homepage

Ma Barker: Big Bad Mama

By: Grouchy Greg Watkins (@GrouchyGreg)Category: FeaturesMarch 24, 2006

nce upon a time in Hip-Hop, there was a King and his Queen who lived happily together, working closely with their family making music and ensuring they continued to provide nourishment for their fans. Then one day a figure from the Kings past began to play two-way games with him, thus enraging the Queen.

So amidst controversy and paternity tests the King and his Queen found themselves in quite a quandary, one that brought them a lot of unnecessary drama and brought the Kings somewhat protected private life out to the masses.

Thats Queen, Ma Barker. She doesnt hold back in her rhymes or her interview. She gives it up about her nemesis, holding her own in the Five Family Click and how she handles the haters. Twelve years overdo, Ma Barker is stepping away to earn her limelight with a solo album and mixtape this year

AllHipHop.Com: Going back over your history in the rap game as an MC, how important was The Main Source as your entrance to the game?

Ma Barker: Well, not really because that project really never happened but besides [Set It Off] that I did with the Warlox that is now [known as] the Lox at the time my main entrance into the game was when I did my deal with Mighty Entertainment and put out my first single which was Just Because which was # 15 on the Billboard chart for like twenty weeks and that was in 97, 98.

AllHipHop.Com: So what do you have on the table right now?

Ma Barker: I have a few labels looking to do something; its not concrete so I wont say anything. I have a couple of deals on the table that are looking pretty good right now.

AllHipHop.Com: Is this just you as a solo artist?

Ma Barker: Yeah, this is just me, Ma Barker. Also they are looking at the Five Family Click which is with my brother, 40 Cal Hammerz, Nino Bless, Catalyst, Big East and Kool G Rap, of course, who is the main person. Then there is our new member called Shea.

AllHipHop.Com: The Click of Respect album you put out with G Rap and the other members of the 5 Family Click, what did you learn from that?

Ma Barker: You know what, that album was so hot, it was just very independent. It was somebody who came to the table, a guy named Jonah who met G through a mutual friend and he really didnt have the money to do it. I think it was a hot album I just wish it had gone through a major. You know even Jay-Z was on the radio saying that was one of the hottest albums he heard, that was the only album he was messing with at the time. You know people who did hear it, loved it to death.

AllHipHop.Com: Someone commented about your lyrics on AllHipHop.coms Ill Community. They said you are the type of woman who would do you, and leave change on the dresser for you to catch a cab home. Do you feel as a female in the game you have to come across so hard to get respect?

Ma Barker: No. I am just from the era where a lot of dudes was gutter, the hardcore. I messed with a lot of street dudes, you know as far as my click, my family; I had a lot of people in the streets so I was always raised by that. I know the street life. I didnt just sit home and go to school and then go to the movies. I had a lot of run ins with the streets and the cops, that was my life and that was what I saw. You know, I cant stay away from it.

AllHipHop.Com: Yeah, well you are a Mother too.

Ma Barker: Yeah I have to come across ladylike too. But I cant get away from them, Melanie. [laughing]

AllHipHop.Com: Always chasing you, huh?

Ma Barker: Yeah, every time I get out, they pull me back in.

AllHipHop.Com: When you roll with a crowd of dudes do you feel that you have to keep a certain degree of independence?

Ma Barker: Most definitely. Look at who I am around, I got G Rap, I got my younger brother, they all spit gutter, you know imagine me coming on a track and being the weakest link, I cant do that. Even in my own click, I have competition and I got to struggle to stay on top. I want to be able to be on a track with G, and they hear me and not people think what is he doing on that track.

AllHipHop.Com: I have yet to read or hear someone say that you didnt deserve to be on a track with G.

Ma Barker: Well yeah, knock on wood, but you always know you gotta have your haters.

AllHipHop.Com: So how do you deal with your haters?

Ma Barker: I ignore them; I already know what life is. Like 50 said, I need you to hate.

AllHipHop.Com: Do you think people are going to be harder on you because of who you are associated with?

Ma Barker: Hmm, I dont know, not really as people respect me off the bat as G Raps wife as respect due.

AllHipHop.Com: Okay, now you know I have to take it back to last summer

Ma Barker: [laughing] Yeah ask away, go ahead.

AllHipHop.Com: Okay, so there was a rumor circulating about a book signing that you ruined, is there any truth in that?

Ma Barker: Yeah, my peoples did. Like I said before, I am a street chick. I couldnt get there, luckily for her. Let me make a long story short for you. She had got Gs two-way from somebody in the industry and she started hitting him, Hey Pa, how you doing? I am not with all of that: you want to talk about the baby that he didnt know at the time whether was his or not, cool, keep it professional – but that Pa s**t, I dont play games like that. She told me she had no groceries in her house for her and her baby, and even if it was or wasnt Gs baby, I am the type of person that – if you come to me, and are talking to me civil, I am going to look out for you. There I was, sending this chick money because supposedly Poppa had wiped out her account and left her all messed up. Then I caught wind of the book and it was like crazy. You know she was all cool with G, you know they had their little fights but nothing like the stuff she said. You know all the stuff she said about his Mom, she never met his Mother in her whole entire life. It was like she was saying all this stuff. You know this chick was calling me crying and telling me all the stuff she was going through, like when she got locked up for prostitution, I know a couple of people who know her. G was asking me what I was doing and I told him I felt bad for her and I was sending her money for groceries and then when all this s**t happened, G was like, I told you, and then I read the book.

AllHipHop.Com: Yeah because when you were on Hot 97 you hadnt read the book had you?

Ma Barker: No, I hadnt read the book.

AllHipHop.Com: So when you did read it what did you think?

Ma Barker: It didnt mean nothing as I know what type of chick she is, I knew what it was with G. Me and G been together seven years and we never had no problems, nothing. He is no abusive man and he is a good dude, so for her to try and disgrace his character because he didnt want to f**k with her no more, that was f**ked up to me. Nobody did, just like Bill Maher just dumped the b*tch, who she going to date now, David Letterman? She running out of n***as. I am a rapper I write songs, she wrote her creative book out of her own mind. But the beef with me and her is, when I see her she isnt safe because when I see her I am going to hurt her. I dont like the fact that she tried to be cool with me, even though I knew she was up to no good and the way she tried to turn the whole story around. At the end of the day. I feel sorry for that child, if the baby is Gs or not, I would love to adopt that kid.

AllHipHop.Com: Has there been a paternity test then to decide if G is the Father of the child?

Ma Barker: Yeah, there has been a test and he is just waiting for the results. But this was all before she was acting all wild so it probably will turn out to be his, as when he met her she wasnt doing none of that stuff. He met her in Arizona, before she started wilin out and acting like that and trying to get with everybody. It was when she moved to California, supposedly with Ice-T, that was when she started doing what she was doing.

AllHipHop.Com: Did this book and what she was saying put any strain on your relationship with G at any point?

Ma Barker: No, not at all.

AllHipHop.Com: Okay, moving on, you are working on your album, Wife of a Don and when can we expect to see that?

Ma Barker: I am working on that now, and I just did a feature with one of the new members from Dipset, N.O.E and that song came out hot featuring myself, G, and N.O.E and I am working on a few other features right now, so we are looking at the end of May beginning of June. But I am working on a mixtape as we speak. I havent decided on a name yet but I was going to call it Unforgiven Sins.

AllHipHop.Com: And the reason for that title?

Ma Barker: You know, all the stuff that you do in the streets, you do things are just not meant to be done. I think what home girl did was an unforgiven sin, there is no apologizing for those, there are just certain things that there really is no apologizing for, things aint never going to be the same and you going to get yours. You have to watch what you do to other people, God dont like ugly. It comes back around to you.

