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Juelz, Deemi, Sizzla Team With EARS For Katrina Benefit

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

Juelz Santana, Deemi

and Sizzla have partnered with the EARS foundation for “The Christmas for

Katrina” Toy Drive & Concert Event.

The EARS Foundation, along with sponsors Power 105.1, Toys for

Tots and The American Red Cross, will invite families displaced by Hurricane

Katrina to the event, free of charge.

Many families that were displaced from New Orleans by Hurricane

Katrina are now living in New York City.

The EARS Foundation is a charity organization that also produces

the popular “Lifebeat” benefit concert series.

The foundation was created to give back to the urban community

by developing urban music and music education.

"I watched in horror as the lives of people were stripped

away by Hurricane Katrina,” EARS founder Tonya Lewis said. “I saw

the faces of children, clinging to teddy bears and toys, after they lost everything.

Although I gave a financial contribution, the holidays are the hardest time

to deal with tragedy and many of these people are separated from their extended

families. We wanted to create an event where we, New Yorkers, could bring comfort

to these families living in our area.”

Juelz Santana will be performing songs from his newly released

album, ‘What The Game’s Been Missing, including his hit

single "There It Go (The Whistle Song)."

Santana’s album is currently the #1 Hip-Hop album in the

United States, holding top position on Billboard’s Hip-Hop/Rap Charts.

The album is also one of the Top 10 albums in the country according

to Billboard’s Top 200 Charts.

This event will be held on Saturday, December 17, 2005 from

2pm – 7pm at The Skate Key Entertainment Complex located at 220 East 138th

Street in the Mott Haven section of the Bronx.

General admission

is $10 and an unwrapped toy.

To Snitch or Not To Snitch

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

I admit, I’m not a criminal and I don’t know all the laws of criminality.

Despite that, there is one notion that has domineered this year. In 2005, Hip-Hop and the streets demand that you all STOP SNITCHING.

There is a website devoted to it, every gangster rapper on Earth denies being one and rightfully so. In the real gangster world and the WWF-like Hip-Hop world alike, a snitch is considered the worst. In fact, they are called rats – such a loathsome term!

Before I get to the heart of the matter, this is my understanding about snitches (correct me if I am wrong):

When you are a snitch, that means you got caught in a crime and tell on other crooks to save your own skin. A snitch might get a lighter jail term because he tells authorities about all the illegal things his crew does. Take Salvatore "Sammy the Bull" Gravano for example. He was regarded as a highly respected underboss for the feared Gambino family in the 1980’s. However, by the 90’s he became the biggest in history after he turned state’s evidence and testified against Gotti in exchange for a reduced sentence. Moving on…

Now, from what I gather, there is another type of snitch loathed in the Black community. This rat includes anybody that talks to police or takes the stand in court. Although I have no opinion on Lil ‘ Cease, some consider him a turncoat because he testified at the Lil’ Kim perjury trial earlier this year. Cam’ron got major “props” when he refused to talk to police after getting shot in Washington D.C. Walking inside a court = snitch. Speaking to cops even about the nice weather on a summer day = snitch. Moving on…

Lastly, there is another variable. 50 Cent gets dogged about being a snitch by telling his very popular tale though song. It just so happens that his lucrative saga includes the names in a criminal underworld (‘hood legends), relative unknowns to the world at large. It’s not much different from some of the things the beloved Tupac did in legendary, passionate songs like “Against All Odds.” I never heard of Jimmy Henchmen until that song and now he’s well-known and very successful. Incidentally, Jimmy is one of 50 Cent’s primary detractors and The Game, another 50 adversary, has a DVD called “Stop Snitchin.’” What’s comical is The Game is doing dastardly pranks on the DVD, in essence snitching on himself! (But, isn’t every gangsta rapper a snitch by talking too much?) Moving on…

Here is the point:

It is my understanding that Yafeu “Khadafi” Fula, one of Tupac’s original Outlawz, was willing to cooperate with the authorities to identify the person that shot and killed his homey (he was later slain). On the flip side, Death Row Records co-founder Suge Knight totally complied with street code and told ABC News he wouldn’t offer up the killers even if he knew who did it. After B.I.G. was slain, his close comrades like Damien Butler fingered people they felt were responsible for the rapper’s death (pause!). Nearly 10 years later, we as a collective still haven’t been able to heal from Biggie and Pac’s passing, because there has been no resolution, no justice. I mean no disrespect to Khadafi and Damien, because I think they are fine men. However, by the definitions that “the streets” have laid out they would be regarded as a pair of snitches. Right? Suge is right and they are wrong – streets say so.

