, you’ll have your boy Big Mikes Hot Picks. You’ll be able to punch in this text code, and download whichever signed or unsigned artist I choose and it’s just going to be a worldwide thing like that. Besides that, I am always on the road with The Lox, always working, having tapes coming out and a lot of big projects coming. My album deal is almost done, but I don’t want to speak on that until the ink is dry. I got a lot of big things going on definitely.

AllHipHop.com: What is your take on Papoose? He is killing the game out in New York right now…

Big Mike: He’s Kay Slay’s artist, and he is just grinding and doing his thing right now. He’s been doing his thing on the underground for awhile now, and has a lot people looking at him. I know he’s gonna kick down the door real soon. His name is really buzzin’ right now and he started from the ground up and the kid really spits. Big shout out to him.

AllHipHop.com: Anybody else you want to acknowledge for making moves?

Big Mike: I am doing some work with Corey Gunz, Peter Gunz’ son, he’s blazin’ in the streets. Murder Mook, he’s coming out in a minute you may have seen him in all the Smack DVDs, we have a tape coming out. I can’t forget my man J-Hood from D-Block his album will finally be in stores this year and Team Arliss which also with D-Block. You know I’m not selective about who I work with all like that but I feel my cosign is very valuable; I don’t just throw it out there like that.

G.O.O.D. Music: The Class of ’06 (Mixtape)

Artist: J. PeriodTitle: G.O.O.D. Music: The Class of ’06 (Mixtape)Rating: 4 StarsReviewed by: Sidik Fofana

Kanye West is a good rapper. Whether you recognized this when he was splitting a bucket with his girlfriend at KFC or after he went to Jacob the Jeweler with his advance, the realization is delayed but intense. So if you’re Mark Ecko and you want to put out a mixtape to promote Complex Magazine, make Kanye West your host, team him up with rising star DJ J. Period and the decision to put this team together on the G.O.O.D.Music: The Class of ’06 Mixtape is one less thing you can call complex.

35 tracks long and over ten artists wide, the mixtape features members from Kanye’s

G.O.O.D. Music label, drops by Kanye and fellow Illinois mates, and expert mixing by one of the game’s fastest growing scratch artists. A lot of the tracks on the mixtape are familiar singles like “Drive Slow” with Paul Wall, Common’s “Testify”, and “Spaceship””off of Kanye’s multi-platinum The College Dropout, but there are also many exclusive joints. Consequence blesses the mix with the laid back “Cut That Out”, the future-R&B ensemble Sa-Ra makes appearances, and there’s even a more soulful remix of Common’s “Corners” to tickle some fancies.

J. Period is a good DJ. He is indirectly responsible for the resurgence of Lauryn Hill via his comprehensive underground mixtape of L-Boogie’s gems. J is known for obtaining those exclusive tracks that the general public didn’t know were floating around. In the Complex mixtape, he definitely does his sleuth work and provides rarely heard gems like “The Good,The Bad, and The Ugly” (Consequence & Kanye) and the playful back and forth cut with Common, Kanye, and Consequence “Wack N#####”. J. Period plays the silent DJ, doing more compiling and mixing than shouting adlibs over each track. He’s not the loudmouth type to sound like a stuttering detective on wax.

Complex is a good magazine. Founded by Mark Ecko, Complex is a Hip-Hop magazine

centered around fashion. What better way to promote a fashion magazine than have the self-proclaimed world’s best dressed label G.O.O.D. music host your mixtape? As a matter of fact, if you just read the first sentence of each paragraph and you could have saved yourself a minute or two.