AHHA Fashion: High Fashion and Hip-Hop

By: Grouchy Greg Watkins (@GrouchyGreg)Category: AlternativesMarch 23, 2006

When we think of New Yorks Olympus Fashion Week, Hip-Hop is probably not the most obvious association. However, as Hip-Hop has influenced every bit of our culture, it is crossing over into the world of high fashion. During Fall 2006 Fashion Week held earlier this month, Hip-Hop was a main staple – whether it was through urban clothing lines, the designers themselves or the choice of music used on the runway.

Over the past few seasons of Olympus Fashion Week, urban style has crept its way into the typical mix of couture such as Oscar De La Renta, classic American prep like Ralph Lauren and high-end sophistication a la Carolina Herrera. This has paved the way for more designers, models and stylists of color to assert their presence in all aspects of the fashion world.

Menswear designer Michael Wesetly is one of the few African-American male designers featured in the tents at Bryant Park. From Broadway to Runway was the theme for his show, inspired by Oprah Winfreys#### Broadway musical The Color Purple. Although his collection consisted of dress suits, corduroy, velvet and suede jackets combined with floral and striped button-ups, Wesetly insists that it is Hip-Hop inspired.

The funny thing is that people think Hip-Hop and only put it in one category but Hip-Hop is so very broad. People like to stereotype one type of culture but guys get older and guys button it up like Mr. Jay-Z once said, asserted a laughing Wesetly. Im very confident that we can represent both sides of the culture be it Hip-Hop or corporate, because we were go through that stage, but we get older also.

Other typically Hip-Hop and urban fashion lines are also getting a more grown-up makeover. Jennifer Lopez, best known for her casual and cute J. Lo clothing line full of ubiquitous velour sweat suits, debuted her Fall Sweetface collection – a stylish, mod, retro-inspired line with a more mature feel. She showcased looks for the professional working woman in combinations of black, gray and white with a sassy flair.

On the same vein, LL Cool J, best known in the fashion world for his early 90s FUBU line, has evolved into creating The Todd Smith Collection; his debonair line of suits, jackets, slacks, and sophisticated womens wear. LL explained that he is ready to take Hip-Hop style to the level of Dolce and Gabbana and Prada: Ive finally made the natural progression, and I feel like Im ready to say to the world, You know what? I can make clothes with the best of them. Im sensitive to Hip-Hop culture, but Im also sensitive to how being associated with certain brands can affect you in the workplace. Being associated with certain brands can taint your image, whether its corporate or socially in certain communities, so Im able to take that sensitivity and design a brand – or influence the design of a brand – thats respectful to peoples differences, but is still flavor.

As a leader in the marriage of high fashion and Hip-Hop swagger, Kimora Lee Simmons Baby Phat was the only urban line premiering in the Bryant Park tents this season and the show was one of the hottest tickets in town. Heavyweights from music, fashion and media attended for the clothing as well as for the spectacle.

Hip-Hop pioneer and mogul Russell Simmons commented on his wifes place in Fashion Week and the excitement that surrounds it: The most fun show of the year – of the last couple of years – has been Baby Phat, so its all good. I think the industry shows for themselves, the real buyers are the people who are valued by people, and the celebrity that we create for our brand. The celebrities that come become more important than the editors, the stylists, and the publishers and the buyers.

Mr. Simmons point was evident, as urban music celebrities played a vital part of many Fashion Week shows. The Queen of Hip-Hop Soul, Mary J. Blige, performed at Catherine Maladrinos show at the Roseland Ballroom. Destinys Child bombshell Kelly Rowland and Black Eyed Peas Fergie both strutted in gorgeous red gowns in the music-inspired Red Dress Collection, which was sponsored by the American Heart Association to raise awareness of heart disease.

Music is a vital part to any production, particularly among the pageantry and spectacle of Fashion Week. The use of Hip-Hop music expresses a distinct bravado and attitude in a way other genres cannot. Veteran model Tyson Beckford said, Its always a question of what music theyll walk to – it sets the tone and creates the mood to the show.

Needless to say, Hip-Hop inspired musical themes over the course of the week, and stuffy executives, upscale fashion editors and industry tastemakers were all seen bopping in their seats. Beyonces Check On It was a favorite across the board, while Lacostes entire show was Hip-Hop heavy with an over-sized boombox providing the backdrop for 80s Hip-Hop must-haves: bucket hats and high-top sneakers. Baby Phat obviously featured Hip-Hops current hits, opening her show with Pitbull and The Ying Yang Twins Shake, maintaining a sexy vibe with Sean Pauls Temperature, and closing with Young Jeezys Go Crazy. Michael Wesetly used the sounds of Common and Floetry to accent his fashions.

This blossoming relationship between Hip-Hop and high fashion also opens the door for more models of color to grace the runways and show off their personal urban style. Bre, of Americas Next Top Model Cycle 5, noticed Hip-Hops overwhelming presence in her first Fashion Week experience. If you think about it, everybody is adding a bit of urban into their shows now, she said. Whether its the chewing of the gum on the runway or posing with confidence, Hip-Hop has really influenced style.

Model Tracey Nesbitt, who rocked the runway with his super-sized afro, noted how contagious Hip-Hop is among the fashion set. Hip-Hop is everywhere; to see high fashion with an urban twist is a beautiful thing. Its showing the world that we can do more than just the baggy and oversized look. Its personality, its innovation – its culture with a brilliant twist of art.

The Dead Emcee Scrolls (Book)

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Reviews / MusicMarch 23, 2006

Artist: Saul WilliamsTitle: The Dead Emcee Scrolls (Book)Rating: 4 StarsReviewed by: Sidik Fofana

Now for our keynote author, Hip-Hop’s resident poet, Saul Williams. You might remember him from such works as acting in Slam (1998), performing alongside virtuous Hip-Hop acts like the Roots, Blackalicious, and Erykah Badu, or you just remember his face from New York Citys slam poetry circuit where he reigned in the mid to late 90’s. It’s 2006 and like a child to a window’s scent of apple pie, Saul Williams has returned. This year, he has blessed us with his fourth collection of poetry, the much necessary The Dead Emcee Scrolls.

The premise of the collection is that today’s MC is drowning in a body of water, and that fluid is the highly commercialized mainstream. Also, so as not to be dismissed with all the 106’ans and the Trill’ers and the Blingers who represent Hip-Hop today, Saul has chosen the written word as his weapon. The book’s first assassin is the epic poem NGH WHT and Williams is not afraid to attack Hip-Hop’s cliches head on, BCH NGH. Gun trigga. Dick’s bigga…” Written in the same bar form that gives rap music its notable rhythm, The Dead Emcee Scrolls reads like the astute liner notes to a lyrically sound album. The words flow so rhythmically that (as Saul himself suggests) they can be recited to a beat.

For those pro-content Hip-Hop heads expecting to hear the next ground shattering punchline between the swabs of your headphones, you might want to do a music fast and pick up this book. This collection contains ill wordplay, brilliant metaphors, and takes Hip-Hop’s most common household terms and gives them some new light (“John The Boom Baptist”). “I’m falling up flights of stairs. Scraping myself from the sidewalk. Jumping from rivers to bridges. Drowning in pure air,” Williams confesses in NGH WHT. Filled with words of Black empowerment and journal excerpts from 1995 on, Saul Williams identifies why and when Hip-Hop personally ceased giving him a fix.

The Dead Emcee Scrolls is a great attempt at curing these perceived ills that are infiltrating a music that was once the purest voice of the people. Sometimes however, Saul Williams goes off course and plays the armchair surgeon, doing more diagnosing than operating. Other than that, if you’re in a relationship with Hip-Hop and it starts to talk about your @ss too much or theatens to pull a gat on you, The Dead Emcee Scrolls is a good friend to talk it over with.