Now, I’m deficient in street credibility, but I believe the primary reason people don’t snitch, is to handle business in the streets. Police our own culture. I don’t see that as the case these days. When our heroes get shot, they come home to the adulation of their fans, they stick to the code of silence and many of them do absolutely nothing in the streets afterward. They simply don’t tattletale, for lack a harder word (and haven’t we been taught that since we were kids?). They just allow somebody to impose their will on them.

If somebody does harm to my loved one or me, I have only two options. First, I can come back like “I’m avenging my brother’s death” or I can work in sweet harmony with the cops to arrest the monstrosity killed my peeps. But, I promise there will not come a time when I will do nothing. And that’s my dilemma. I’m no super thug and therefore and am not built for any long-term stretch in jail. So, that sweet vengeance shall never be mine. Big up to Shyne for not talking, but I’m not going to jail for another man’s crime either (I believe Shyne is tight-lipped to cover for another?). So, that would make me a possible snitch on two accounts.

Fear not, streets…I am not a snitch! Why? It’s very simple. I’m not doing any crimes. Any of my homeys that do indulge, I let them know I’m not about any offenses (unless its writing bad articles). And I haven’t wronged anybody in a way that would make them do me harm, so I can’t get my Charles Bronson on in the name of retribution. Furthermore, I’m running the rumors page and I have left many-a-rumor off the page- I could be dropping dimes like Usher!

I’m not the only one that is conflicted with this “Stop Snitching” crap.

There is a no snitching policy that permeates the very fabric of our culture even though society pounces on these often misguided wearing these stupid shirts. Lets start with the police. Aside from Rodney King’s beating at the hands of police (which was on video tape), name a criminal case where police officer turned in another one. Didn’t think so. With this thick “Wall of Silence,” the cops should be the ones wearing the “Stop Snitching” shirts.

Hell, we know that enough people “snitched” in the B.I.G. case to create composite sketches of the rapper’s assassin even though the cops said that “we” refused to talk to detectives. We also know that in July of 2005, an anonymous “snitch” revealed that hundreds of documents were found that could lead to a murder suspect. Los Angeles police allegedly played a role in the murder of “the King of New York,” but you don’t see anybody inside stepping up to the plate in the name of justice (Well, I guess Russell Poole could count, that "snitch!"). You know they know.

So, as is always the case with rap, there is a bigger issue that these social analysts fail to diagnose.

Still, the fact remains most people that rock those corny “Stop Snitching” t-shirts are destined to buckle in half if the poo-poo really hit the fan. Furthermore, with the Feds swarming Hip-Hop like vultures on a carcass, we can expect that more people will be tested in the manner Lil’ Kim was. Flavor Flav of Public Enemy once said, “If you kill my dog, I’m going to slay your cat.” It seems like these days we forgot the latter part and just let people kill our dogs.

P.S. Maybe I’ll just bust a cap in some thing since nobody will tell the cops? Just kidding.

Illseed is AllHipHop.com’s rumor guy and an independent cultural critic. Send all email to [email protected]. The rest of the AHH Staff proudly wears "Stop Snitching" shirts.

B-Legit: Click of Respect

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

B-Legit is a hell of a lot more than E-40’s brother. After a decade plus, B has led by quiet example for his community, both as an artist signed to Jive and today, as an independent. His hemp-themed albums sat lovely with red-eyed cruisers everywhere, but in 2005, B-Legit brings it back to the block.

In a conversation with AllHipHop.com, B-Legit waxes Bay politics, beat-downs, touches on South and West ridas, and reveals just how gangsta his buddy Jadakiss is out East. For everybody that ever admired the curves on a ’72 Cutlass or kept it extra Clickalicious, this one’s for y’all!

AllHipHop.com: What is the Block Movement?

B-Legit: The Block Movement is this: When I first got in the game the core audience was the block. That’s who we made this music for. As time moved on, the music changed and took a couple of twists. After the death of Tupac and Biggie, a lot of people were not too hip on listening to gangster music. The radio began to dictate which type of music got played. So, if you had a gangster song, there wasn’t anyway it was going to get on the radio. They tended to play more Ja Rule stuff- tryin’ to keep everybody at peace. That thing kinda took over. I was like “Man, that’s not what this was about. It was about the block.” So, I’m trying to bring the block back. If I did anything else, I’d be outta my zone, trying to imitate something that I don’t really do.

