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Queen Latifah Honors Women Activists

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

Queen Latifah, a brand spokesperson and creative advisor of the Curvation Project, helped pay tribute to five women who dedicated time and energy to local women’s programs.

In a taped message, Queen Latifah congratulated the five national finalists of the Curvation Project Confidence Awards, which sought to acknowledge women who have helped other women regain self-esteem.

The award recipients were: Yvonne Pointer of Cleveland; Mattie Palmore of Washington, D.C.; Lorraine Bowman of San Diego; Jillian Bullock of Philadelphia; and Kristin Bradfield of Phoenix.

“We received more than 350 nominations from around the country, filled with examples of how women are helping others to live more rewarding lives,” said Queen Latifah. “While the entries were all amazing and we would love to recognize everyone, these five stood out as being both extremely inspirational and deserving of national recognition.”

The five finalists will be flown to New York for an awards ceremony and will meet Queen Latifah as well as national leaders of top women’s organizations who were part of the selection process.

“I credit much of who I am today to the confidence I was given as a child and the inspiration of strong, independent women like my mother and grandmother, who showed me the power of believing in myself,” added Latifah. “So I’m particularly delighted to honor these finalists, who are motivating others in the same way, and look forward to meeting them in New York to share the news of who has won the national honor.”

The Confidence Awards are part of the Curvation Project’s Confidence Initiative, which includes the online community Curvation Nation.

More information is available at www.curvation.com.

Rewind The Rhyme: Ice Cube

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

There was a time when lyrics really mattered. I remember as a kid pressing “play” and “rewind” over and over again so I could memorize what I considered to be hottest verses in rap music. It was one thing to like an artist, but if you really wanted to be on top of your game, if you really wanted to show that you knew your stuff, if you truly respected the game, you had to know the rhymes that defined it, line for line! But those days are essentially gone. As most artists seek to produce records that will bring them money and the subsequent mainstream success, lyrics have taken a back seat to catchy hooks and hypnotic beats. It’s got a lot of folks sounding like De La Soul wondering, “Whatever happened to the emcee?”

The emcees themselves will answer the pressing question in my reoccurring feature called, “Rewind the Rhyme with Amanda Diva and (insert your favorite emcee’s name here).” The Hip-Hop-loving folks at AllHipHop.com will uncover how some of rap’s greatest lyricists created their most classic records/verses, how things have changed or remained the same in their creative process, and whether lyrics still matter.

Before the kiddie flicks and family fun movies, Ice Cube, through his scalding honesty and intensity, came to be regarded as one of rap’s most respected wordsmiths. A living legend, he is accredited with, among other things, solidifying the gangsta rap movement with classics like “N***a You Love to Hate” (1990’s Amerikkka’s Most Wanted) and the laid back “Today Was a Good Day” (1992’s The Predator). About to release his fifth solo album of new material, Laugh Now, Cry Later, I sat down with Cube at Mirror Image Studios in New York City to rewind the rhyme and talk about Cube’s writing process on some of his most renowned records, his new music, and if he’s still the n***a you love to hate!

Amanda Diva’s Rewind The Rhyme with Ice Cube.

AllHipHop.com: Do you still listen to Hip-Hop?

Ice Cube: Yeah.

AllHipHop.com: You still do?

Ice Cube: Yeah, what else I’ma listen to?

AllHipHop.com: Nah, you know a lot of folks be like, “I don’t even listen to Hip-Hop no more, yo. I’m straight old school, straight old school.”

Ice Cube: Nah, I listen to everything. I mean, I listen to old school, but I listen to new school, rap, R&B.

AllHipHop.com: So, on a scale of one to 10, where do you think lyrics rank on a scale of importance in Hip-Hop these days?

Ice Cube: [Listen] One-to-10 on importance? I mean, as far as the game go, lyrics are always gonna be some of the most important things. Just as important as your beats. But, nobody ain’t saying nothing important right now. You know what I mean? Nobody ain’t really saying nothing significant that’s gonna change somebody life. It’s a few MC’s out there that are trying to do it. Or that have been consistent with it. I mean you know, you can’t dismiss what The Roots are doing. You can’t dismiss what people like dead prez is doing and Common and Kanye and people like that. But for the most part the Hip-Hop nation just don’t want to hear [lyrics] now like that.

AllHipHop.com: Let’s start off with a record that did change a lot of people’s lives and lyrically I think this is the record you get most “props” for.

[“The N***a You Love to Hate”-Amerikkka’s Most Wanted]

Ice Cube: [Listen] DAMN! (Smiling) I remember doing this record! Greene Street Studios, SOHO right? Green Street Studios, with Chuck D, the Bomb Squad, Eric Sadler, Keith Shockley, Hank Shockley. You know this record to me represents the best of both worlds. You know coming straight from NWA with that West Coast gangsta flow, but over a Public Enemy conjured up-you know they used to be like mad scientist up in there with them beats flippin em-and it was like the perfect marriage at the right time. It was exactly what Hip-Hop needed and uh, you know the record Amerikkka’s Most Wanted is still my favorite record.

AllHipHop.com: Really?

Ice Cube: Yea, ’cause my memories of doing that record and what I had to go through to get it done makes it just kinda like close to my heart.

[“Today Was a Good Day”-The Predator]

AllHipHop.com: So let’s play this next record. I think this is probably your best known record. When folks think of Cube this is the record most point to that don’t really know your history.

Ice Cube: [Listen] At the time I did “It Was a Good Day,” people was trying to pigeonhole me saying, “All he can do is one type of record.” And you know, I’m a B-boy, I like all kinds of Hip-Hop. I’m not just, “Oh I like the gangsta stuff and that’s it.” So, “It Was a Good Day” was trying to show that, you know, whatever comes from me is not gonna be because people are saying I should do this kind of record, or I should just stick with what I’m doing. ‘Cause people was not really wanting me to do this record in my camp. They was saying, “You do hard records. Why you gonna do this?” And I was like, “That’s exactly why. Because it’s dope.”

AllHipHop.com: I think a lot of people miss the point of this record though. They miss the irony.

Ice Cube: Yeah

AllHipHop.com: The record is ironic in that it’s a good day cause n****s ain’t get shot? That’s crazy! But people don’t see it that way.

Ice Cube: Exactly. It is. It is. But when you really strip the song down, life is hard in the ghetto. All these land mines you try and duck and you’re happy that everything is going alright. Basically the song is saying, if you get through the day it’s a good day, without getting shot or going to jail or people you know getting shot or going to jail.

AllHipHop.com: On the new album do we have any joints that lead to a laid back Cube or is it a whole new Cube?

Ice Cube: It’s a lil’ dibble and dabble of both, of the old and the new. I got a song on there called “Growing Up.” It reminds me a lot of “It Was a Good Day.” It’s that old Minnie Ripperton sample, “Back Down Memory Lane.” It basically takes us through the history of Ice Cube from the time I met Dre all the way to XXX II (XXX: State of the Union). It’s one of those songs that felt a lot like “It Was a Good Day”.

AllHipHop.com: So we got this new album and the name of the album is?

Ice Cube: Laugh Now, Cry Later.

[“Chrome and Paint” Street Single off of New Album]

AllHipHop.com: And where did you get that title from?

Ice Cube: That’s a title that a lot of the people in the penitentiary use; tattoos people get. It kinda describes their life when they were on the street and them paying for it now. You know, laugh cry later is kinda the feel of my album. It’s got, you know, the club bangers, the political records-which is the cry later kinda feel. It kinda encompasses that. You know I didn’t want to do a whole political record and I didn’t want to do a whole record where I was just trying to get it jumped off. You know so, it’s a record that flows from kind of one tone to the next. Laugh Now, Cry Later really is the state of the world in a way. You know, you could say it’s the state of the world, the state of America, the state of urban America. Now everybody’s doing a lot of playing and nobody’s really thinking about when God gonna make us pay for all this at some point in time. That’s really what inspired me to make it that title.

AllHipHop.com: How do you know as a writer when a verse is done; when a record is finished?