Beat Konducta Vol. 1-2: Movie Scenes

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Reviews / MusicMarch 23, 2006

Artist: MadlibTitle: Beat Konducta Vol. 1-2: Movie ScenesRating: 3 1/2 StarsReviewed by: Jason Hortillas

When a rapper decides to inject an additional moniker or a.k.a., its usually to add personality. In the case of Madlib, it’s more like method acting. Whether it be the fun loving Quasimoto, or the band leader of Yesterday’s New Quintet, he has more aliases than the Wu-Tang Clan combined. This time around, Madlib invokes his producer persona on Beat Konducta Vol.1-2: Movie Scenes (Stones Throw). Gagging Lord Quas on this effort, it is an instrumental album chock full of his signature So-Cal soul inspired beats-eccentricities and experimentation included.

Initially, the compilation as a whole is a hard listen with 35 tracks to digest. However, replay value is a must since youll hear something different with every run through. Libs beats are an awkward familiarity – you either hate it or love it, but most times the latter prevails. Paying homage (or just liking the samples) to the Hip-Hops forefathers, Madlib’s rendition of Afrika Bambaata’s “Planet Rock” on “Open (Space)” as well as James Brown’s “The Big Payback” on “The Payback(Gotta)”, definitely does the originals justice. Madlib flips the Bambaata joint like a bounce track while maintaining its familiar tune. The Godfather of Souls revamp goes beyond merely looping, adding elements to make an entirely new song.

Madlib has a way about him when producing- the ability to take sounds so synthesized yet combining the pieces to sound fluid. Not falling to any standards there are moments where the crackle and pop of dusty vinyl is not taboo but encouraged. The mesh of laid back cool vibes and “stab a dude” bass heavy tracks adds a contrast that either will confuse or inspire.

The Madlib school of beat making may not have heads lined up around the block, but willing students do receive an education on the “do you” approach to music. The results may not be what you expect but evidently the music is true to creativity.

The Sound of L.A. Vol 1+2

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Reviews / MusicMarch 23, 2006

Artist: Various ArtistsTitle: The Sound of L.A. Vol 1+2Rating: 3 1/2 StarsReviewed by: Jamin Warren

Who knows what’s going on in Los Angeles, but there is an honest-to-goodness music revolution going down. Maybe all the earthquakes shook something loose in the denizens of the SoCal’s producer class. Plug Research was smart to get on at the ground floor and start to catalog the nasty brand of hip-hop the Southland is throwing down with The Sound of L.A. Vol. 1+2 (Plug Research).

While most of the names are small, The Sound of L.A. thinks big. Think of the album as the highlights from a typical Los Angeles weekend. Cut Chemist starts the charade on “Coast to Coast” with a pastiche of vintage soul and dazzling breakbeats before closing with a highlight: “L.A. is the place to be.” Then Georgia Ann Muldrow, fresh off her new deal with Stones Throw, brings the electric relaxation and drags her beats over a swimming guitar lick. Finally, Black Monk and Madlib’s side project The Young Jazz Rebels ride out on the nastiest Left Coast jazz arrangements and samples and Flying Lotus pulls his best J. Dilla impression on “Two Bottom Blues.”

Sa-Ra Creative Partners is at the helm of The Sound of L.A.. Not only have the space-age funk trio been throwing remixes at everyone from Jill Scott to Roots Manuva, they managed to re-freak Kanye’s attire at this year’s Grammys. Their selection for the collection “Timeless Continuum” is as astral as the name suggests: dirty-ass snares and 8-bit detritus. While not the best cut from the Sa-Ra discography, the newest signees to Kanye’s G.O.O.D. imprint are bound to make waves with their freshman outing this summer.

Consider The Sound of L.A. a warning shot. Plug Research knows what’s up in LAX, and after listening to this compilation, you should too.

Judge Rules In Favor Of Black Enterprise, The Source Gets New Owners

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsMarch 23, 2006

A final decision

has been made by the Supreme Court of the State of New York in favor of the

takeover of The Source magazine by Black Enterprise/Greenwich Street

Corporate Growth Partners.

As of today (March

23), Textron Financial, the company’s senior leader, is free to sell the portion

of the company that Dave Mays owns.

In his ruling,

Judge Richard B. Lowe III stated that "the contracts and agreements are

clear, unequivocal and unambiguous and should be enforced."

According to the

ruling, Mays willingly signed contracts giving BE/Greenwich Street Partners

the right to take control if he defaulted on debt obligations. By not fulfilling

these obligations Mays lost control of the company and along with full ownership.

"Mays and

Raymond ‘Benzino’ Scott have consistently made false statements over the last

two months about their continuing control of The Source," said Jeremy Miller,

President and CEO of The Source magazine. "These rumors and lies have been

and continue to be false. We are looking forward to finally being able to move

forward without distractions."

In the April issue

that will hit newsstands next week, The Source will exclusively explain exactly

why Mays and Benzino were ousted.

Mays has the right

take the ruling to trial, but his remaining shares would still be auctioned

off.

MTV Orders Episodes Of Jamie Kennedy’s New Hip-Hop Series ‘Blowin’ Up’

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsMarch 23, 2006

MTV has ordered eight

episodes of actor/comedian Jamie Kennedy’s new Hip-Hop comedy-reality show, Blowin’

Up, the network announced Wednesday (March 22).

The series, which

will premiere in the third quarter, follows Kennedy and his sidekick, Stu Stone,

as they embark on Hip-Hop superstardom.

During their journey,

the duo, who write, record and perform together, seek advice from Hip-Hop stars

and top music executives.

In 2003, Kennedy

starred as Brad "B-Rad" Gluckman in the movie Malibu’s Most Wanted.

In that role, he played a struggling white rapper whose father was running for

governor.

Kennedy is also

infamous for his antics on The Jamie Kennedy Show, where he combined

hidden-camera pranks with sketch comedy to see how everyday people–and some

celebrities– behaved in atypical situations.

Kennedy would

appear in a variety of disguises, getting his "marks" involved in

equally bizarre predicaments. The skits were presented in front of an audience,

either in-studio or on location.

After three seasons,

The Jamie Kennedy Show ended its original run in spring 2004.

Blowin’ Up

is scheduled to hit the small screen this fall.

Feds Officially Seek Death Penalty Against Kenneth “Supreme” McGriff

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsMarch 23, 2006

The federal government

is officially seeking the death penalty against Kenneth "Supreme" McGriff

in his upcoming murder and racketeering case.

Prosecutor Roslynn

R. Mauskopf filed a death penalty request notice yesterday (March 22) in the

case, which charges McGriff with the murder of Queens, New York, rapper Eric

"E Money Bags" Smith and Smith’s associate, Troy Singleton.

"The defendant

[McGriff] possesses a risk of future dangerousness as manifested by a continued

pattern of violence, lack of remorse and contemporaneous convictions for multiple

murders," Mauskopf said.

McGriff is also

facing charges for a drug-related double slaying in Owings Mills, Maryland,

where police found $30,000 in cash in a stash house allegedly used by McGriff.

Police also confiscated

cocaine, heroin and promotional items from the Crime Partners movie that

McGriff allegedly funded with help from Hip-Hop label The Inc.

Last March, prosecutors

unsuccessfully attempted to combine The Inc.’s heads Irv and Chris Lorenzo’s

federal money laundering case with McGriff’s, but a judge eventually struck

the motion down.

In Dec. 2005, the

Lorenzo’s were eventually acquitted of laundering over $1 million of McGriff’s

drug proceeds through The Inc, which is home to top-selling artists Ja Rule,

Ashanti and others.

The government

accused McGriff of secretly owning and controlling the label, which was distributed

by Island Def Jam Music Group.

"Though the

feds allege ‘substantial planning and premeditation’ on Supreme’s part in the

murders of Troy Singleton and Eric ‘E Money Bags’ Smith it’s still a shock that

they are seeking the death penalty," Ethan Brown told AllHipHop.com. "In

law enforcement circles, these kind of targeted killings are often regarded

as less worthy of a death penalty authorization than murders in which victims

are tortured or maimed."