AllHipHop.com: I think proof of this lies in “Knock His Ass Out”. It’s also proof that you are an O.G. All the young cats now are so afraid to squabble and scuffle like we did way back. Today everybody is reaching for the AK to spray. What made you do that song?

B-Legit: Back in the day, me and my cousins, we were pretty big guys. We were raised country style. If you had a problem with a cat, you take it to the field and get ‘em up. You don’t have to kill a n***a [laughs]. Just beat his ass. If you get yo’ ass beat it’s all good. There’s another day. You can come back. That’s what it was really about. Other people forced the other s***t into it. I guess they cowards. So, if they don’t wanna get ‘em up, they bring a gun into it. What’s wrong with a good old fashioned ass whoopin’?

There’s always somebody in the club. They see you in the club tryin’ to be in your own zone. Tryin’ to get your groove on. But they just keep on talkin’ and keep messin’ with ya. Then they spill their drink on you. You ain’t got to kill him. Just knock him out, drag him out and let the party go on.

AllHipHop.com: Do you have a personal favorite knock out story for me?

B-Legit: I got one. But it was way back though. We used to drink a lot of 40’s back in the day. They used to turn us into the Incredible Hulk. Have us thinkin’ we was real strong. We used to do real stupid s**t like walking into bars and stealin’ [giving big punches to the jaw] on people.

We used to do that at this place called the wharf. It’s a military bar. Military people liked to drink to. We’d be outside drinkin’ 40’s. They’d be inside drinking shots or whatever. Somehow, we met out in the parking lot. We tried to shake their hand. They thought they were too good. We just started poundin’ on them [chuckles]. It was stupid. But you live to tell about that- ya know what I mean?

AllHipHop.com: On most of your previous LPs’ you busted over mid to down tempo beats- ‘cause that’s very Bay-ish. But on this one you have a lot of club bangers with strong hooks. Was that a conscious move, or just the evolution of B-Legit?

B-Legit: It was a conscious move. I’m in the club a lot. I wanna hear my joints in the club. Back in the day, they’d play my joint, but they had to break the mix…Like slow it down, start talkin’ then play it. I wanted to make this album mix-friendly. Those beats that they call ‘Southern beats’ – are regular West Coast beats but they appear faster because the symbol is moving faster. So, it has that bounce to it.

AllHipHop.com: A lot of people in the Bay have criticized the Southern Hip-Hop. The Ying Yang Twins specifically, have been in question. What’s your take on all this?

B-Legit: When I first came in the game, we did a compilation called, South West Ryders. We were letting people know that the South and the West are riding together. The East, sometimes, they are not interested in what we have to say. But the South, they supported us from the gate. When I first came out and was not getting played out here, the South was the ones that took us in. They were buyin’ our CD’s at first. They adopted our sound and our language at first, but then they put their own twist on it. They had the fast moving high hats. Now, instead of having to buy a West Coast tape, they can buy their own artists. But they have to understand that our people, migrated from the South to [the West]. But we’re not getting the promotional dollars, and being incorporated into the machine to advertise big. It’s not that they don’t like us. They don’t know about the CD. But we are not getting’ pushed in those markets so it’s not sellin’ out there.

AllHipHop.com: That’s a fair assessment.

B-Legit: If there was a major label pushing Bay Area acts hard out there, it would sell. But cats are independent. So, it’s not reaching out there.

AllHipHop.com: So they can’t support what they don’t know?

B-Legit: Exactly. I also think some people here focus on being locally accepted. Some of them need to broaden their horizons. Do songs for the South. Do songs for back East. You can’t be one-dimensional in life.

AllHipHop.com: You mentioned your songs being in the club. Recently E-40’s club “The Ambassadors Lounge” got shut down by a city council woman [allegedly Cindy Chavez] who was in cahoots with the San Jose Police Department. A lot of people on the avenue said the SJPD was very oppressive in the way they treated the patrons of The Ambassadors Lounge. How do you feel about the way that went down?

B-Legit: San Jose is a city that wants to be known as one of the safest city’s in the Bay. In order for them to do that, they have to keep the “hoodlums, thugs, prostitutes” knowing that, “We’re gonna be on your back”. They want to make it like “I don’t wanna be there [in San Jose] because they sweat me too hard”.