Ice Cube: When the song is complete and I rap it acapella and I rap it with the beat that somebody gave me before we recorded and I go set it down, but I wanna go in there and rap it again because I wanna hear how it’s sounding. Cause I know that it’s fire, you know what I’m saying? (laughs) So, that’s how I know, to me, that a song is complete and a song is good, is that I wanna-I’m like anxious to get to the studio. I’m like busting at the seams to get there. That’s how I know, that this is it.

[“We Be Clubbin”]

AllHipHop.com: You’ve got classics. Hits! A bevy of them. Did you know that they were classics when you made them? Did you know that these were lyrical classics that people would be repeating these words? Don’t be modest!

Ice Cube: In some cases yeah and some cases no.

AllHipHop.com: Name one that you knew.

Ice Cube: “We Be Clubbin.”

AllHipHop.com: You knew it?

Ice Cube: I knew it! I knew, like “We Be Clubbin” that nobody was really rappin about being in the whole club experience. It was a song that kind of kicked off talking about how it feels to be kickin’ it in the club. So I knew that it was something that a lot of people was doing. You know, I did that song in ’96. So it was something that a lot of people was doing, but a lot of people wasn’t rapping about it. So I knew that would do it. I knew “F**k the Police” was gonna be. I knew “Today Was a Good Day” was gonna work.

AllHipHop.com: Yeah?

Ice Cube: Just cause of the sample. Using the Isley Brothers I felt like I was winning before I even started rappin so…

AllHipHop.com: Did you have any idea that “N***a You Love to Hate” would end up being one of them records that defines you?

Ice Cube: Yea it’s like a record that, like if “F**k the Police” marks NWA, “N***a You Love to Hate” kind of is like the stamp. If you want to explain to anybody what Ice Cube is about, you could probably play that record and get then and now.

AllHipHop.com: So are you still that n***a?

Ice Cube: Oh yea, fa sho, fa sho!

C-Rayz Walz: Mind of a Lunatic

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

Napolean Bonaparte once said, “There is only one step from the sublime to the ridiculous.” Almost 200 years later, C-Rayz Walz may be living evidence of such within Hip-Hop. The Uptown anthem-maker was ripping apart battles and releasing twelve-inches long before he garnered a major spotlight through MTV’s Made. Street-lore suggests that long before the C-Rayz choked the mic, he was choking vics on sidewalks. So if you think he’s weird for being different, don’t be so quick to judge.

AllHipHop.com traveled to C-Rayz’ Bronx residence to watch the MC do something his friends Raekwon and Ghostface would surely approve of – cook fish. But as Walz fries flounder, he drops severe science on the recent surge of fame and criticism, a poorly received album in Year of the Beast, as well as teaching at a highly-accredited university this year. C-Rayz shares on his bond with unlikely comrade, Juelz Santana. The MC also touches upon pornography while watching an Evil Angel release in another room. Within his reflections, C-Rayz makes some interesting, some hilarious, and some downright strange claims. Amidst it all though, his passion is quite clear. The one-time stick-up kid is back to show a legion of fans another route, and continuously bring the character back into Hip-Hop.

AllHipHop.com: What have you been up to since Year of the Beast came out?

C-Rayz Walz: I?m about to do a winter tour. A whole bunch of ski lodges. I want to let everyone know what?s coming. Wherever there?s snow, that?s where I?m going to be at. I?m letting motherf**kers know that I?ve been staying in the lab. For real, I?m changing my name to C-Rayz Lab this year. My next solo album is called Crazy. It?s got Flava Flav and KRS-One on it.

AllHipHop.com: Listening to your discography, we can hear your style continuously evolving into the lyricist you are today. What would you say is the motivation behind your changing attitude?

C-Rayz Walz: My music is a straight, direct reflection of who I am. It?s more enlightened, more comedic. It?s everything that I am and there ain?t no negativity to it. A lot of people can?t say that, you know what I?m sayin? Later on this year, you?ll see when I come up on a more commercial scene and start rubbin? elbows with known people, I won?t compromise my craft. My s**t is next level, but it?s still street on a personal level. I had to take it to the hood.

AllHipHop.com How can you become commercial by taking it to the hood? The hood doesn?t buy records…

C-Rayz Walz: The hood never buys records, but the hood becomes the records. The records become the hood. Meaning, these kids who buy 50 Cent records [become] hard, in Iowa! They?re hard in Little Rock! They?re banging hard out there and they ain?t been around nothing [that I?ve been]. So I gotta report what?s really going on. There ain?t been a $10,000 chain in my hood in years. You know how the game go. Too much hustlers, not enough customers – so now everybody?s selling drugs through music.

AllHipHop.com: So it seems things are bigger than Hip-Hop?

C-Rayz Walz: I?m supposed to teach a Hip-Hop course at Berkeley. I?m preparing for that s**t. The job is offered for the end of this year. Hopefully, I?ll develop my skills as a professor so I can be prepared for [it].

AllHipHop.com: What will you teach your students?

C-Rayz Walz: [How to be] conscious of your thoughts. As soon as you get that thought, it?s born and it?s up to you to harvest it or cancel it out. When I get negative thoughts, I?m always like, “Cancel, cancel, cancel.” For instance, I always think about grabbing my son by the ankles and slamming him on the concrete. Now, I think about people who do things like that. [They] probably had an ill thought. Once they had that thought, they began the process of making [it real]. That may be an extreme example, but the energy of doubting yourself may be just as strong as that. When you think about your own failures, it?s like, wow, your brain remembers that. Humans are definitely part elephant, man.

AllHipHop.com: How are things going with your label, Definitive Jux. It?s been said that you aren?t happy with your current situation with them.

C-Rayz Walz: I really appreciate them for everything that they?ve done. They?ve really made me rekindle my creative spirit that made [founder El-P] want to sign me. I?ve said thousands of things about him in past interviews, personal s**t doesn?t bother [me]. But Jux as a whole, is not as Definitive as it was when I came on board.

AllHipHop.com: What happened?

C-Rayz Walz: I?ve been on tour [by myself] for the last two years just to survive. If we were to tour as a whole label, we would be much bigger. I?m tired of going on tour and having people ask me, ?Yo, when is Jux going on tour? When we gonna see Aesop? When we gonna see El?? I?m tired of saying, ?I don?t know.? I planned on coming to them for marketing ideas but it?s kinda late for it now. My label ain?t helping me to do that.

AllHipHop.com: Let me first say that your fans are very passionate about your work and a lot of them have questions for you. Many of them want to know why, in their opinion, your latest album, Year of the Beast, is not on the same level as your earlier work. They say that there has been a definite change to your music–and it has been negative. How would you respond to that?

C-Rayz Walz: All right, imagine this: There would be a whole different view of my work if I called my album Nerd Rap. I don?t need a fan. If you relate to my music and you wanna buy it, that?s on you. I made [Year of the Beast] for me. [My discography] is a different aspect of truth?it?s a big book with gold embroidery around it.

AllHipHop.com: It?s been a while since it happened, but do you care to talk about the MTV Made episode?

C-Rayz Walz: Ayo, if my man Nile [the Minnesota teen he mentored known as “The Blizzard”] was here right now, and you had any inkling of rhyming in you?he would blaze you. You would wanna stop rhyming. That s**t was real, and there was nothing fake about it. People come up to me every day and tell me, ?That was the best Made I ever saw.” They really captured a lot of good elements.

AllHipHop.com: How would you respond to someone saying that the episode exploited the culture by exposing it to white suburbia?

C-Rayz Walz: [My philosophy is] ?be comfortable.? Whether we?re in the ?burbs or the hood all we have to do is have a conversation to make a connection. Hip-Hop runs the f**kin’ world. People still don?t realize that. My phone rings all the time [with suburban kids saying] ?C-Rayz, my friends is faking the funk. Can you spit a hot eight bars to let ?em know [that we?re connected?] “Eight bars for those that don?t think I?m horrid/ So you called the vampire/ He hit you back with garlic/Crossed your middle fingers for you/ Then left you in the back like LaToya while the Jack son?s upon you/ Clap son they royal/ Battle wasn?t royal/ Even Verizon said he?s online/ He?ll employ you/For futuristic flows you know what you know/For C-Rayz Walz 718 is the code, peace.” And then I hang up. That energy keeps me alive.