Brown authored

the best-selling book, Queens

Reigns Supreme: Fat Cat, 50 Cent, and the Rise of the Hip Hop Hustler,

a detailed look into McGriff’s drug dealing crew, other Queens drug dealers

and their connection to the Hip-Hop industry.

Last December,

prosecutors announced that during McGriff’s trial, they would introduce evidence

that he also ordered the May 2000 shooting of 50 Cent, who used the shooting

incident to help catapult himself to fame.

The introduction

of 50 Cent’s shooting means that the rapper may be subpoenaed to testify in

court against McGriff, with whom he has publicly feuded.

McGriff is also

accused of taking surveillance of E Money Bags and having the rapper gunned

down in his SUV in July 2001. The government accuses McGriff of ordering E Money

Bags’ murder to avenge the murder of a friend, Colbert "Black Just"

Johnson.

Last week, McGriff

was charged with a new attempted murder, for allegedly plotting to kill a woman

that was pregnant with his child because she refused to have an abortion. Prosecutors

also motioned to move McGriff’s impending trial to May 1.

In 50 Cent’s movie

Get Rich or Die Tryin’, the character of "Majestic" is loosely

based on McGriff.

US. Government

Vs. Kenneth McGriff: Page

US. Government Vs. Kenneth McGriff: Page

US. Government Vs.

Kenneth McGriff: Page

US. Government Vs.

Kenneth McGriff: Page

Nu-Stylz: One, Two, Step

By: Grouchy Greg Watkins (@GrouchyGreg)Category: AlternativesMarch 23, 2006

Olisa Thompson and Cicely Bradley, known to many as Nu Stylz, are behind the colorful choreography of several Missy Elliot videos, and they are rapidly expanding their repertoire. Fresh off of a tour with Olivia, Nu-Stylz is looking to grow in 2006, transcending music genres through dance and, true to their name, break new styles.

When they were only 15-years-old, the duo from Queens, New York got their start with Ralph Tresvant from New Edition. They have won awards for their moves with Mario and Missy Elliot, have worked with the likes of Mary J. Blige and Tweet, and have even crossed into Reggaeton with Daddy Yankee. Nu-Stylz is continually evolving their focus to stay on top of the game, and strive to bring freshness that can make music videos shine.

Recently Olisa was cast in the upcoming movie Step, and Nu-Stylz was picked up for a Nike commercial. Despite their hectic schedule, the ladies took some time to speak with us about their diverse choreography background and future endeavors.

AllHipHop.com Alternatives: How did you guys get started with Ralph Tresvant from New Edition?

Olisa Thompson: We actually auditioned for him, and he picked me and Cicely, and Cicelys brother and his best friend. And it was crazy cause like 500 people auditioned all together. So we auditioned, did our own little routine, he liked it and we got put on with him. We ended up touring for about six years off-and-on from about 91 to 97.

AHHA: When did you decide move into doing more serious choreography?

Cicely Bradley: We were always dancing in talent shows, in our schools, and college campuses. We always did our own routines, and we didnt even realize that we were choreographers.

Olisa: But weve always done our own choreography, but professionally it was like, Oh ok, we can do this professionally.

AHHA: Who was the first artist you choreographed for?

Olisa: Cecilys brother did most of the stuff for Ralph, and then we would just add our own little thing to it, so I guess you can say Ralph.

Cicely: And we dont really even think about it, because it was so long ago and so smallI dont even remember getting paid for it.

Olisa: Before we got Missy, she let us choreograph Nicole Wray. [We did] the video Eyes Better Not Wonder, and then we did I Got What You Want

Cicely: Then Lil Mo, and then we also did an artist named Cory Carter, and then finally moved on to Missy.

AHHA: Who have enjoyed working with the most?

Cicely: Tweet is one, and Ralph is one. We have fun with all our artists. Everybody has given us a piece of the business in all types of ways, and personally we become friends with a lot of artist.

Olisa: I agree. I enjoyed working with Mya and Olivia too.

AHHA: What video are you most proud of?

Olisa: Damn thats a good question. I would have to say Mario [Let Me Love You] and Pass That Dutch, because it won the award.

Cicely: Mario and One Minute Man.

AHHA: You guys won the American Choreography award for Pass That Dutch, where did you get the influence for that dance?

Olisa: Missy asked if we could make a dance because her song is called the Pass That Dutch so we combined that Dutch type Riverdancing and came up with the Dutch Dance.

AHHA: Since the release of the Dave LaChappelle movie Rize, everybody has been jumping on the Crumpin and Clowin bandwagon, how do you guys feel about that?

Olisa: Unless someone requests it, we dont really go into the crumping. We try to stick to and create our own style.

Cicely: I like it, its nice. There is a dance that comes out every year or every couple of years. I like it all, its a party of Hip-Hop – its a part of dancing. But for us, in particular as choreographers, we try to create also, so we dont necessarily like to do the dance styles that are out.

AHHA: Who are the artists you guys have your eyes on?

Olisa: Janet! Definitely Janet, because she can dance and really gets into it. [laughs]

AHHA: Ha! Any new, new artists?

Olisa: Anybody that can dance really, any artist thats willing to dance, willing to learn and go above the mark. Chris Brown is an amazing dancer, and you can tell is definitely willing to learn

Cicely: Hopefully we are going to land a gig with Shakira, and shes another one thats really good at what she does

AHHA: Isnt that a whole other genre of dancing for you guys?

Olisa: Definitely, but she wants Hip-Hop incorporated with other styles, like capoeira and tribal dancing. The thing about me and Cicely is that we can actually make up a variety of dances, were not just Hip-Hop.

AHHA: Where can I get some dance classes, so I can bust a move?

Olisa: Its a training facility that we have, we train people from the ages of 7 to 30 to become that best that they can be. We may use some of them for videos if possible, but its not just dancing – its more of training in a variety of styles.

AHHA: Have you ever had an artist who you really had to teach how to dance – they just came in with no knowledge?

Cicely: Well most celebrities have no dance training or background whatsoever. So we always have to teach them to do what we do, thats part of what we do.

AHHA: What are your plans for 2006?

Olisa: [laughs] To make money! Really, just to broaden to work with various artists and just be in the mix of things. Were there, but were not quite there yet.

Cicely: Were working on an instructional entertainment DVD for 2006, and weve been working with Daddy Yankee for the past two months doing several of his videos.

AHHA: Sounds like you are going to be busy.

Cicely: Thats the only way to be.

UK’s DJ Swing Dies Of Bone Marrow Cancer

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsMarch 23, 2006

DJ Swing, a member of London’s Boogie Bunch DJ crew, passed away last night (March 22) after losing his battle with bone marrow cancer.

Prior to his passing, DJ Swing’s (born Brian Daley) friends and family, along with DJs around the UK, including Mista Jam from BBC 1Xtra, started a campaign to search for suitable bone marrow donors.

The drive turned clubs into donor clinics to mobilize the British black community to give blood.

Last year, a major UK television station, Channel Four, also launched a documentary to contribute to the campaign and follow DJ Swing’s path to recovery.

Statistics show that finding an Afro Caribbean match in the UK are one in 100,000.

On Nov. 10, 2005, DJ Swing had a bone marrow transplant with a 90% matching donor.

At the time, it was reported that the transplant procedure went well with no complications.

DJ Swing was known as one of the most successful DJs in the UK during the ’80s and ’90s.

He also won the Best DJ MOBO Award, beating out Fatboy Slim and Tim Westwood and hosted regular events around the UK.

Sean John Discontinues Upscale Line For Less Expensive ‘Sean John Women’s’

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsMarch 23, 2006

Sean “Diddy” Combs has temporarily discontinued Sean John’s upscale women’s clothing line.

According to the New York Post, Combs recently inked a licensing agreement with G-III Apparel Group to manufacture a less expensive line of women’s clothes under the Sean John name.

The new line is named Sean Jean Women’s and will be less expensive than the earlier collection.

The redesigned line will also cater to a younger audience in hopes of reaching more female consumers.