So, by the club being there and by 40 being who he was- it attracted a lot of young Latinos and Blacks. Like any other gathering, sometimes thing happen, people fight, there was a shooting. They did not want that in their city. So they allowed the same club to be open called, The Bee Hive. But they did not want 40’s name on it [the club]. When the major concerts come, they come to San Jose. They don’t go to Oakland or San Francisco. They go to San Jose and Sacramento. This is a city that’s ran by the police. A long time ago they used to have lowriders cruising. They [SJPD] shut that down. They harassed anybody they thought was even trying to have a good time. They did the same thing to the club. But they allowed the club to open back up as long as 40’s name was not on it. But I think they are violating a lot of peoples’ rights.

AllHipHop.com: Moving onto bigger and better, long before Nate Dogg, the Bay had the vocal tones of Levitti over Hip-Hop beats. That brother is featured on this album as well. When are we gonna see an album from Levitti? Enquiring minds wanna know!

B-Legit: I been recently having him in the studio. He’s my personal favorite. I tried to shop a deal for him. But I think he was ahead of his time. He had a gangster twist to him. But now they got Akon and Lyfe [Jennings] out. But Levitti was doing that a long time ago. At the same time, I know Nate Dogg did well with the Dogg Pound and Dr. Dre, but I don’t know how he did as a solo artist. Because it’s a different approach and marketing technique to putting out a rapper than a vocalist over Hip-Hop beats.

AllHipHop.com: Speaking of Tha Dogg Pound, I loved “Playa Potnas” from Daz’s Retaliation, Revenge and Get Back LP. That’s a good jam to work-out to. When y’all gonna team back up and make some more heat for the streets?

B-Legit: I gotta line in on Daz. He be moving around a lot, so it’s hard to get hold of him sometimes. But that was a combo between him and Soopafly. If we can get them back in the studio and hook it up again- wow.

AllHipHop.com: I was surprised to hear the collaboration with Styles P and Jadakiss. I loved it, but I was surprised. How did that happen?

B-Legit: I’m an international type guy. I travel lot. Super Bowls, All Star Games, award shows and stuff. I see Jada everywhere. We have some mutual friends too. I’m tellin’ him “You gotta come out to the Bay more often. You got love, but they don’t see you.” He’s like, “I do need to get out there more. I got some 16’s [16 bar raps] for you whenever you want them.” So I was up in Denver at the All-Star game, and we chopped it up. When I started working on this album, I waited till I got towards the end of it. I called him and told him about it. He was like, “Send it to me.” He took it and did something with it. He got Styles on it. He did that on the love. It worked out. The name of my album is Block Movement, they D-Block. It was the perfect time for something like that.

AllHipHop.com: A lot of people across The Bay, across the West, across the country are fighting to save the life to Stanley “Tookie” Williams. Can you tell me any of your thoughts on that?

B-Legit: I think so many people in Hip-Hop have love for him with the Crip and Blood thing. In the beginning, it showed brotherhood. Now you got Bloods and Crips all over the world. It started out as a brotherhood. Like, “These are my homeboys and we’re looking out for each other”. Over time, of course the wars came. By him being a triple OG he has had time to live, learn and examine what he did. What he’s doing now is trying to give back. To let the people know, by using himself as an example of where he went bad. He’s trying to keep them out of being in the same things so they are not facing what he’s facing. Sometimes, if you a preacher and you try to talk to a thug- the thug ain’t trying to hear what you have to say. Because he feels like you have not been through what he has been through. But lookin’ at Tookie, they gonna listen. He’s the start. He the founder of this. All he’s trying to do now is rebuild from his mistakes and give back. I don’t think they should kill him.

Adisa Banjoko is the controversial author of “Lyrical Swords Vol. 2: Westside Rebellion”. For more info visit www.lyricalswords.com !

Skillz Launches Label, Plans New Album

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

Rapper Skillz has

launched his own label and inked a distribution deal with Koch to release an upcoming

untitled album.

The Richmond, Virginia’s label, Big Kidz Entertainment,

recently inked a joint venture deal with Koch to release an album filled with

all-new material.

Skillz said the concept of Big Kidz Entertainment came to him

a few years ago, as he was out shopping with a friend.

“I was getting some money from writing and some checks

started coming in so I just started buying s**t and [a friend] was like ‘Damn,

dog, that’s one thing that ni**as act like when they get some money.’

[I said] ‘What’s that?’ [He said] ‘Like a big ass kid,

you actin’ like a big ass kid,’” Skillz told AllHipHop.com.