Alternately Deep

Artist: Roots ManuvaTitle: Alternately DeepRating: 3 StarsReviewed by: Orisanmi Burton

Who is Rodney Smith? The answer may illicit blank looks and shoulder shrugs by those in the Western hemisphere but pose that same question to folks on the other side of the pond and be prepared to hear a barrage of accolades. The bloke from Stockwell, South London known as Roots Manuva has garnered global recognition for his novel blend of dancehall, dub, electronica and Hip-Hop sensibilities. He emerged from obscurity in 1999 with his debut LP Brand New Second Hand. American listeners were immediately struck by the raspy voice, unmistakably British accent and his pervasive use of West Indian lingo (both of Smith’s parents are from Jamaica). His second full-length, Run Come Save Me was a valiant sophomore effort which produced the menacing track “Witness”, a song voted “The greatest UK Hip-Hop song of all time” in a poll administered by Hip-Hop Connection. Smith’s critical and commercial success has opened the door for other UK personalities like The Streets and Dizzie Rascal. Their combined success stories may signal the beginnings of a full scale UK invasion of Hip-Hop culture.

Alternately Deep (Big Dada) is for all intents and purposes Roots Manuva’s fourth studio LP. It is comprised of unreleased tracks taken from the recording sessions which brought us his last LP Awfully Deep. Alternately expounds on the themes which made its predecessor such a critical success. Pensive poetics, hard-boiled drums and bountiful base lines are aplenty on this 12 track offering. On the remix to “Check It”, over steady, metronome-like bass drops Smith urges listeners to “Come check it out now/See what we about now/Laugh aloud now/We let it out now.” He goes on to proclaim for all non-believers that “My LP sacred/Call it The Bible.”

The album has quite a few enticing tracks. Unfortunately, their similar feel gets a bit monotonous at points. Many of the beats start to sound the same, especially as the album progresses. An example of this fault is “This World is Mine”. However, the sub-par soundtrack is bailed-out by insightful lines like “It’s so sad to see my people get juked by dem plastic gods/World threattas/Don’t you see my lightning rods/Rebel Fela Kuti/Sun Ra ti/bumbo natti /Decipher the scriptures/We focus on distorted pictures.” As alluded to in the title, his lyrics throughout the album are consistently thought-provoking.

Roots Manuva is just one of many international MCs who teeter on the margins of American fame. Hip-Hop’s international popularity has been touted so often that these day’s it’s almost a cliché. But these conversations take place largely in reference to the success of American artists in foreign markets. It is doubtful that a release like Alternately Deep will give Roots Manuva any substantial crossover record sales in the United States. In fact, judging from his track record and his consistent avoidance of the more formulaic approaches to creating Hip-Hop music it’s doubtful that he has any desire to do so. Nevertheless, when international Hip-Hop artists truly begin to make a dent in the American consciousness Roots Manuva will most certainly be sited as one of its most capable ambassadors.

D12 Member Swift Sentenced To Jail

D12 member Swift was sentenced to 93 days in an Oakland County jail after missing a court hearing while to attend the funeral of his friend and fellow rapper, Proof.

Swift, born Ondre Moore, was arrested in a Detroit suburb and sentenced to more than three months for violating the terms of his probation in a drunk driving case.

District Court Judge Brian MacKenzie issued a warrant for Swift’s arrest the same day he served as a pallbearer at Proof’s funeral.

According to court records, the 31-year-old Detroit rapper tested positive for alcohol, despite being court-ordered to remain free of drugs and alcohol.

Swift allegedly tested positive for having alcohol in his system with blood alcohol levels reaching. 079 and .084 last week.

Swift was placed on probation after pleading guilty last October to a charge of operating a vehicle while visibly impaired.

The arrest comes on the heels of the murder of Swift’s friend and original D12 member, Proof.

Born Deshaun Holton, Proof was shot multiple times and killed inside the C.C.C. club on 8 Mile Road on April 11, during a dispute with a bouncer.

Proof was laid to rest April 19 at the Fellowship Chapel in Detroit.

Man On Fire: The Freestyle Sessions (Mixtape)

Artist: J. PeriodTitle: Man On Fire: The Freestyle Sessions (Mixtape)Rating: 3 1/2 StarsReviewed by: Jason Hortillas

The name CL Smooth has not been in many ears since the mid to late ‘90’s. CL, one half of the legendary Pete Rock & CL Smooth, created gems including their classic, “They Reminisce Over You (T.R.O.Y.)”. Although his most recent appearance was on Pete Rock’s Soul Survivor sequel, the Mecca Don links up with mixtape maker J. Period on this 18 track mixtape project. Period has worked with many heavyweights in the industry, even dragging Lauryn Hill out of hiding for a two volume “best of” series. This time around Period resurrects another legend through the Mount Vernon native on Man On Fire: The Freestyle Sessions.