AllHipHop.com: Your skills at MC Battling are well known. Off the top of my head, I can say that you?ve defeated Supernatural on multiple occasions. But I want to discuss a time when you lost a battle to Immortal Technique. What do you think about him?

C-Rayz Walz: Immortal Technique is rich. He went platinum in Ecuador [Laughs]. I think I bust his ass that day, but I think it was the crowd?s [fault that I lost]. He is the only MC that can give it to me in a battle at this point. Technique is a motherf**ker on the mic, and I love him. He doesn?t give a f**k about humanity and he?s giving a positive message [at the same time]. He?s balanced it out.

AllHipHop.com: I want to talk about your run-in with another MC, Juelz Santana. I heard you and him got locked up together?

C-Rayz Walz: Locked up? Juelz? Me and him got sent to central bookings mad times together in Manhattan Tombs. Juelz left me and my man from 197st & St. Nick. He was released earlier, and instead of keepin’ it like a selfish cat, he spread love and left it with me and my man. We smoked it,

and gave the small clip to the cell-scavengers after we were high as hell. That s**t was crazy.

[ At this point in the interview, C-Rayz excused himself to go to the room where the p#### video was playing ?to make a phone call.? He exclaimed, ?I gotta beat off to this!? Immediately knowing he was detected, he flipped his words around and said ?I got a beat off of this?to freestyle to!?]

AllHipHop.com: You must get a lot of groupie love on the road, right?

C Rayz Walz: I got h**d from a p### star before?

AllHipHop.com: Who?

C-Rayz Walz: [Smiles] Wait for her album to drop.

AllHipHop.com: Oh, I know who you?re talking about?

C-Rayz Walz: Ayo! All y’all fake ass players, take a page out my book, man. Go to shortie?s house, play some music, take a shower, smoke a L and then bounce in like ten minutes. I can?t believe I?m sharing this with the world. [Then] pretend you?re on the phone with your man and be like ?Aight son, I ain?t forget about you?pick me up at 81st and 5th. One.? Don?t pay her any attention. That will drive your girl crazy. You?re playing love tag. The next time you see her, you?re ?it.? [Smiles] All of that was in my old life. I?m celibate this year, you know what I?m sayin’?

AllHipHop.com: But the year just started…

C-Rayz Walz: [Laughs] This year I?m a ?sell-a-bit? of records! I?m tired of this p***y s**t, for real.

Firewater

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

Artist: The AlkaholiksTitle: FirewaterRating: 3 1/2 StarsReviewed by: Bill “Low-Key” Heinzelman

Tha Alkaholiks surely live by the motto if its not broke, don’t fix it. For 13 years, the trio of Tash, J-Ro and E-Swift has provided rowdy liquor filled and weed scented party tales for all to love. With their fifth and final album Firewater (Koch/Waxploitation Records) Tha Liks stay true to this formula.

As is the case with any Alkaholiks album, you know what you are getting into before you even rip the packaging off. In typical fashion, the lead single “The Flute Song (LaLaLa)” finds the trio buying out the bar and kicking game to all the big booty woman. The aptly titled “Party Ya Ass Off” is another vintage party anthem that asks everyone to get their drink and smoke on. Tash also takes the time out to address all the rumors surround Tha Liks, stating, “I know you heard the rumors about Tha Alkies grand finale/How J-Ro shot Swift and Tash moved out of Cali/Half of that sh*t is true, half that sh*t is true lies/It will be a cold day in hell before the Likwit crew divides.”

While Firewater continues Tha Alkaholik tradition of good old fashion feel good music, the album does falter on a few occasions due to inconsistent production. “The Get Down” features a simplistic drum heavy beat by E-Swift, as well as a lackluster hook. The same can be said for “Chaos,” as Danger Mouse’s stripped down production fails to blend with Tha Liks energetic style.

Even though Firewater may not rival Tha Liks earlier work, the album is a fitting end to a legendary and overlooked career. While the album doesn’t break any new ground, Alkaholik fans would have it no other way. The trio has stayed true to who they are for over 10 years and you have to respect that. With Tha Liks run coming to an end, it will be interesting to see if Tash, J-Ro and E-Swift can hold it down on the solo tip from here on out.

Something New (Film)

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

Artist: Movie ReviewTitle: Something New (Film)Rating: 4 StarsReviewed by: Edwardo jackson

BIASES:30 year old black male; frustrated screenwriter who favors action,comedy, and glossy, big budget movies over indie flicks, kiddie flicks, and weepy Merchant Ivory fare

Despite a high powered job as a tax attorney and a new home in LA’s upscale black enclave of View Park, Kenya McQueen (Sanaa Lathan) has everything but a man. But she doesn’t want just any man, she wants her IBM, her Ideal Black Man. After a failed meet on a blind date, Kenya, whose whole life is a case study in a###-retentive repression, ends up catching feelings for her free-spirited landscape architect Brian Kelly (Simon Baker), a white guy. With her spoiled, Afrocentric mother (Alfre Woodard), callow, elitist brother Nelson (Donald Faison), and semi-approving but curious girlfriends (Taraji P. Henson, Wendy Raquel Robinson, and Golden Brooks) all weighing in, Kenya tries to reconcile what her life would be with who could be her Ideal Man versus the image, and the real life temptation of, her Ideal Black Man (in the form of a fellow taxlawyer (Blair Underwood)).

Although I am deliriously happy with the return to (luscious) form of Sanaa Lathan, Something New (Focus Features) marks the arrival of an equally talented director in Sanaa Hamri. Working from a Kriss Turner (TV’s “Everybody Hates Chris”) script that may be a little too on the nose at times, Hamri escorts us through this emotional and social minefield with visual artistry. Not only did she make me fall in love with Sanaa Lathan all over again, in all her Skippy-coated, butter brown glory, but also Hamri addresses the unspoken social taboo of interracial dating by playing up racial differences more with visual cues than cheesy dialogue. And for all you Los Angeles residents out there, Hamri covers all the local black haunts like Blackbucks, er, Magic Johnson’s Starbucks in Ladera Center, Magic’s TGIFriday’s, Leimert Park, etc. Reminding us that this is still a rookie feature director, Hamri isn’t immune to old romantic comedy movie tropes like “sexy” toenail painting (Bull Durham) and The Run (just about every rom-com ever made). Still, Hamri’s “Something New” is an impressive, hopeful debut of that Hollywood unicorn: the African female director.

The cast is thoroughly professional and, at the very least, committed to having a good time. Henson (Hustle & Flow) continues to enliven any role she’s in, large or small and Faison from TV’s “Scrubs” is slyly amusing as Kenya’s pro-black brother, dedicated to the bourgeois life and his endless parade of young, impressionable floozies. Green-eyed, blond-tressed Aussie charmer Simon Baker flashes a flawless American accent as the self-satisfied, dog-toting, naively appealing Brian. Through his unaffected confidence and guileless perseverance, Baker’s Brian is the perfect candidate to inject some variety into the garden of Kenya’s buttoned-down life.

In “Something New,” Sanaa is, as always, luminous, enchanting, and on point. At a time when some of our more venerable King Magazine pinups and Essence cover girls are going the way of “Disappearing Acts” (see the incredibly shrinking waistline of Union, Gabrielle), Sanaa’s still got more curves than a Thomas Guide. With acting chops to match, Sanaa plays Kenya believably, even understandably, as the beige-obsessed, dog-loathing, romantically ascetic individual she is. Once Baker’s Brian enters her sphere of influence, making her question all her pre-conceived, tightly held notions, Sanaa reliably plays the internal tensions with admirable aplomb. Their chemistry is fine, with a realistic, sweet pseudo-courtshipthat’s only semi-confrontational, but doesn’t ignore the proverbial Elephant int he Room (“That’s what being black is about,” a frustrated Kenya lectures Brian after he requests one night off from race talk, “youdon’t get a night off.”).

Will Sanaa Hamri’s visually lush “Something New” usher in a resurgence of buppie pics reminiscent of the late ’90s (“Two Can Play That Game,” “The Brothers,” etc.)? Only if they are as inspired as “The Best Man,” then let’s hope so.