The logo for the new imprint features a child holding a briefcase

full of money, sitting on top of the world.

“I think the average person, everybody’s got a little

bit of a child still in them,” Skillz said of the concept.

Originally known as Mad Skillz, the rapper released his critically

acclaimed album From Where??? in 1995, that featured the single “The

Nod Factor.”

The rapper resurfaced on albums by fellow Virginia natives Timbaland,

Missy Elliot and The Neptunes and appeared on the remix to Aaliyah’s Timbaland-produced

single "Are You That Somebody," in 1998.

The rapper officially dropped the “Mad” from his

name with 2002’s album, I Ain’t Mad No More and released several

more albums, as well as the popular yearly “Rap Up” singles that

recap major events in the world at the end of the year.

Almost 10 years later, the rapper is preparing to release an

album on his record label, with international distribution.

“Back in the day, I just got the regular artist deal,”

Skillz said. “You [are] breaking your neck, doing all this s**t and you’re

getting the smallest amount of money you can get. And gone are the days where

n**as are spending $300,000-400,000 to record an album. I’m happy about

it. Now, I’m getting all kinds of demos. I listened to like 9 demos and

beat CD’s on the way up here [to New York] because I never know. I might

stumble on the next Kanye, the next Just Blaze.”

Skillz untitled

album is slated to hit stores in early 2006 on Big Kidz Entertainment/KOCH Records.

50 Cent Dominates Billboard Awards

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

Rapper 50 Cent took

top honors in Las Vegas at the MGM Grand Garden Arena, as he walked off with six

trophies at the 2005 Billboard Music Awards.

The G-Unit General, who was nominated in eight different categories, took home

Billboard’s coveted Artist of the Year and Album of the Year trophies for

his sophomore album, The Massacre.

50 completed his coup by winning the Rap, R&B/Hip-Hop and

Hot 100 artist of the year titles, as well as, Ringtone of the Year award for

“Candy Shop” featuring Olivia.

In addition to 50, Kanye West also scored big when he was honored with Billboards

Artist Achievement Award.

West, the eighth Artist Achievement nominee, was recognized

for his artistic excellence and Billboard chart accomplishments.

Upon accepting his award, the Chicago MC noted, “When I first came out

I was a hot head. I thought I was the greatest. After all the accolades, the

Time covers, the awards, the music connecting with the people…after all

that…my greatest achievement is still thinking I’m the greatest."

Hosted by Hip-Hop legend LL Cool J., the awards show also featured performances

by R. Kelly, Pretty Ricky and Ciara.

Reggaetón star Daddy Yankee, who recently inked a sneaker

deal with Reebok, won two trophies, including Latin album of the year for Barrio

Fino.

The Billboard Awards honor the most popular recordings and artists of the year

as determined by actual performance on the magazine’s weekly charts.

The awards are

based on sales data compiled by Nielsen SoundScan with the winners being determined

by the 2005 year-end charts.

Game Affiliate G. Malone Inks Deal With Big Ego/Sony Urban

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

Former Aftermath A&R

Mike Lynn, who helped discover The Game, has signed Black Wall Street affiliate

G. Malone to a solo contract and label deal.

G. Malone’s album The Beach Cruiser will be released

with the rapper’s label Blu Division, in conjunction with Big Ego Entertainment

and Sony Urban Music.

"Signing the deal was the beginning," G. Malone told

AllHipHop.com. "Now I got 1.7 million other things to do," he said

referring to his supposed signing bonus.

Big

Ego’s Mike Lynn joined Dr. Dre’s Aftermath Entertainment in 1996, where

he was influential in the careers of such artists as 50 Cent, Eve, Game, Busta

Rhymes and others.

In August of 2005, Lynn announced a partnership with Sony Urban

Music and Columbia Records Group and is in charge of signing and developing

artists released on Sony Urban/Columbia.

Although G. Malone is co-managed by Game’s brother, Big Fase

100, the Watts rapper chose to align himself with Big Ego rather than sign directly

with The Black Wall Street, which he is still affiliated with.

Currently, G. Malone is at work on a mixtape he hopes to drop

by the end of the year.

The Beach Cruiser

is slated for a spring 2006 release.

Kanye West, Musicland Giving Away $150k Scholarship

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

Kanye West and music

retail chain Musicland announced a nationwide campaign that will award one student

$150,000 to be used toward the cost of a four-year college education.