“We look forward to re-entering [the upscale] market at a future date,” a Sean John spokesman said.

In related news, Diddy will host “Diddy and Friends” at The Essence Music Festival.

The Festival takes place July 1, 2 and 3 at Reliant Park in Houston, Texas.

New Edition and Bobby Brown will deliver a rare reunion performance, while Mary J. Blige, Toni Braxton, Cedric “The Entertainer,” Keyshia Cole, Steve Harvey, LL Cool J and others have been announced as performers.

Tickets are available at all Tickmaster locations.

Rob Lewis: The Blueprint

By: Grouchy Greg Watkins (@GrouchyGreg)Category: AlternativesMarch 23, 2006

Chicago native Rob Lewis can boast flawless skillfulness with producing, writing, musical directing, musicianship and arranging. He has created with accomplished musicians and artists such as Patti LaBelle, Eric Clapton, Babyface, Brian McKnight and Christina Aguilera. His work with Aguilera on Herbie Hancocks A Song for You earned a nod for the 48th Annual Grammy Awards in the Best Pop Collaboration with Vocals category.

Rob, who reigns from the elite Berklee College of Music in Boston, began his career at the age of 18 as a musical director for Brian McKnight. Since then, he has been blazing trails with his creative, old-school approach to music and writing. Drawing inspiration from the Motown Era, Lewis is looking forward to making high-quality music long after sampling gets old. He is making his own blueprint for music instead of following the protocol.

With a 20-piece orchestra in his corner, movie soundtracks under his belt and production credits on the forthcoming albums of Christina Aguilera, Sean Diddy Combs, and Black Eyes Peas, Lewis shows no signs of slowing down. Despite his busy schedule, he did come up for air long enough to share his thoughts, accomplishments and hopes for the upcoming year with AllHipHop.com Alternatives.

AllHipHop.com Alternatives: Afternoon, Mr. Renaissance Man! Glad to finally catch up with you. Youre always so busy doing this and that.

Rob Lewis: [chuckles] Hey! Yeah, thats the grind. Always have to stay on top of things.

AHHA: True. Chicago is definitely on the map, with the likes of Kanye West, Common and Twista. How does it feel to come from an area with so much musical significance today?

Rob: It’s hot. I came straight from the south side of Chicago. I wanted to get serious in the music game, so I went to Boston to attend school. I learned most of my craft in Boston, just grinding. If I had 50 dollars, I would spend 25 of it on studio time.

AHHA: When did you really emerge onto the music scene? Was it gradual, or did it just happen suddenly?

Rob: I got my break at the age of 18, when Brian McKnight did a clinic at my college. I was his biggest fan. I really consider my emergence onto the music scene to be fate or destiny, because if I didn’t go to Boston, I wouldn’t have met him, and without him, I wouldnt be where I am today.

AHHA: From Brian McKnight to Christina Aguilera and Diddy, your musical evolution has been amazing. How have you stayed ahead of the curve?

Rob: Believe it or not, [it] comes from studying those that came before us. There are different fusions and styles that the world creates, but I get my knowledge from Marvin Gaye and the Motown Era.

AHHA: Whats so distinct and great about the Motown Era, aside from the wonderful singles we listen to, even today?

Rob: In music today you have a beat maker, MC and/or writer, then there’s an artist. Back then, there was a songwriter, arrangers, musicians, outside arrangers for live strings and horns, an artist singing, etc. That’s music. I want to be that kind of producer. I want to die in this game-doing music. I don’t want to say, I used to be famous.

AHHA: When did you meet Christina Aguilera?

Rob: I met Christina at an audition, my first audition ever! I missed the first day of auditions. When I got there, my friends were there and had been the day before, so they knew the arrangements. But I got up there, looking fly, and did my thing because in the music game, you gotta be fly. She went in the room and the guy came out and said, “She definitely wants you.” And he ended up making me the musical director.

AHHA: Christina Aguilera has been a catalyst for your most recent collaborations, right? How did that happen?

Rob: When you’re working, it’s always a rule of mine to do your best, because you never know who is watching. You just get into a venue and do a good job, and people recognize your ability. She called me in to work on Diddy’s project, because we have that level of comfortability with one another. Diddy saw what I could do and asked me to come on board as a musical arranger for some of his tracks.

AHHA: I hear your relationship with Diddy has landed you a role on his MTV show, Making the Band. When is it set to air, and what will you be doing?

Rob: There has been a lot of talk between me and Diddy. I cant say too much, but I will say that the offer is definitely on the table. We shall see.

AHHA: The life of a producer, writer, musical director and arranger has got to be interesting. Which “job” to do enjoy the most?

Rob: I love being a producer. And when I say producer, I mean I love production from conception to end. Just because you make a beat doesn’t make you a producer. Production to me means an idea coming up on a guitarthen coming up with a drum beatthen vocal arrangement for the vocalsthen maybe adding in some strings. Afterwards, you go into the studio and put it all together. I like being the chef in the studio-the creator!

AHHA: I hear you’re working on the score for the new romantic comedy The Seat Filler starring Kelly Roland and Duane Martin. How’d you get hooked up with that?

Rob: A film company, Momentum Experience, called me in. I do scoring for some playwrights, and some of the film directors had seen my work, so they asked me to work on this project. I wrote all the songs that Kelly [Rowland] sings in the movie, and did the score. I’ve done the score for four other films. The two I can think of off the top of my head are, Book of Love on BET and Truth Be Told starring Regina King and Blair Underwood.

AHHA: What can we expect from the soundtrack?

Rob: Kelly [Rowland] has a very big ballad at the end of the movie that is going to surprise a lot of people. Its going to make them really look twice at her.

AHHA: Another thing on your “to do” list is the Toni Braxton tour. Toni is making a grand comeback, how are you preparing for that?

Rob: When youre putting on a show for an artist, you have to make sure you’re displaying them in the best possible light. So in preparing for Toni’s tour, I want to make sure she’s presented as a legend, not just someone that’s making a comeback. I want the show to be hit after hit, with immaculate arranging, because Toni has hits.

AHHA: You’re dibbling and dabbling in everything under the sun. What are some other goals you’d like to accomplish? Other artists you’d like to work with?

Rob: I have a band called The Movement Orchestra. We play for Patti Labelle, Christina Aguilera, Babyface, Toni Braxton, and a few others. Im trying to bring that old Motown sound back, with crazy arrangements and Stevie-type lyrics over real music. I want to make a movement back to that. It’s my priority to bring that sound back. I feel like Andre 3000 and Christina Aguilera are about the same goals. Im looking forward to us [The Movement Orchestra] being the next generation Sly and the Family Stone. I really just want to make quality music and look back and say that I didn’t sell my soul, but I tried to change the game. Whether I have been successful or not is yet to be seen.

AHHA: That’s amazing. What made you start your own orchestra?

Rob: My band members have played for everyone from Prince to Janet, and are well respected in the game. My genius idea was for us to become super-friends. I know the power of having great talent in the studio with me to help with collaboration. I love the fact that I can ask my drummer for advice, or [ask] my bass what he thinks about this run.

AHHA: People are so quick to post artists and images against one another, for comparison. Can you pinpoint any producer or musician that most evokes your style?

Rob: Quincy Jones. My main focus is versatility. That’s what has kept Jermaine Dupri, Pharrell Williams and Jimmy Jam and Terry Lewis in the game so long. Quincy [Jones] not only changed the game musically, but he used his versatility to branch out into movies, magazines, etc. If I could accomplish a quarter of what he accomplished, it would be amazing.

AHHA: There are so few true musicians in the music industry today. Everything is sampling and recycling. What do you offer that makes your work a breath of fresh air, so to speak?

Rob: Im making music. Thats what sets me apart. Think of it this way, if everyone is cutting up old records over and over again, what will the next generation have to cut up? Thats my goal in this industry, to make music for the next generation to look back on.