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

Madame Tussauds Immortalizes Tupac Shakur In Wax

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

Madame Tussauds wax museum in Las Vegas, Nevada will immortalize rapper Tupac Shakur on Apr. 5 as part of its new “On Stage” attraction.

A wax figure capturing the famous image of a shirtless Shakur wearing a bandana and showing his tattoos joins superstars such as James Brown, Mick Jagger, Elton John, Prince and others as life-like wax statues.

Adrian Jones, general manager of Madame Tussauds Las Vegas, said the decision to immortalize Skakur came from public demand.

“We have received more requests from the public to immortalize Tupac than any other rap star,” Jones said. “It is fitting that he will be the central figure in our new ‘On Stage’ attraction, which will offer the public a new high-tech system for enjoying the music of all the stars in the attraction. We will have more information about the attraction at a later date.”

Shakur was fatally wounded in a drive-by shooting on Las Vegas’ famed “Strip” on Sept. 7, 1996. Shakur later died from his wounds. His slaying remains unsolved.

For “On Stage” attraction times, visit http://www.mtvegas.com.

Paul Wall And Wife Expecting First Child

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

Platinum-selling Houston rapper Paul Wall and his wife Crystal have revealed that they are expecting their first child in May.

“This year has been such a prosperous one already,” Paul Wall told AllHipHop.com. “It’s a boy. We are gonna name him William.”

Wall already owns a successful custom jewelry business with Houston’s jeweler “TV Johnny.” And as soon as baby Wall grows teeth, maybe he’ll inherit his father’s fashion sense.

“Yes, I already have his grill ready for him,” Paul Wall joked, referring to the custom gold and platinum fronts/caps popular among Southern rappers. Wall is currently featured on Nelly’s#### single “Grillz” with also featuring Ali & Gipp.

Wall and Crystal were married last October in a wedding ceremony in Houston.

DMX’s Wife Busted For Driving 106 mph

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

Driving issues

continue to plague DMX and his family, as the platinum-selling rapper’s wife

was charged on Sunday (Jan. 29) with driving 106 mph in North Castle, N.Y.

Police stopped

Tashera Simmons, 34, after they clocked her driving north in a 2000 Mercedes-Benz,

driving 106 mph in a 65 mph zone on Interstate 684–the same road DMX was arrested

doing 104 mph in Dec. 2004.

Ms. Simmons was

charged with speeding, driving an unregistered vehicle, and not using child

restraints, because four children in the car were not wearing seat belts, according

to police.

In Dec. 2004, DMX

was arrested for speeding on the same stretch of highway, a week after he pleaded

guilty to driving through an airport parking gate at John F. Kennedy Airport

in June 2004.

Last April, DMX

was driving on the Major Deegan Expressway in the Bronx, when he hit a car,

which in turn struck a police cruiser.

The rapper claimed

that he was rushing to an area hospital to visit his pregnant wife in the hospital.

A judge sentenced

him to 70 days in prison last November for violating the terms of his probation

in the JFK incident, after he was charged in the April 2005 driving incident.

Russell Simmons, HSAN Honored By Newark, NJ Mayor

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

Russell Simmons and the Hip-Hop Summit Action Network (HSAN) will be honored tomorrow (Feb. 2) by Newark Mayor Sharpe James and TRI, Inc. for

inspiring and uplifting young people across the country.

Chaired by Simmons, HSAN is a non-profit coalition of artists,entertainment industry executives, and community leaders who advocatepositive social change through hip-hop.

The group’s primary focus is the welfare of at-risk youth in the United States.

“It’s good to be acknowledged for the Hip-Hop Summit’s work helping young people but, you know, it’s all about the work and the work continues,” Simmons told AllHipHop.com.

The special presentation will be held in front of over 2000 students at Weequahic High School in Newark, N.J, in conjunction with Newark’s teen

empowerment program called Beyond The Cover Teen Magazine.

The program targets teens interested in publishing, computer graphics, journalism, marketing, and community service.

Now in its sixth year, Beyond The Cover is designed to engage and promote workplace readiness skills, and offers corporate and

entertainment sponsored scholarships and internships.

Juelz Santana Opening HipHopSodaShop On 125th Street

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

Juelz Santana has

become a financial partner in a new HipHopSodaShop opening on 125th Street in

Santana’s hometown of Harlem, New York.

The rapper is co-owner

of the new franchise, which is licensed by parent company H3Enterprises Inc.

(HTRE), a publicly traded company.

"We’re gonna

rip 125th up," Juelz said in a press release. "It’s great to be able

to enjoy all this in my own backyard with my own people. I’ve hung out with

my boy ‘A Butta’ here since we were little punks and now we’re gonna get a chance

to actually work together for the good of our own hood."

HTRE was founded

by Brian Peters, who was worked with various artists, including Outkast, Nas,

Snoop Dogg and others.

"Juelz is

a true Harlem treasure and we hope to utilize all of his talents to the full

benefit of our shareholders and our communities," said Peters, president

and founder of HTRE.

In November of

2005, HTRE announced it was leasing a large space less than a block from the

legendary Apollo Theater. Other locations are expected to open in Times Square

in Manhattan and Las Vegas’ famous "Strip."

"We’re building

a real home for the Hip Hop generation complete with all the things we love

to do," Juelz continued. "But it’s really about creating educational

opportunity and good jobs and that’s where Team H3 will prove to be unbeatable."

Last month, HTRE

announced a joint venture with Lou Pearlman, who has worked with some of the

most successful artists in the music business, including Justin Timberlake,

N Sync, The Backstreet Boys and others.

HTRE and Pearlman

will jointly develop HipHopSodaShops throughout Orlando and Tampa, Florida.

Pearlman invested an undisclosed amount into the venture and will bring his

entertainment, media, contacts and experience to the company.

"The man [Pearlman]

has proven over and over again that he has his hands firmly on the pulse of

the entertainment industry and always stays ahead of the curve," Peters

said. "We are truly honored that he has chosen to become an integral part

of our Company’s ongoing development."

Luke Campbell Releasing Three-CD ‘Freaky Times’ Audio book

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

Miami pioneer and

2 Live Crew member Luther "Luke" Campbell is releasing a tell-all

detailing some of his explicit exploits.

"Uncle Luke

– My Life & Freaky Times" contains two audio books from his upcoming

book, written by Dara Cook, and an accompanying soundtrack.

In "Freaky

Times," Luke pulls no punches and reveals stories about singers, athletes,

and other celebrities who have engaged in his famous X-rated romps.

"Everyone

wants to know what happens behind the scenes at my famous freaky parties. Now

here’s your chance to relive my life," stated Luke. "For the first

time I’ll reveal some things you never expected about some of your favorite

entertainers, athletes, the famous, the wealthy and their escapades with hoards

of sexy women who are willing to do anything to get down with a celebrity."

The audio book

opens up with scandalous stories about music video vixen, Gloria Velez, where

Uncle Luke drops dime on how she claimed her throne as the No. 1 video vixen.

He also reveals

how far Aaron Hall allegedly went to prove that he’s the nastiest man in the

industry, and how Mike Tyson gets down when he’s not training.

Other notables

mentioned include Michael Jordan, Robert DeNiro, Muhammad Ali, Keith Sweat,

Trick Daddy, and Sisqo of Dru Hill.

Luke also reflects

on the deep conversations he had with the late Notorious B.I.G. and Tupac Shakur

from his Luke Freakshow interviews.

Accompanying the

two-disc audio book is a tribute compilation CD featuring new recordings from

Trick Daddy, Petey Pablo, Jacki-O, Pitbull, Dirtbag, Big Tigger and others.

The first singles

being serviced to radio and clubs are "Holla At Cha Homeboy," featuring

Pitbull and Petey Pablo, and the reggaetòn song "Pop That,"

by Plan B and Rey Chester Secretweapon.

"I found my

niche in combining sex and music," Luke stated. "I know what I do

and I have never tried to steer away from what I do."

In addition, Luke

and Urban Box Office are conducting a nationwide search for a new "Luke

Girl." The winner will go on tour with Mr. Campbell and be dubbed "Ms.