The “Free U. Giveaway” is the second program sponsored

by The Kanye West Foundation, which is devoted towards education.

"I’m excited to have this opportunity to partner with Musicland,"

West said. "We’re not just giving away a significant amount of money; we’re

sponsoring someone’s dreams."

The Kanye West Foundation’s first program "Loop Dreams,"

is dedicated to putting music production equipment in schools.

Musicland operates over 900 retail stores in 48 states.

Interested eligible scholars can enter their name on ballots,

located in Sam Goody, Suncoast and Media Play stores.

The winner will

be chosen in 2006.

Beyond the Spectrum: The Creamy Spy Chronicles

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

Artist: Digable PlanetsTitle: Beyond the Spectrum: The Creamy Spy ChroniclesRating: 4 1/2 StarsReviewed by: aqua boogie

Digable Planets never really got their fair shot. When they slipped into the scene with 1993’s Reachin’ (A New Refutation of Time and Space), snagging a Grammy and accolades longer than the album’s title, many dubbed them as late guests to the Native Tongue show. They were also accused of being too soft for the growing, and economically favorable, gangsta rap rhetoric. Nevertheless, Butterly, Doodlebug, and the “damn she’s fly and she can rhyme too” Ladybug Mecca put together some fresh Hip-Hop grooves. Beyond the Spectrum: The Creamy Spy Chronicles (Blue Note) compiles their singles and choice B-sides from their pair of albums, making it an ideal primer for the young heads who missed out.

In Hip-Hop, the B-side on that choice piece of vinyl is often more than just a throwaway song. One here in particular, the lyrically underappreciated Ishmael “Butterly” Butler’s solo “Dedication”, which originally appeared on the flip to “Dial 7 (Axioms of Creamy Spies)”, finds him smoothly giving the finger to his crew’s detractors over affectionate keys when he kicks, “ Sh*tty ass rap need a firm gun clap, revolution time, I’m cool like that, go pop I would never act a fool like that, I’m a Panther, to a triple six I’m cancer.”

Likely because their catalog falls under EMI-and in turn this is a Blue Note Records release-the album’s selections include the jazzier elements of their catalog, not exactly a reach. Digable’s choice singles “Rebirth of Slick (Cool Like Dat)”, “Nickel Bags” and even the harder edged “9th Wonder (Blackitolism)” are all here. Rare gems like the bass brooding “Where I’m From Remix” (actually called the “Aural G-Ride” version on the original wax) or the slick Bob James sampling album cut “Jettin’” from their sophomore sleeper Blowout Comb round out this disc. But where is “Flyin’ High in the Brooklyn Sky” from the Stolen Moments Red Hot + Cool album?

Digable Planets find themselves back together and a reunion album is forthcoming. But in Hip-Hop, more specifically the rap industry, when your time in the limelight is darkened, successful comebacks are an oddity. But vintage nostalgia makes a smile and nod to familiar beats guaranteed.

Impulsive!: Revolutionary Jazz Reworked

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

Artist: Various ArtistsTitle: Impulsive!: Revolutionary Jazz ReworkedRating: 3 1/2 StarsReviewed by: Orisanmi Burton

For the uninitiated, the name “Impulse!” may not solicit a particular response. For all others this declaration, when set against orange and black packaging and adorned with converse exclamation points brings to mind many of jazz music’s most legendary figures. From 1961 to 1976 composers like Dizzy Gillespie, John Coltrane, Alice Coltrane, Pharoah Saunders and Charles Mingus all recorded for this landmark imprint. It was also here, that they were able to produce some of their most creative and experimental works, making it one of the most formidable names in jazz music.

Impulsive!: Revolutionary Jazz Reworked (Impulse!) is the an introduction (or induction) to a new generation of listener. Much in the vain of the Verve Remixed series and Blue Note’s recent revival efforts, Impulsive! enlists innovative producers of Hip-Hop and electronic music to reinterpret some of the label’s most well-known works. Here you’ll find a laudable rendition Charles Mingus’ “II B.S.” by the RZA as well as Gerardo Frisina’s catchy house rendition of “Swing Low, Sweet Cadillac” by Dizzy Gillespie. The album also features Kid Koala, Prefuse 73 and a surprise drop from Ravi Coltrane (John Coltrane’s son). But perhaps the most compelling piece on the eleven-track compilation is Chief Xcel’s work on Archie Shepp’s indomitable “Attica Blues”. While much of the original recording is left intact – the hypnotizing baseline, blaring saxophone and powerful vocals – Xcel’s heavy kicks, snares and scratches serve beautifully to amplify the statement in true Hip-Hop fashion.