Lake: One Never Knows

By: Grouchy Greg Watkins (@GrouchyGreg)Category: FeaturesMarch 23, 2006

n May 23rd, Lake and Cormega are releasing a collaborative album. Two Queensbridge street legends converge at different stages in their rap careers: one, a hood platinum Hip-Hop veteran, the other, a talented rapper out to prove his lyrical worth. Normally, the table would be set for an interesting conversation piece.

But like his Thanksgiving Day charity, Suge Knight dropped a turkey on that table when he signed Lake to Death Row Records East. Read as Lake addresses his signing, prospects of a Nas beef, Queens production, and why Death Row East failed the first time round. If his revolution is as real as Bobby Seales, consider this the beginning.

AllHipHop.com: Since you announced signing with Death Row with Kay Slay last month, how has your life and your career changed?

Lake: The main thing was just having inspiration to look forward to the things that I know lie ahead of me. Before then, it was pretty much, there was no ray of hope. I had hope in myself. I knew I had what I needed to get it done, but it wasnt really visual. Now, I wake up in the morning and know I got a bright future ahead of me. Forget the money and all of that.

AllHipHop.com: Before, you could have released an album anytime you wanted to. Now, Death Row has released one active-artist album since 1999 in Kurupts Against Tha Grain. Are you concerned that you cant have artistic freedom?

Lake: Nah. Doin it with Suge, I have creative control. Whenever I want to put the album out, Ill put the album out. If I want it out next month, itll be next month. Im not stagnated in no way. Thats why this situation is really a good one for me.

AllHipHop.com: About a year ago, there were news releases that Tha Row was gonna work with Domination and Bang Em Smurf for an East Coast link. Do you have any idea what happened with that?

Lake: I didnt know nothin about that situation.

AllHipHop.com: How were you approached then, to sign?

Lake: I had people over in California, that had lines to get in contact with Suge. With that, I sent music to them, to get in contact with him. They got in contact with it. After that, it was on. I let him know what we wanted to do, how we wanted to come out, and it was the combination. It was a win-win.

AllHipHop.com: Youre a Queens dude first. Queens loves to see its own make big moves, but they tend to resent it when hometown dudes move away. Is your time in California, or releasing a freestyle about California, detrimental to your audience thus far?

Lake: Its always gonna be relevant, what Im sayin. Its a universal struggle that we goin through. The same thing we go through in Cali, we go through in New York. Everything I been through gettin shot, gettin incarcerated and facin life in prison all of that happened in Queensbridge. All my struggles and adversities went through there. So when I speak, it comes from there. Im always gonna be Queens. Now, because of my travels, I have more to talk about to give the streets somethin to think about.

AllHipHop.com: Historically, whenever Death Row has signed an established artist, that artist is always in turmoil with another big artist. You released Why Nas? on mixtapes recently. Nas and Mobb Deep are projected to be two of the biggest acts in 2006. Where do your allegiances lie, and where are you attacking?

Lake: Me and Cormega, thats my boy. We got an album coming out on May 23rd. Thats before my [Death Row] album. We are back. [Queens] is gonna get more attention from the world from what Im doing. Whatever I do, Im bringing it to the people. With other artists, I dont have anything against em. Its encouragement for me to get here and focus my attention. But to go at them for what they didnt do thats not really where Im at. Im counting my blessings, and Im not looking at them. Right now, Ive got bigger fish to fry than to worry about dudes from Queensbridge. They know what it is.

AllHipHop.com: On your Gutta Block King mixtape, you had record, The Kid from QB. On it, you said, Lost my youth, called a truth with my nemesis / When I finally realized what I was up against. What does that mean to you?

Lake: To come back to the streets and cause harm to somebody, thats not really my thing. I would rather bring people together. I expect people whove been through what Ive been through to understand that. Im blessed to be here. I few years ago, I was facin 100 years in prison. I beat in trial. I recognize my real foes. Thats what that line said.

AllHipHop.com: In 2001, you released the 41st Side compilation. Critically, the album did quite well. To some people who may only know you off of the Nas appearance, tell them about your Hip-Hop background

Lake: 41st Side had all the artists from Queens Nas, Cormega, Nature, Noreaga, Tragedy, – everybody. That was my whole goal to bring everybody together. It really wasnt done in that light. For me, that was a great achievement. After that, I was with Nas. I gave him a lot of pointers on working on his album. Im from the street, and I had a lot of fresh ideas not that Nas needed me for that, but I had it. Songs, concepts, hooks, I was on every session when he was makin his albums. I was there. I was on Gods Son – Revolutionary Warfare. It was good for me, and it was good for him at the time. There was a lot of artist development for me to be on the road with an artist of the level. For him, because of I who am, and who I am on the street, he profited from it too. I was promoting shows. I was grindin my way no handouts. Me and him was supposed to start Ill Will [Records] together, but that never materialized. The time wasted [hurt] a lot of people. Thats why I [made Why Nas?] and express how I feel. I moved on and got with Suge three, four months later. That record wasnt made for me to get a deal. That was the end of me, like, S**t, I may not even be here next week. These my last rites my last rhyme. But, it didnt turn out like that. A lot of people might say, Well, what does this have to do with Hip-Hop? But I need to express myself if certain individuals are representin somethin they not. Theres gonna be a lot more of me expressing myself, cause its all real. You gonna respect it, whether you like it or not.

AllHipHop.com: I cant ignore the fact that you two did One Never Knows a brilliant collaboration you had together. You talk about unifying, but then expressing yourself. Is peace the greater goal?

Lake: Yeah, I would love it. But if we were to do that, it would have to be on the right terms. Me and a lot of individuals not gonna click, cause we dont have the same values. Im really for my people. Im goin to see my [locked up] dudes. Im in the courtroom. Im in a position to provide opportunities. Its not gonna be peace cause its beneficial to you. You dont have to worry bout me, thats easy for you. Im not gonna make you feel comfortable cause you a fraud. Half of these dudes gettin money are portraying something they not. I dont respect that.

AllHipHop.com: Hows the development going in acquiring Shyne to Death Row East?

Lake: Shyne is my man. I go see Shyne on a visit [often]. Thats my comrade, regardless of what he do [as far as signing]. I do whatever I can for dude. Before I signed with Suge, I was goin to see Shyne. Shyne was actually in a situation where he was tryin to get me a deal. He was tryin to put me on Gang Land, with him. Then, they shut down the company after the lawsuit. We was lined up for the first weekend in January, last year. Suge had good attorneys, so we gonna help him get out.

AllHipHop.com: Ten years ago, there were press releases created of trying to start a Death Row East. Sam Sneed, K-Solo, and rumors that everybody from Eric B. to Craig Mack to Big Daddy Kane were signing. It never panned. Knowing the history, are you cautious?

Lake: Nah. Even with discrepancies that the East Coast and West Coast had in 95 and 96, thats what makes this so monumental to bring East Coast and West Coast together, it be love. This is somethin that never happened in Hip-Hop history. Everybody knew Suges history with certain dudes over here, and the respect wasnt there because of the individuals that were over here at the time. Thats why it got to the height that it got to. With him, and his history, to deal with me over here, I take that as an honor. I know a lot of people look at it, and they dont understand it, not knowin the history. This is a monumental move. For me, to be strong on the East and strong on the West, aint no artist out had that kind of love. I dont mind any obstacles. I just needed an opportunity to come out. Thats all I wanted. All my problems now, are good problems.

AllHipHop.com: Since Dre, Daz, Quik, even Big Hutch have left Death Row, theyve been heavily criticized for their lack of quality production. Youre from Queens home of Marley Marl, Large Professor, and Havoc. How can you get beats on point?

Lake: This is Hip-Hop at its purest form. Its gonna be street, hard, bouncy great music. Suge got a whole roster of producers on West Coast, the Death Row Hittaz. Me, Im from Queensbridge. Ive worked with Alchemist, and Havoc they from the East Coast. Im working with C-4, who did Akinyeles Put it in Your Mouth. Im working with Uno Dos too. Suge has a lot of beats that never came out in the catalogs. For me to go to Paramount Studios and be doin that, its monumental for me. Ive got some of that earlier production that Suge had over there.