Freaky Soul 2006."

Applicants must

be over the age of 18 and submit applications along with photographs and videotapes

to participating radio stations to be considered for the competition. Radio

stations will hold a live contest at a local venue to select the contestant

who will represent their station at the finals in Miami.

The Grand Prize

winner, chosen by a panel of celebrity judges, including Luke himself, will

receive a Rolex watch, $10,000, and will go on a promo tour with Luke.

The Roots Host Third Annual Jam Session

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

The Roots will

host their Third Annual Jam Session and the crew is encouraging vocalists, musicians,

and aspiring artists to take part in the five-hour session Feb. 7 at Key Club

in West Hollywood, CA.

This year’s gathering

will be hosted by Roots frontman Black Thought, comedian Dave Chappelle, and

actor Don Cheadle. The invitation-only event is presented by Dave Chappelle’s

Block Party in association with Live for Darfur.

“Most industry

parties are a little too stuffy and are limited to performances by one or two

artists,” says Roots founder and drummer Ahmir "?uestlove" Thompson.

“We created this event in order to put the focus back on the music and

give major artists as well as new talent a chance to take part in a business

and musical exchange.”

The anticipated

guest list includes Jay-Z, Common, Will Smith, Mos Def, Will.I.Am, Talib Kweli

and Kanye West, among others. As with last year’s session, the event will be

produced by Okayplayer.com,

Goodtime Girl Productions and Keldof Productions.

Live for Darfur,

co-chaired by Don Cheadle and Djimon Hounsou, is a worldwide campaign that rallies

high-profile artists to help raise awareness of the crisis in Darfur, Africa.

More information is available at www.savedarfur.org.

Birdman Busted on Weapons, Fraudulent License charges

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

Cash Money Records

founder and rapper Brian “Birdman” Williams was arrested Sunday (Jan.

29) on weapons and fraudulent driver’s license charges.

The 36-year-old

music mogul was charged with carrying a concealed firearm; possession of a firearm

by a convicted felon; unlawful use of a license by presenting another person’s

driver’s license; possession of a fraudulent license; and failure to have vehicle

registration.

The alleged incident

occurred at 3:28 a.m., when Miami Beach police officer Kevin Millan said he

spotted a maroon Maserati ”parked in the right lane of traffic” on South Pointe

Drive. Millan’s police report further stated that the vehicle had no tag

and a covered vehicle identification number.

Williams told Millan

he owned the Maserati and that his license and paperwork were inside the car,

according to the report.

“After opening

the glove compartment, [the] defendant reached across to driver’s side,”

Millan stated. “While doing so, he removed a .40 cal. glock semi-auto pistol

from his waist band with his right hand and dropped it to driver’s floor board….[The]

gun [was] loaded with eight rounds.”

Police said Williams

had three ID cards and two driver’s licenses from Louisiana under the names

Brian Williams, with a birthdate of Feb. 15, 1975, and Thomas Corey, with a

birthdate of Feb. 15, 1969.

In addition, Williams told officers his real name was Brian Christile Williams,

born in 1969.

The report also

stated that Williams told police he recently purchased the Maserati in Los Angeles,

but ”it has no tag and has not been registered." H e also said he had

a prior felony conviction.

Williams’

attorney, André Crenshaw, stated that the allegations against his client

are untrue. “There are some conflicting stories as to his possession of

a handgun,” said Crenshaw. "[Williams] denies saying that he has a

felony conviction. He never made that statement.”

Williams, who is

out on $18,000 bond, could not be reached for comment Tuesday (Jan. 31).

Discovery Times Debuts Detroit Hip-Hop Documentary, Other Hip-Hop Programming

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

The Discovery Channel’s subsidiary, The Discovery Times Channel, will air a documentary on Detroit hip-hop on the weekly series “Only in America,” narrated by two-time Pulitzer Prize winner Charlie LeDuff, of The New York Times.

The documentary, “The Real 8 Mile,” explores the underground hip-hop scene in Detroit and features three rappers from three different ethnic backgrounds seeking to achieve one common goal: success.

Hush, of Geffen Records is Caucasian, Ill Uno is African-American, and Lazarus is Pakistanian.

The episode also includes cameos from various Detroit artists and radio personalities.

The musical score was handled by up-and-coming Detroit producer Alpha-bet, of Bang on the Table Productions.

“The Real 8 Mile” premieres Feb. 9 at 8 pm E.T.

The Discovery Times Channel will also showcase other hip-hop themed content in February, including “Breakin’ In: The Making of a Hip-Hop Dancer,” which features three young women who dance in music videos in hopes of furthering their career.

“Breakin’ In: The Making of a Hip-Hop Dancer” airs Feb. 20 at 2:00 p.m. E.T.

Another series, “A Make Over Story,” will debut an episode titled “Hip-Hop Runway” on Feb. 24 at 11:30 a.m. E.T.

The episode follows a pair of interns at Madeline Says, who prepare for a launch party attended by Jay-Z.

AHH Stray News: Dave Chappelle, Ashanti, Hip-Hop Association, Pharrell, BEP

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

Dave Chappelle will

make his first television appearance on The Oprah Winfrey Show this Friday

(Feb. 3) to explain his sudden disappearance last year after announcing a $50

million dollar deal with Comedy Central. Chappelle gained headlines worldwide

when he suddenly disappeared from the set of The Chappelle Show last year

and reemerged in South Africa, in the middle of production for the show’s third

season. In related news, Dave Chappelle’s Block Party will open in theaters

Mar. 3. The movie was shot in Brooklyn, New York in 2004 and is produced by Rogue

Pictures. It features new stand-up material by Chappelle and exclusive performances

by Kanye West, The Roots, Mos Def, Erykah Badu, Wyclef, Kool G. Rap, Big Daddy

Kane, Lauryn Hill and others. Academy Award-winning filmmaker Michel Gondry directed

the film, which is Rated R.

The Inc.’s Princess

Ashanti has filed a lawsuit against various companies, claiming they are releasing

and marketing an album of old material without her permission. Can’t Stop

features material Ashanti (born Ashanti Douglas) recorded in 1997. The tapes

were unearthed in Sept. 2004 and re-mixed and mastered by Genard Parker and

Ernie Lake using Pro Tools equipment. Big Records Australia, Farm Records, Unique

Corp., Simply Vinyl, Team Entertainment, ZYX Music and others are named as defendants

in the lawsuit. The album has a street date of Feb. 21, 2005. The lawsuit is

the latest in an ongoing battle over rights to the material Ashanti recorded

when she was 16-years-old. She claims she recorded the material for demo-shopping

purposes and never intended the recordings to be released to the public. Parker

won a $630,000 judgment last year, after a judge ruled that Ashanti breached

a production agreement she signed while a teenager. Ashanti is seeking an injunction

to block the release and damages in excess of $1 million.

The Hip-Hop Association

has teamed with Cleveland’s Rock and Roll Hall of Fame and Museum to present

"Elevate!: Using Hip-Hop To Educate" to teachers around the country.

The four-day forum brings K-12 teachers together with historians, performers,

activists, and educational specialists to learn how to utilize Hip-Hop music

to teach today’s youth. "The education and activist communities have truly

appreciated our Hip-Hop Education Summits," said Martha Diaz, President

of the Hip-Hop Association. "They have provided the opportunity to learn

and share about Hip-Hop and its legacy of empowerment. The Summer Teacher Institute

is a great occasion to bring this dialogue to a larger platform. We’re excited

to be in a position to aid in this process." The Summer Institute is also

being presented by Cuyahoga Community College and the Center for the Study of

the Arts at Cleveland State University. For more information log on:

http://www.hiphopassociation.org.

After a successful

collaboration designing luxury sunglasses, rapper/producer Pharrell Williams

will enter into the jewelry designing business with Louis Vuitton. Williams

was originally approached by Louis Vuitton designer Marc Jacobs and a deal was

announced with the company in Oct. 2004. Williams, along with Nigo, founder

of the clothing line, A Bathing Ape, designed a luxury line of sunglasses for

the fashion company. Williams created a sunglass line for Louis Vuitton that

included names like "Elvira," "Havana," and "Lady Tiger."