Three decades after their dominance in the jazz genre, re-mastered versions of the expansive Impulse! catalog continue to lure newcomers and seasoned enthusiasts alike to record shops throughout the world. Impulsive!: Revolutionary Jazz Reworked will prove to be a strong addition to this hallmark jazz institution.

Feast or Famine

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

Artist: Reef the Lost CauzeTitle: Feast or FamineRating: 3 1/2 StarsReviewed by: Max Herman

Reef The Lost Cauze is one heated MC. While his voice is not quite as intense as his JuJu Mob crewmate, Chief Kamachi’s, this Philly-native proves to be a true Master of Ceremony on his new album, Feast or Famine (Good Hands/Eastern Conference).

As a champion battle rapper, Reef’s still got plenty of scathing one-liners to go around.

But as he describes of himself on the aptly-titled cut, “Commander In Chief,” “I could be so inappropriate / but in the next bar spit a phrase that’s as deep as the ocean.” Thus on his first widely distributed album, he often takes things a bit deeper. For one, the poignant “Eyes Of My Father” sees Reef get inside his dad’s perspective in an attempt to figure out why he walked out. Then on the introspective “How You Lose Your Mind,” he describes in detail how dropping out of college and then eventually having to move back home is starting to drive him mad. As these tracks reveal, Reef undoubtedly has a story to tell and he relays the many angles of it well.

Yet amid all the personal revelations, some of the most enjoyable material on Feast Or Famine is heard on the battle-oriented tracks, which are accompanied by the neck-snapping beats of Eyego Direct, S#### and other able East Coasters. Not to knock his more revelatory tracks, but this MC’s voice lights up most when he’s got a target in sight. Whether he’s persuading Hip-Hop imposters and exploiters to stop butchering the music (“Give It Up”) or just staking his claim in the game (“Commander In Chief”), Reef brings the verbal heat like few can. Sure he makes some lofty claims like, “I’m the next B.I.G. without the n#### Puff / I probably shouldn’t say s### like that / but I don’t give a f###.” But the point is Reef can get your attention with the quickness because even if the listener may not, he believes in what he says 100-percent.

Kardinal Offishall: Canada Rises

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

Kardinal Offishall is a true contender. When releasing his freshman album, Firestarter Volume One: Quest for Fire, he was forced to deal with a record deal gone sour no thanks to MCA, or as Talib Kweli is calling it, “Music Cemetery of America.” Instead of complaining, Kardinal took his platinum-selling status and came back with a lethal combination of guest appearances on various albums and the release of his mixtape, “Kill Bloodclot Bill.” The mixtape featured an assortment of artists, pushing Toronto’s MC to raise up like Petey Pablo.

Now after lying low for three years, Kardinal Offishall is making his comeback with more fire than ever. Here, he chops it up with AllHipHop.com on lasting-power, Toronto life, and the rise of Reggaetone.

AllHipHop.com: What have you been up to since your last album?

Kardinal: It’s been crazy. We went through the label drama even before I got started. Mainly, we’ve been doing a lot of collaborations in London, with Def Jam U.K. I’ve also done some work with Pete Rock, Method Man, Nas, Jake-One, Akon and of course the Convict Music family. I went on tour with G-Unit. Me and Nottz have done a lot in the past [year].

AllHipHop.com: What did you learn from your problems with MCA?

Kardinal: I learned not to ever get wrapped up in a deal like that again. I’m not gonna get locked down with one particular label unless I feel that s**t is right. I started off with business, first. My MCA deal required them to build me a studio. That’s where I recorded the “Kill Bloodclot Bill” mixtape. I also did some stuff with Clinton Sparks. A lot of companies have been checking us. Akon and the Convict crew is family, so we’re looking for a deal for all. When deals go sour, your really can’t blame to artist, but rather the label. They want two or three singles. They could give a f**k what the rest of the album sounds like, as long as they have those couple of tracks to release to the market. If they’re good, then they want you. If not, they could care less. I’ve seen it go down in meetings. I want my album to be crazy, no fillers and no album cuts. Maybe I’ll get a deal with a semi-indie label like Fastlane or Asylum. Look at Dipset. They’re semi-indie, and you can six or seven dollars [each CD sold]. You can’t do that with the majors.

AllHipHop.com: What’s the highlight been since you’ve opened the studio?