Alluding to the 2004 Denzel Washington film of the same title, CL Smooth attempts to do the same on the mic, surprisingly succeeding in the process. Officially breaking ties with Pete Rock, CL shines on his own drawing from his golden era roots as well as showing young bucks he can still hang. Instead of using already exhausted freestyle instrumentals, the song selection is evidently eclectic. Using classics such as “The Return of the Crooklyn Dodgers”, and A Tribe Called Quest’s “Electric Relaxation”, you can expect CL to hold is own on beats made during his prime.

The shift comes when you hear an edgier CL on instrumentals from The Game and Scarface, where he tries out new cadences and rhyme schemes. Although the change is apparent, it is obvious that he shines best on a Pete Rock track. The result may leave the listener empty when “reminiscing” on days of old. It is somewhat strange that you see a mixtape with CL Smooth’s name stamped on the cover.

Rather than a project like this, his talent is best served on an LP format. Diehard fans that have been waiting for years are now salivating for that solo joint to finally be released. A mixtape’s main function is to create a buzz for the artist and J Period has succeeded in putting CL Smooth’s name back into public consciousness.

Second Dancer In Duke Lacrosse Team Scandal Seeks Help From Lil’ Kim’s PR Firm

Kim Roberts, the second dancer involved in the Duke University Men’s Lacrosse team rape scandal, is taking steps to reverse the negative effects of the alleged incident.

Roberts, 31, recently sent an e-mail to 5W Public Relations to request their services.

The company has represented a variety of high profile rappers and celebrities, including its most recent client, rapper Lil’ Kim.

“Although I am no celebrity and just an average citizen, I’ve found myself in the center of one of the biggest stories in the country,” Roberts said in an email to 5W Public Relations. “I’m worried about letting this opportunity pass me by without making the best of it and was wondering if you had any advice as to how to spin this to my advantage. I am determined not to let any negative publicity about my life overtake me. I’m so confused as to who to talk to for relevant advice and I hope that you can return my e-mail. If you cannot help, do you know of any names and numbers I can call?”

While 5W Public Relations hasn’t officially honored Roberts’ request, the company’s CEO Ronn Torossian told AllHipHop.com that his firm is discussing the situation with Roberts.

“We understand now that we were contacted because of our experience in crisis communications with high profile individuals, particularly our representation of Lil’ Kim of whom this woman is a huge fan, Torossian told AllHipHop.com. “We have been in discussions with her and are currently evaluating our position on this matter.”

The request comes amidst rape allegations made against Duke lacrosse team members by another dancer, who performed with Roberts at a party in March.

On Monday (April 17), a grand jury indicted Reade Seligmann, 20, and Collin Finnerty, 19, on charges of rape and kidnapping.

Both men maintain their innocence, despite the charges made against them by their 27-year-old accuser.

As a result, the case has received national exposure as the public weighs in on the alleged crime and all parties involved.

Despite the exposure and prejudgments about the case, Torossian remained diplomatic as he explained why Roberts would contact his firm.

“Anyone who is in the firing line of the media should contact a PR firm – The media swarms are very intimidating and scary and people should always contact media experts before speaking with the media,” Torossian said.

Bow Wow Responds To Lil’ Romeo And Master P.

The feud between Bow Wow and Lil’ Romeo has intensified, as Bow Wow has has responded to comments Master P made surrounding the two rappers’ growing beef.

Lil’ Romeo’s father, Master P, confirmed that the two rappers had crossed paths backstage at Nickelodeon’s Kids’ Choice Award show, on April 1st.

According

to Master P, Bow Wow ran in his trailer and refused to talk about tensions with Lil’ Romeo.

Now, Bow Wow has come forward to address Master P and Lil’ Romeo.

“I can’t understand all this, but I guess that’s how it is when you ain’t getting no attention,” Bow Wow told AllHipHop.com. “You can hear me on the radio all day, every day. You [Lil’ Romeo] can’t sell no records, and your daddy is on Dancing With the Stars.