Williams described his new Vuitton jewelry designs as "super regal."

No in-store date was available at press time.

Tour dates for

The Black Eyed Peas’ Honda Civic Tour were announced today. The tour kicks off

on March 23rd at the Save Mart Center in Fresno, California and will hit 35

cities before winding down in Denver, Colorado on May 21. The high profile tour

is the group’s first headlining tour in North America to promote their multi-platinum

release, Monkey Business. "We are excited to be going out on the

Honda Civic Tour because it allows us to keep the ticket at a low price so that

kids can come out and see us play and not have to worry about breaking their

backs to pay for a ticket," said group member will.i.am. Fans can log on

to www.hondacivictour.com

for more information.

Tour dates are

below:

March 23 Save Mart Center Fresno, CA

March 24 Arco Arena Sacramento, CA

March 25 Reno Events Center Reno, NV

March 26 Bayside Concerts San Diego, CA

March 28 Gibson Amphitheater Los Angeles, CA

March 29 Gibson Amphitheater Los Angeles, CA

March 31 Dodge Theater Phoenix, AZ

April 7 Smirnoff Amphitheater Dallas, TX

April 8 Cynthia Woods Mitchell Pavilion Houston, TX

April 9 Verizon Wireless Amphitheater San Antonio, TX

April 11 USF SunDome Tampa, FL

April 13 Bank Atlantic Center Sunrise, FL

April 14 UofF O’Connell Center Gainesville, FL

April 15 Chastain Park Amphitheater Atlanta, GA

April 18 Booth Amph @ Regency Park Cary, NC

April 21 Theater @ Madison Square Garden New York, NY

April 22 Merriweather Post Pavilion Columbia, MD

April 23 Tweeter Waterfront Camden, NJ

April 25 Mullins Center @ UMASS Amherst, MA

April 26 Sacred Heart Univ/Wm. Pitt Center Fairfield, CT

April 28 Turning Stone Casino Verona, NY

April 29 Agganis Arena Boston, MA

April 30 Bryce Theater @ Bryce Jordan Ctr State College, PA

May 2 Value City Theater Columbus, OH

May 4 Fox Theater Detroit, MI

May 6 Aragon Ballroom Chicago, IL

May 7 Xcel Energy Center St. Paul, MN

May 12 Oakland Arena Oakland, CA

May 14 Theater in the Clouds Portland, OR

May 15 Everett Events Center Everett, WA

May 16 Star Theater @ Spokane Arena Spokane, WA

May 19 Idaho Center Theater Boise, ID

May 20 E Center Ford Theater Salt Lake City, UT

May 21 Universal Lending Pavilion Denver, CO

Spike TV Greenlights ‘Blade’ Series

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

Blade, the Marvel

Comics vampire slayer featured in trilogy of big-screen movies, is coming to

the small screen and will star rapper/Onyx group member Kirk "Sticky Fingaz"

Jones.

Spike TV has green-lighted

a television series based on the super hero that will serve as the network’s

first original scripted series.

"Blade"

will follow the adventures of an immortal half-man half-vampire who uses his

superhuman powers and skills to battle a shadowy underworld of vampires who

want to destroy the human race.

Jones will star

as Blade with a supporting cast that includes Jill Wagner ("Monk"),

Neil Jackson ("Stargate SG-1"), Nelson Lee ("Traffic," the

TV mini-series) and Jessica Gower ("Blurred").

Eleven one-hour

episodes of the show have been ordered by Spike TV, in addition to a two-hour

pilot episode.

The series, which

will be produced by New Line Television, will begin production in Vancouver

this spring.

"We’re extremely

pleased with the pilot for ‘Blade,’ which delivers a thrilling action-adventure

for its built-in fan base as well as a character-driven drama filled with heart-pounding

tension and suspense," said Pancho Mansfield, executive vice president,

original programming at Spike TV. "The series will be the first of our

scripted fare as we embark on creating a greater mix of original programming

for our viewers."

Although the weekly

series will maintain continuity from the successful trilogy, a new storyline

and new characters will be introduced. Acclaimed screenwriter and executive

producer David S. Goyer ("Blade" trilogy and "Batman Begins")

and popular comic book writer Geoff Johns who worked on the "Blade"

tele-movie, will also produce the series.

The tele-movie

is directed by Peter O’Fallon ("Suicide Kings," "American Gothic").

Best known as

"Sticky Fingaz," a member of the rap group Onyx, Jones has appeared

in a variety of films, including Clockers, Dead Presidents and

Flight of the Phoenix.

Most recently,

he appeared regularly on FX’s "Over There" and "The Shield."

"Blade"

premieres on Spike TV in June 2006.

Yolanda Adams: Full Of Grace

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

Grammy award-winning songstress Yolanda Adams has been astounding people around the world for years with her compassionate, soulful voice. Contrary to what some might think, Yolanda’s phenomenal success has contributed to some decline in optimism throughout the Gospel music industry. Her unique style and unyielding presence have transcended the boundaries between mainstream music and Gospel. Despite criticism for her crossover into the hearts of R&B and secular music fans, she has succeeded in becoming one of the most well respected and sought after artists of our time.

Yolanda’s latest album, Day By Day, features appearances from Kirk Franklin, Donnie McClurkin and Mary Mary, and offers fans a combination of comfort, encouragement, spiritual strength and appreciation. AllHipHop.com Alternatives spoke with the vivacious singer via phone as she prepared to hit the stage in a Beaumont, Texas arena for a performance.

AllHipHop.com Alternatives: This is your first album in over four years. Based on your consistency and timeliness in producing past albums, why was there such a gap in producing Day By Day?

Yolanda Adams: There was a buyout of the company. The album was done by the end of 2004, but people were not in place. We had to wait until the staff was in position to move on it. [Elektra was being folded into Atlantic]

AHHA: Your music is different from the old, traditional Gospel music and many contemporary critics criticize you for it. How do you handle opposition?

Yolanda: I think they are confused about the type of music I do. I have never sung the traditional Gospel music. I have never been a traditional Gospel artist so they should not expect that of me. That is like asking Mariah Carey to sing opera. It is not going to happen.

AHHA: Many people refer to you as a Gospel artist, and then some people refer to you as an R&B artist. How do you categorize yourself?

Yolanda: I am just an artist. I prefer to be referred to as just an artist.

AHHA: You use to be a school teacher and model as well – you grew up in the church though. Was it always your goal and dream to be an award winning national Gospel artist?

Yolanda: No! I just wanted to teach school and be a principal. It just happened. I was already singing with a choir that was recording, and a producer asked me if I wanted to do an album. I asked him if it was going to cost me anything. He said no so I was like okay! That was back in ‘88. Now I am 13 albums later.

AHHA: Your music is so inspirational. Where do you get your inspiration from?

Yolanda: The Bible. My daughter. My Family. They all keep me inspired. God has truly blessed me.

AHHA: Your tour is called Yolanda Today. I noticed you have featured artists such as Chaka Khan, Eddie Levert, and Mary Mary. You incorporate different genres into your music and your tours. How important is that to you?

Yolanda: I believe everybody has a testimony, and when I work with artists such as Chaka Khan and Eddie Levert, I want people to hear their testimony. I think that is important. It is amazing – everyone has been through something.

AHHA: Do you feel by incorporating different genres into your music, you will get your message across to the younger generations?

Yolanda: Young people, old people. People in general – anybody that will listen. I try to reach everybody.

AHHA: Jimmy Jam and Terry Lewis produced “Open My Heart”, which was a tremendous success. What was it like working with them?

Yolanda: Absolutely fantastic! They are great. We were all really good friends. I was excited about working with them – I loved it. The experience was incredible.

AHHA: How would you describe the impact of Gospel within our society today?

Yolanda: It has one of the most wonderful impacts ever. It takes you to another level. God is great. He can do so many things.

AHHA: Besides yourself, what other Gospel artists do you consider a great representation in our community?

Yolanda: Oh my goodness. Kirk Franklin, Donna McClurkin, Mary Mary. There are so many. Everybody who is doing Gospel music. They are all wonderful. We are all making a difference.