AllHipHop.com: Are names we might know behind some of those beats?

Lake: Nah. I aint gonna put none of the names out. Thats another situation. [laughs]

The Roots Hosting Two-Night Party At Radio City Music Hall

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsMarch 22, 2006

The Roots and their new label, Def Jam Recordings, will host a two-night party at New York City’s historic Radio City Music Hall.

The party is being held to reveal material from the The Roots’ upcoming Def Jam debut, Game Theory, which is set for a late-summer, early fall release.

“Our fans should pretty much know that our New York shows are the most special shows, simply because we have been known to pull some amazing rabbits out of our hat,” said The Roots’ drummer, Ahmir “?uestlove” Thompson. “Every show we’ve ever thrown in this city was a footnote and an exercise in surprise. Why deprive yourself now?”

The Roots will perform along with various special guests and celebrities.

The event is being sponsored and presented by Verizon, and is being produced by Festival Productions, Okayplayer, and Radio City Entertainment.

The event will take place on May 18th and 19th. Tickets will be available for purchase Friday, March 24th at all Ticketmaster locations.

A portion of the proceeds from ticket sales will go to benefit the family of the late, legendary hip-hop producer Jay Dee (J. Dilla).

Thursday, May 18th will feature sets by The Roots’ newest label mate Nas, as well as frequent collaborators Common and Talib Kweli.

Friday, May 19th will feature a diverse line-up including Erykah Badu, Mos Def, J. Davey, and Angelique Kidjo.

Many other special guests are expected.

Snoop Dogg Launches New Pet Line For Dogs

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsMarch 22, 2006

Snoop Dogg has entered into a worldwide licensing agreement with JAKKS Pacific Inc. to market a line of pet products based on the rapper’s image.

The deal covers leashes, apparel, treats, toys, beds and more for dogs.

“Snoop Dogg’s love goes beyond people — it is for living creatures throughout the universe,” the rapper said. “How can I be Snoop Dogg and not show my love for pets?”

According to Jennifer Richmond, senior vice president of licensing and media for JAKKS Pacific, Inc., the line will be sold to mass retailers, pet superstores, and eventually specialty store, nationwide.

“Our team is really excited to develop and market what we expect will be an urban and edgy line,” Richmond said.

The Snoop Dogg branded pet line is slated to hit stores later this year.

Ice Cube Tapped To Host 2nd Annual AutoRox Awards

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsMarch 22, 2006

Rapper Ice Cube has been tapped to host and perform at Spike TV’s second annual AutoRox, a nationally televised awards show for the automotive industry.

The rapper will deliver his first live performance of his latest singles “Chrome and Paint” and “Why We Thugs,” from his upcoming seventh solo album Laugh Now, Cry Later, which hits stores on June 6.

A panel of automotive executives will vote in several categories, including Best Luxury Car, Hottest Exotic, Convertible, Sports Car and SUVs.

“AutoRox will celebrate guys’ lifelong love affair with chrome, wheels and gears,” said Casey Patterson, Spike TV’s senior vice president of event production and talent development. “Ice Cube is truly passionate about cars and where better than Vegas to make this an all out celebration with big musical performances and the hottest cars of the year.”

Legendary racer and car builder Carroll Shelby was honored at last year’s AutoRox.

This year’s 90-minute event will be taped at the Fremont Experience in downtown Las Vegas on April 7.

The show airs Tuesday (April 18) from 10:00-11:30 p.m. ET on Spike TV.

The network announced today (March 22) that a new logo will be introduced in May, along with a new tagline, Get More Action.

Little Brother Addresses Vegetarianism and Animal Abuse in PETAWorld Interview

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsMarch 22, 2006

North Carolina rap group Little Brother recently spoke out against animal abuse and discussed their new vegetarian lifestyle.

In an exclusive interview for PETAWorld.com, the official website of People for the Ethical Treatment of Animals, rappers Phonte and Big Pooh revealed how they felt better after cutting meat out of their diets.

The two rappers are among a long list of hip-hop artists who have aligned with PETA to fight injustice against animals.

Others include Masta Killa, Dead Prez, Common, Pharrell Williams, Missy Elliot and Russell Simmons.

“I just tried going without meat for one week, and I loved the way I felt without it, so I never went back,” said Phonte, who advocated trying new things and eating ethnic foods. “Open your mind to exploring other options. Vegetarianism forces you to do that.”

For those considering the vegetarian route, Big Pooh suggested taking it slow and replacing one food at a time to make the transition easier.

The rapper also discussed the mistreatment of pets and advised fans to report any animal abuse they witness.

“If you’re not gonna take care of the dog or the cat the way it’s supposed to be treated, then don’t get it,” said Pooh. “Just like people don’t need to be abused, animals don’t need to be abused either.”

For more information or to watch the Little Brother interview, visit PETAWorld.com.

AHH Strays News: Pras, DMC, Lil Troy Vs. Scarface, Letoya

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsMarch 22, 2006

Pras, a member

of the recently reunited group, the Fugees, has signed on to appear in First

Night, a documentary about homelessness. According to reports, the rapper

will attempt to live on the streets for nine days with $9. Pras has starred

in various films, including Careful What You Wish For, Fastlane

and Higher Ed.

Run-DMC frontman

Darryl "DMC" McDaniels recently launched a fan club called the City

of DMC and relaunched his personal website, www.ME-DMC.com, in support of his

debut solo album, Checks Thugs and Rock ‘N’ Roll. "A lot of artists

have ‘fans.’ I have ‘friends," said DMC, who was the subject of the recent

VH1 special DMC: My Adoption Journey. "I want my friends to have

a place where they can access me, DMC, to see what I’m doing, hear what I’m

saying and tell me what’s going on." That includes footage of DMC talking

about the making of the album, the video for "Just Like Me," which

features Sarah McLachlan, and a service where DMC leaves messages for his fans.

Lil’ Troy has filed

a lawsuit against fellow Houston rapper Scarface, alleging that he was defamed

on a Geto Boys song. Lil’ Troy (born Troy Birklett) claims that Scarface (born

Brad Jordan) insulted him on the 2005 Geto Boys reunion CD, The Foundation.

In a lawsuit filed in Harris County Court, Lil’ Troy argues that Scarface wrongfully

accused him of being a "snitch" and a "ho" in the song.

The two rappers squared off in court in 2002 when Scarface sued Lil’ Troy’s

Short Stop Records and won a $220,000 judgment after Short Stop released recordings

featuring his vocals, backed by tracks produced by Lil’ Troy.

Former Destiny’s

Child member Letoya Luckett has enlisted a who’s who of Houston rappers for

her self-titled debut album, due July 18 via Capitol Records. Bun B., Mike Jones,

Paul Wall and Slim Thug are featured on the first single, "Torn,"

produced by Scott Storch. "It’s the world’s first time hearing me and getting

to know me as a solo artist," LeToya said. "So what better way to

get them to know me than call it LeToya?" The singer performed and co-wrote

several hits for Destiny’s Child, including "Bills Bills Bills" and

"Say My Name." LeToya is also the owner of Lady Elle, a clothing and

accessory store in Houston.

Shyne’s Lawsuit Put On Hold; Judge Steps Down

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsMarch 22, 2006

Rapper Jamaal “Shyne” Barrow’s lawsuit has been put on hiatus after the judge presiding over his case stepped down due to a conflict of interest.

Judge Howard Ruditzky decided to remove himself from the case Monday (March 20) because his brother-in-law has dealings with an attorney on Shyne’s defense team from the law firm of Dershowitz and Dershowitz.

Shyne, who recently changed his name to Moses Michael Leviy, is battling the “Son of Sam law” that prevents convicts from making money off anything related to the crime they’ve committed.