Lil’ Romeo was apparently offended at the line on the song “Fresh Azimiz,” where Bow Wow claimed to be making more money than an unspecified person’s father.

Romeo released a diss to Bow Wow titled, “Hood Stars.” Master P also accused Bow Wow’s success of going to the rapper’s head.

“I just think Bow Wow done sold a couple records and got real cocky, and forgot where he came from,” Master P said in a previous interview.

Bow Wow dismissed Master P’s allegations.

“The crazy part is the line that got them all bent outta shape was an old LL line (“The Do Wop from LL Cool J’s 1987 album Bigger and Deffer). That shows how much they know about Hip-Hop.”

Bow Wow had this to say about the Pay-Per-View boxing match between Romeo and Bow Wow.

“If Romeo wanna make some real money, come sign with me,” Bow Wow said. “Then, he wouldn’t have to pull these stunts ’cause there ain’t No Limit over here.”

Nelly Settles With Photographer

St. Louis rapper Nelly reached a settlement today (April 21) regarding a claim that his bodyguard assaulted a photographer backstage at a concert in Bridgeport, Conn.

In order to avoid a civil trial, the two sides reached an agreement in which Nelly, born Cornell Haynes Jr., agreed to pay $20,000.

The lawsuit was filed by Jerry Livingston, a 39-year-old freelance photographer from Bridgeport.

The alleged incident took place at the Arena at Harbor Yard on April 12, 2005.

According to the lawsuit, Livingston was standing near the stage snapping photos of Nelly for the Chocolate City News when the rapper’s bodyguard Brian Jones grabbed him by the right arm and escorted him to the rear of the stage.

The suit further states that Jones proceeded to “violently hit, strike and grab” Livingston, causing him to sustain serious injuries.

While the issues regarding Nelly and Jones have been settled, Livingston is still filing lawsuits against the city of Bridgeport and the Arena at Harbor Yard.

Young Buck and Tony Yayo Give Back to Hometown Students

G-Unit rappers Young Buck and Tony Yayo are giving back to youth from their home states through financial donations to two area schools.

Both rappers’ efforts were sponsored by The G-Unity Foundation, Inc., a charity that provides grants to nonprofit organizations that focus on improving the quality of life for low-income and underserved communities.

Buck donated $5,000 to the Fannie Battle Day Home for Children, founded in 1891 and located in Nashville, Tenn.

The school will use the money to purchase essential sports equipment and outdoor game supplies.

“I never thought that I’d be in a position to give back to the Nashville community,” said Buck, who surprised the Home in December with a $25,000 grant after treating 70 kids to a holiday party that included pizza and toys. “I feel good giving back to the kids because at the end of the day they are the future, and without them, Young Buck wouldn’t be who he is.”

The Fannie Battle Day Home offers services to children of low income, single parent families that are either working or furthering their education.

The organization provides childcare and encourages the social and physical development of children in a safe environment.

Tony Yayo has also reached out to students in New York with a $17,000 donation to the Ronald Edmonds Learning School (via the Fund for Public Schools), Middle School 113, in Brooklyn, N.Y.

The contribution has enabled 64 boys and girls to participate in the Center’s Annual Young Men’s College Tour and Young Women’s College Tour.

“I wish back then I had people to show me what college was like because I know I would have wanted to go. Looking back on it I wish I had gone to college,” said Yayo, who will make a surprise visit to the students when they return from their five-day trip.

The trip has made a dramatic impact on the academic performance, maturity and aspirations of participating students, according to Principal Khalek Kirkland.

Over the past six years, the school has taken more than 150 boys and girls, ages 11-15, on tours to numerous historically black colleges and universities along the east coast.

“Our seventh year of the Young Men’s College Tour has clearly been one of the best,” Kirkland said. “Our students have been able to visit college campuses, speak one on one with both students and professors, as well as sit in on college classes at some of the top historically black colleges and universities in the country,” said Principal Kirkland. “It is our hope that in just a few short years these same students will be able to conduct tours for future students at these same institutions.”