AHHA: You recently went through a divorce with former NFL player Timothy Crawford. How receptive or supportive has the Gospel community been to you in such a situation?

Yolanda: Well, people are people, but the entire Gospel community rallied around me. They were a great support group. I have a great family as well – I am a very private person too. By the time everyone found out about it, it had happened and it was over.

AHHA: What is different from the Yolanda Adams eight years ago to the Yolanda Adams today?

Yolanda: Life! Experiences in life. That says it all.

AHHA: You have won several awards, four being BET Best Gospel Artist. You are around several different genres of music. You have seen many different performances, from Hip Hop to R & B. Now as a Gospel artist, when you are sitting in that audience or even just in general–how do you feel about Hip Hop and R & B today with all the flashy cars, women, jewelry, and videos from a personal and inspirational standpoint?

Yolanda: Well, you can’t summarize it all. I do not like when people do me like that. There are some great Hip Hop and R & B artists that are trying to make a difference. In my opinion, music has always had a sexual taste to it. From Rap to Rock – especially Rock – to R&B, it has always been like that for years. Now for some, with all the women and the videos, they may need to cool out on that part of it – but they may also need that to sell records.

AHHA: Are there any artists that you haven’t worked with that you would like to work with in the future?

Yolanda: Yes. I would love to do something with Mary J. Blige. Her life is a testimony in itself. She is a great example of what a woman does when she is fed up. I applaud her. She represents well. God can do so many things. He is great. God can do so much when you give your life to Him.

AHHA: I know children are very important to you and you work with kids a lot in the community. Teaching was also one of your passions. I hear you have some future plans coming up that will incorporate them both.

Yolanda: Yes definitely. We are launching My Voice of Angel Foundation this year. We are working with children who want to get into the educational field. We are giving them that opportunity. Also, my Angel Heart Home. This will be a school for the arts, teaching anywhere from dance, modern dance, to vocal training. We will provide tutoring as well.

AHHA: I know I personally listened to “Someone Is Watching Over You” and loved it. It is very inspirational and uplifting. When I listened to it, I couldn’t help but wonder what you may have been going through when you wrote a song of such caliber and strength.

Yolanda: I actually didn’t write that song but a good friend of mine wrote it. It was based on different scenarios and things they were going through. I actually do write most of my music. They are all based on experiences and things we may have encountered. Sometimes it may not be experiences of mine, but of friends and family or even fans. Fans email us and ask questions. They want advice on a lot of things and I may take my inspiration to write from them. There are so many things.

AHHA: What does Yolanda Adams personally listen to on a day to day basis? What artists do you like?

Yolanda: Oh, there are so many. I listen to a lot of Jazz, a lot of symphony music. I also listen to Nancy Wilson and Donna Hathaway. There are so many great and talented artists out there.

AHHA: You have a lot of fans who have followed you throughout your career dating back to “88. Is there anything else you would like them to know or say to those who have followed your success for so long?

Yolanda: Yes. I thank my fans all the time. I love them and appreciate them for everything. Thank you all for everything. God is absolutely great.

Coretta Scott King Knew, Do You?

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

How does it feel to always have to be strong?  To be forced into a role as the calm in the midst of a raging maelstrom?  Coretta Scott King knew.  How do you share your husband with an entire people at a time when your life and the lives of your children are at risk? Coretta Scott King knew.  How do you carry on a legacy alone and carry the face of fortitude while losing your life partner, raising a family, and maintaining the will to carry on a fractured dream?  Coretta Scott King knew.

 

So soon after celebrating Dr. King’s legacy we are sadly forced to say good-bye to the backbone of that same legacy, at a time when that legacy is best on all sides by both his children, and our people as a whole.  Mrs. King has had health issues including both a stroke and a heart attack in the last year, but her image remains resolute as a soldier, forging ahead in a battle she may not have begun, but that she carried on dutifully in the 40-plus years since her husband’s death. 

 

Collectively we shared her tragedy, but she would not allow us to se her pain.  She grieved inside so that we would not see a beaten and broken woman. But we witnessed the emergence of a leader in her own right, taking her place among the Betty Shabazzes, setting the stage for the Winnie Mandelas, and other strong women that would not be conquered by loss and adversity.  She represented a beacon of hope for our people symbolizing not the end of the struggle, but its continuance.  A tireless fundraiser. A willing participant in the March, she never ran from her charge.  She embraced it.

 

Mrs. King oversaw the transition of her husband’s work from a man to a symbol with much more range and outreach than he had in his life, while combating forces attempting to co-opt that “dream” into a catchphrase suitable for their own intent and purpose.  She lobbied for over 10 years to have her husband honored in that respect and President Reagan finally capitulated her wish in 1983, when he signed the federal holiday into law.  She gave so much yet always maintained the charge of her largest duty-her children.  She allowed them to grow up insulated from the crushing weight of the loss of their father and the intimidating task of making something from their lives that would honor his memory without forcing them to follow in his footsteps.  She allowed them the leeway to create their own path when the pull to continue down a path already tread would have been so easily understood, but impossible to duplicate.

 

Her crowning achievement, besides the growth and development of her family was the establishment of the Martin Luther King Jr. Center for Nonviolent Social Change in 1969.  Unfortunately, the facility is currently being considered for sale to the National Park Service.  The pending sale of the grounds has become a source of disharmony among the children, with two “for” and two “against” the sale.  However, none of that is a mark on the work ethic, the persistence, the fortitude and dedication of Coretta Scott King.  One of the saddest things about growing older, is that we, as a people, lose the giants whose shoulders we stand on.  Hopefully the vision she allowed us to see is etched in our minds and we can stand higher in her memory to see further.  Mrs. King leaves behind four children, countless memories, and her own legacy.  She will be sorely missed.

Charli Baltimore: Immobilarity

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

Calling female rapper Charli Baltimore a soldier would be an understatement. The smoldering Philly beauty has dealt with her fair share of drama over the years, from failed record deals, to being the target of vicious industry rumors. After having her talent put on the back burner one time too many, this Baltimore love-thing spits the opposite on her wrong-doers.

Just days before Cam’ron used Charli’s name in his attack on Jay-Z, AllHipHop.com spoke to Ms. Baltimore on both artists. In addition to those, we get some insight to two of her unreleased albums, plus her recent union with one Compton rapper and his label. AllHipHop.com been rocking with Charli since the “Stand Up” video, but you best sit down for this.

AllHipHop.com: What was it about Game’s Black Wall Street venture that made you sign with them? How much time have you actually spent with Game?

Charli Baltimore: Game is one of those people that make decisions on the spot, so it really wasn’t a matter of me signing to him. When we met he was already interested in me as an artist. I was digging his whole movement and he was feeling the tracks I played him. I liked that Game came into the industry as a business-savvy new artist from the start. I was also impressed with his work ethic because I am a studio rat. He’ll work for days straight and if you are that dedicated, then that’s where I want to be. The whole agreement was unspoken, though. He didn’t have to say anything, [he] just put the [Black Wall Street] chain around my neck, and that was it.

AllHipHop.com: When it comes to your music, do you ever wish people would focus less on your relationship with B.I.G. and more on your skills?

Charli Baltimore: The funny thing about that is that I look at all of the people who were around Big when he was alive, and how they used it to advance themselves… it’s crazy. I believe my talent speaks for itself so I don’t ever mention Big. And I always felt like with me knowing Big the way I do, it would be disrespectful to even mention his name. It’s fine to pay your respects but I never felt like I had to say his name every time I rhyme. So yes, I wish that people would focus less on that and I think they’ve stopped. Now when I was on Untertainment, I felt associating me with B.I.G. would help my career. So in the beginning it was hard not to be associated with Biggie, but I personally never wanted to do it that way.

AllHipHop.com: What was life like for you before rapping? Like motherhood, how was survival?

Charli Baltimore: I had a really rough upbringing and didn’t have much of a life, outside of raising my daughter as a teenage parent. My family is not close, so things were left up to me to make it happen for myself. I wanted something better for my daughter than what I had when I was growing up. Since then, I’ve reached out to teen parents, many under 16, through support groups to show them that you can get yourself out of any negative situation. For me, talking to the girls, along with making music, is like therapy.