Leviy’s attorney, Oscar Michelen, claims that the money in question is not related to the December 1999 shootout for which Shyne was convicted.

It can take up to 30-days for the rapper’s case to be reassigned to another judge.

La the Darkman: Back for the First Time

By: Grouchy Greg Watkins (@GrouchyGreg)Category: FeaturesMarch 22, 2006

ne rapper who seemingly has lived up to his name is La the Darkman. After moving 300,000 units independently on his Heist of the Century debut, La vanished because of personal conflicts. In 1998s freshmen class, a lot of Las peers are no longer making music. Quite probably, many of them took day-jobs.

La hasnt. While mostly unseen and unheard, he has taken on duties with the management side of The Aphiliates one of the top DJ and production crews in the country linking Crown Heights with the A, in a whole new way.

In honor of his recent immergence on J-Loves Return of the Darkman mixtape, AllHipHop.com spoke to La about his new enterprises, his past whereabouts, and why he considers himself to a worthy suitor of the next 50 or Jay-Z story. Welcome back.

AllHipHop.com: La, youve got one tape out now with J-Love. But youre doing another with DJ Drama and Don Cannon. Tell me why youre bumping these so close together, and how theyre different?

La the Darkman: Theyre two completely different tapes, man. I did the one with J-Love, cause dude is a different type of DJ. Hes hard, and grimy, and to the core, which I am too. On some 2006, my s**t is a little more fly with it [too]. I wanted everybody to know I still do [what Ive always done]. Im durable. That J-Love mixtape is the first mixtape Ive ever done.

AllHipHop.com: I thought that. A lots happened since 1998. Youve done features and whatnot. But why are you coming so strong in 2006?

La the Darkman: I been studying. I went through some personal issues droppin the album, dealing with fame I wasnt really famous, I was just street credible. I was recognized. Ive never been on Rap City, never had a commercial. Im still a new face. Locally and nationwide, I was respected in the street. I caught a couple situations with violence in different states. I went through personal stuff from 98 to 2003. Then, I had a little legal issue, and got over that. Everything was a learning process. We were independent, and we wanted to be like how Master P and [No Limit] was doin it. I grew up. I started makin music again in 2003 and 2004. My life comes first.

AllHipHop.com: Heist of the Century sold just under 300,000 copies. Thats incredible and independently.

La the Darkman: Independently! My credentials and my resume links me to be one of the next Diddy or Jay. Sayin that means a lot. But I want to put the work in. I want to be nationwide not a regional thing.

AllHipHop.com: Is that why you aligned with The Aphiliates?

La the Darkman: Those are my partners. People startin to know about them more. Were gonna do The Aphiliates Music.

AllHipHop.com: Between Atlanta and New York, wheres home now?

La the Darkman: I be back and forth from ATL to Crown Heights, [Brooklyn]. We got two offices. Its growin. I do most of the managerial work with [The Aphiliates].

AllHipHop.com: Most often, rappers need a deal, financially, so theyre often at the whim of the label. From what I know, youre good financially. So how do you go about getting a deal? Is it hard to be wealthy and hungry for a comeback?

La the Darkman: Hell no. First off, itll never hurt the music. I am hungry, but Im not thirsty. Im hungry like I come from Hungaria, but Im a businessman, and Im not gonna take a non-leverage deal. I got the leverage. Ive got real estate ventures. I did that off the first album. My first deal was for 750 thousand, with Navarre. I did an Atlantic deal before that which was for 450 [thousand dollars]. We took that money, released a buzz record, then went indie. I understood what it meant to be indie.

AllHipHop.com: Was it difficult to break away from a major after a big check and one year?

La the Darkman: Not when you got high-powered lawyers. Not when you respected as a man, first. I always wanna make the best music regardless of if Im getting one dollar, a million dollars, or nothing at all. I want my music to be bangin.

AllHipHop.com: Let me ask you this then. You did a song with Vanilla Ice and Insane Clown Posse. I understand you spent some time in Michigan, but was Unbreakable something you genuinely wanted to do? A lot of people scratch their heads.

La the Darkman: I know they scratch their heads. I did that song in 2002. Nah, I did that song cause its a whole nother market. I respected Insane Clown Posse as businessmen, to have a catalog like they have, independently. Vanilla Ice sold 10 million records, had Taco Bell commercials, I wanted to mix the lines. I got paid good too. We was vibin. Im a student of this whole thing. Im tryin to be Kobe Bryant in this thing. I got a ring before 300,000 records. Im ready to get rings without Shaq now.

AllHipHop.com: Shaq could be perceived as Wu-Tang Clan. Whats your status like with them now?

La the Darkman: I talked to RZA the other day. I got beats from RZA, I got Meth on a joint. They my brothers. Im bout to build another clan. We gonna be like Great Britain and America. Love is love. But Im ready to go score 81 and be second in history to Wilt Chamberlain. The Clan, they always around! I was a teenager when I dropped Heist of the Century, now Im a grown-ass man.

AllHipHop.com: A teenage millionaire. That mustve been crazy.

La the Darkman: Yeah, yeah. But you gotta know how to control it.

AllHipHop.com: Youre a late 90s rapper trying to make it to the top. That sounds like the 50 Cent story. Why did you choose to put him on the mixtape with Fast Lane? That verse was on Guess Whos Back? so whyd you do it?

La the Darkman: Me and 50 got the same lawyers. They blessed me with that. I got mad respect for them G-Unit n***as. Me and 50 actually did shows and parties together. To come out, go away, then come back out, and do it right that same story goes for Jay-Z, Busta Rhymes, DMX, RZA, and GZA [too]. Youve been here before. Whats nice about me is my first record had way more success than any of those people [whom] I just named first records.

AllHipHop.com: We recently spoke to Raekwon about this too. New York is really buzzing off of cocaine rap right now. Youve got a new song, 1000 Grams. Do you think its dangerous to show young minds that life?

La the Darkman: Its dangerous, but its reality. My aunts 52 years old. She asked me that same question. And she asked, Is what you sayin true? I said, Yeah. And she said, Do what your heart say do. I did. Its reality. Its like CNN promoting the war showing the bombs dropping, the buildings exploding its reality. Its dangerous to show the kids the war, but the war is real. Im a realist. Im not an idealist. I combat that song with other songs that tell the children, Do your math. Do your studies.

AllHipHop.com: Speaking of this, it always amazed me that you wrote, as a teenager, so extensively about love. You had Lovin You, A Letter, or Love.

La the Darkman: Im not a boy or insecure with myself. I dont have to question what somebody else thinks. That dont mean nothin to me. [laughs] Im like G.W. Call me La W. Darkman, like G.W. Bush. Thats gangsta cause then I was making Love, I got certain criticism toothink I listened to it? Im everything. Im the epitome of new rap cause Im just not cocaine rap, love rap, materialistic rap, spiritual rap Im everything that Hip-Hop was made of in the beginning. Im everything that we need to lead this new generation.

AllHipHop.com: Youve got this joint, Survive on the J-Love mixtape. On there, you say, I do the best thing I know how, cause my life now, is my life as a child. What does that mean to you?

La the Darkman: Everything to me, bro. That line right there means everything. When I go in the car and I drive by myself, I just drive sometimes a nice whip, sometimes whatever. I have been able to obtain and elevate every year. I come from poverty. I come from a single-parent. I come from public housing. I come from free cheese. For me to start off with nothin but a good-loving mother, and my aunts and uncles, we had love to see myself now as co-exec of corporations that generate six [million] grossed. I have to thank the Lord. Thats what that means.

AllHipHop.com: Whats the timetable like for an album?

La the Darkman: What Im really goin for is new distribution. I want to strengthen my distribution. I had Navarre the first time, which is a computer software company. We still sold 300,000 records with a computer software company with [no knowledge] of Hip-Hop. Im looking to attach my machine to a stronger machine. Im right for the time.