AllHipHop.com: You’ve said that Big Daddy Kane is your favorite rapper. Is that still true?

Charli Baltimore: I’ll still have to say Kane is my favorite, because he inspired me to rap. Funny thing is that when I first came on the scene, I had been asked to rhyme on a compilation where they matched old-school rappers with upcoming new rappers. I never knew until the next day, that I was supposed to do a track with Kane. Now the day before that I had taped an episode of Rap City where I rhymed over “Raw”. I met him the next day and he told me he saw the episode. I was so embarrassed. [Laughs] The compilation was never released, though.

AllHipHop.com: When you came on the scene, your style was hard to pin down… Was that marketing, or just Tiffany Lane?

Charli Baltimore: That was all me. Even when a stylist was hired, I had final say on how I looked and how I sounded. I’m ‘hood but I have always loved clothes like any other female. Growing up, I was a lil’ ‘hood-fashionista. [Laughs] Philly is definitely known for fashion, so my image and style was always me. And maybe that’s why I ran into so many problems because I didn’t look the way I rhymed. I believe it’s about finding your niche. As a new artist, I heard it all from critics… “she’s too light”, “that outfit was busted”, whatever. But when you stop listening to that and begin to “do you”, things fall into place.

AllHipHop.com: And then the hardcore way you spit with such a pretty face…People loved how hard and beautiful you were at the same time, it seemed natural for you.

Charli Baltimore: Un [Lance Rivera] told me once that he wanted me to be the “rap Britney Spears” and I was like, “No, that’s not me!” I got to a point where at the end of the day, I was like, “this is not what I came into this for.” Rap fans are real people and they don’t want to see a made-up image; they want to see you. And if they like it, they’ll f**k with you – the female fans are especially.

AllHipHop.com: Tell us about that album, Cold As Ice, that we never got to hear. Your album read like a who’s who is Hip-Hop.

Charli Baltimore: Yes, I loved working on it! I’m a fan of everyone who worked on my first project so, yes, I was so happy I was able to work with everyone I wanted to. Ghost came through, Meth, everybody. RZA, who at the time told Un he didn’t even work with females, heard my stuff and decided to work with me, so that was a true honor. I had DJ Premier, Havoc and a lot of other guys who did not really work with females at that time, so it was a real honor to have all of them on my debut. Everybody was mad cool. Un owns the masters to the album so…I hope we can eventually do a re-release where fans can see how I grew as an artist.

AllHipHop.com: What is your relationship with Un nowadays? Whatever happened with The Commission?

Charli Baltimore: I have no relationship with Un at all. Basically, our falling out was all business. I was the last to know when he lost Untertainment, so I felt some type of way about how he handled that. And as far as The Commission is concerned, I was confused about that. To my understanding, Jay wanted nothing to do with The Commission but then he’s on B.I.G.’s joints screaming “the Commission.” I’m like, “How are you mentioning the Commission but you’re leaving the third member out?” Big’s original plan for the group was me, Big, and Jay. The group would have been crazy.

AllHipHop.com: What is your relationship like with Cam these days?

Charli Baltimore: We’re cool. We don’t talk all the time but we’re cool. I’m so proud of him, Jimmy and their whole movement. Cam’s always been really talented and he has worked hard to get to where he is today. Last time I talked to Cam was last year around this time. That says a lot that we are all still around today, since the Untertainment days.

AllHipHop.com: What, if anything, would you change about your past choices?

Charli Baltimore: Damn. [sighs] I want to say Murder Inc. but I don’t, because I’m the type of person who believes that you have to take the positive from any negative situation. If I had never went through the drama with Murder Inc. I wouldn’t be in a better place now, you know? It sounds like I’m putting the blame on the label, but it was their fault. Looking back at that situation, there is honestly nothing I did wrong that contributed to how that situation went down. My work ethic was crazy. I was doing six full songs in three days, getting off of planes and going to the studio for three and four days straight. No breaks. So this wasn’t an Untertainment-situation where I wasn’t focused. And my buzz was crazy, so it’s not like they could say they didn’t feel the album would sell. I was getting mobbed by fans with no album out! Def Jam was gunning for that album; the situation was just messed up. I’m not bitter or on some, “F**k Murder Inc.!” s**t either; I’m just stating the facts that they [Gotti Brothers] don’t want anyone else to know. And for the record, I was never dropped or shelved from Murder Inc. I left. I’ve seen a lot of females take abuse in this game from male execs and I refuse to roll over and do that.

AllHipHop.com: What exactly happened that stopped a finished album from being released?

Charli Baltimore: Money was being stolen, my budget to be exact. People were taking my budget to get high and all types of other foulness that stopped it from being released. The blame can never be shifted on me, they [Irv and Lorenzo] did some slimy s**t, and I have no love for them. Def Jam even reforecasted a new budget for another album and Irv stole that money. Irv can say what he likes, my album was done. He even admitted to me that I put as much work as I needed into this album for it to be a success. He just allowed himself to be distracted by other things and let s**t fall apart. Now as far as the artists on Murder Inc., I have no problem with them. I got along with everybody and felt like I had finally found a recording home. I signed to Murder Inc. because I was impressed with Irv’s industry track record and his work ethic. He was an underdog and for him to be as visionary as he is, to mess all of that up on $8,000-a-week e##### habits and Vegas crap tables, I can’t understand it. You already have money, why did you have to steal my budget?

AllHipHop.com: So it’s now safe to say the diss track is not a rumor?

Charli Baltimore: Yes, the diss track exists and everything I said is true. There’s a lot more I could have said. [Laughs] It’s on Game’s newest mixtape. I’m finishing up my mixtape right now.

AllHipHop.com: Will the beef ever be squashed between you and Irv Gotti?

Charli Baltimore: No, there is no squashing it. And I don’t care about any of the situations they are going through right now. Anyone thinking about signing with them, do your research ‘cause n***as will take your budget and be flying to the Bahamas. [laughs] I understand it’s business at the end of the day, but if you’re gonna steal the money, at least let my album drop first.

Donuts

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

Artist: J. Dilla/Jay DeeTitle: DonutsRating: 4 StarsReviewed by: Orisanmi Burton

Jay Dee aka J Dilla is your favorite producer’s favorite producer. The Detroit native has quietly crafted tracks for several Hip Hop and R&B groups including anyone from A Tribe Called Quest, De La Soul and the Pharcyde to Janet Jackson,and Erykah Badu. His distinctively sparse and soulful sounds helped make Slum Village’s Fantastic Vol. 2 an underground favorite. After the masses slept on the trio, Dilla defected to pursue other projects. Since then he’s worked with numerous artists and released a few albums of his own including Welcome 2 Detroit as part of BBE’s Beat Generationseries. Last officially heard after dropping Champion Sound a collaboration with Madlib, Dilla returns with Donuts (Stones Throw) and finds the renowned producer at the height of his creative powers.

The album is every bit as unpolished as it is brilliant. Without a single vocal appearance Dilla exhibits his storied versatility behind the boards. Often noted for his futuristic style, on this outing he opted for a dirtier sound using distorted breakbeats and low fidelity soul samples replete with snaps and crackles. The song transitions are intriguingly abrupt an erratic. In fact with the average track length clocking in at around one minute and thirty seconds it can be said that Donuts resembles a collection of interludes more than a traditional Hip-Hop album. On the one hand it can be frustrating that just as the pace and feel of the track begin to take shape, the song abruptly switches to a seemingly incongruous concoction. On the other hand it most certainly leaves the listener thirsty for more and makes for an incessant playback factor. Sorry MC’s Donuts is not one of Dilla’s coveted beat tapes instead it’s more like a window into a vividly musical imagination.

With blaring sirens and “Dilla, Dilla, Dilla, Beats Beats Beats” reminding you who’s at the helm at every turn it is clear that J is looking to elevate his subterranean status. And after the release of Donuts, more people will certainly begin to take notice of his unique sound. The possibilities are endless. One can’t help but envisage what could happen if the likes of Ghostface or Jadakiss got a hold of one of these pastries. I guess for now we’ll leave that up to the remix DJs and wait to see what Dilla does next.