Kardinal: Jay-Z came down to the studio. That was the highlight of my career. For me and a lot of others, he’s the illest MC ever. He was performing during “Carbana Saturday.” He brought me out onstage and let me rock the mic. For me, to be introduced by him was amazing. It was crazy live. He knows the hustle. For him to give me a shot like that in my home town, it’s all love. I love Hip-Hop because it’s what we make it.

AllHipHop.com: For you, what makes volume 2 different from volume 1?

Kardinal: Hip-Hop has gotten too comfy. I will murder cats. Rappers think that s**t is set in stone. They think that once they get on, they don’t have to work anymore and can put out what ever. Then you get cats like me that are different. I’m always hungry. I’m trying to make music that heads feel and understand. When s**t is on the next level, it’s not supposed to be immediately understood. It may take a minute to feel, but it’s all there. You just can’t bring your music to the block… I want to take it to the world.

AllHipHop.com: Tell me about Japan’s scene.

Kardinal: The Japanese love Hip-Hop and Reggae. Whatever they get, they take to a whole new level. They really live it. No bulls**t.

AllHipHop.com: On the your most memorable song, “Bakardi Slang,” you talk about living in the T-Dot. Tell me about the slang and life there.

Kardinal: Our slang is based on where our people come from. We have a lot of people of West Indian and Nova Scotian descent. So it’s pretty much a mix of both places. Certain street lingos from various areas become popular and get used.

AllHipHop.com: You’ve done a lot of collaborations. Do you feel that part of your creativity is lost to compromise?

Kardinal: I love working with other people. It gives you inspiration to feed and vibe from. Working on your own has its benefits because you can do what you want and make things how you want. Sometimes you get locked in a repetitive pattern. Having some else around, gets you out of that.

AllHipHop.com: You’re also a producer, what makes you decide that you want to work with a particular artist?

Kardinal: Respect drives me to work with someone. I like doing records with people that I like as people. It’s based on a mutual love for people and music. You’ll meet a lot of cats that are mad cool and some that will just blow smoke up your ass. I take my music really personally. It’s an extension of myself. It has to be more than just about now, but also later. When I say that; I mean working together later on as well. When I look back on my career, I don’t want look back and have regrets. I want to be timeless in 2005 and in 2050. I want to be on that kind of a level like P#### Enemy, Kool G. Rap and others that I grew up listening too. I fell in love with Hip-Hop and those records. Ten years from now, I want my mixtape to be able to bang in a radio as hard as it can now, if not even harder.

AllHipHop.com: What’s the T-Dot like right now?

Kardinal: The T-Dot is real dope right now. If you have your ear to the street, you will hear some nasty stuff. K-Os is out of Canada. He’s a big thing. There’s also Saukrates, Brass Monkey and a bunch more. Like I said, you have to have your ear to the ground and be in the mix to really know what’s going on. Right now, the streets have been crazy. Kids have been getting caught in the middle of crossfire, it’s sad. There was a popular club that was known for its Sunday night parties, but they had to stop because of the violence. They had done that s### for14 years straight. S**t sucks.

AllHipHop.com: On Quest for Fire, you avoided using profanity or mentioning guns.

Kardinal: I like for everyone to enjoy my music. I mean I’ll say, ‘f**k’ and ‘n***a,’ all day, but it’s not always needed. There are times when the use of those words or others, are needed to get a point across. Some people use profanity to just get attention. I’m no goody two-shoes, but it’s not always needed. Some cats bust guns and some just hold. For me, it’s never been necessary. I’ve been blessed to have people around me that care for me. That’s a lot more to talk about. I live in the hood, so I see that stuff all day. I’d like to talk about other s**t.

AllHipHop.com: Given your background, how do you feel about the Reggaeton/Dance Hall Explosion?

Kardinal: Tego, Daddy Yankee and Nore have been all doing it for a while. They’re ill. Dancehall gets popular and then dies down. It’s just coming back again. And now neither is going away. People in the States now have respect for both styles. When I first came out, I messed with some Reggae, but heads didn’t know what to do. They were feeling it, but they were confused. With the eruption of Bounty Killer, Sean Paul, Elephant Man and others, now heads love it. Even Shaggy is making a come back. Before, a lot of labels wouldn’t mess with either style because they didn’t know how to market it. Now they’re running out and trying to sign every Reggaeton and Dancehall artist that they can find. Next I think people will get into U.K. Grime. It’s a mix of Dancehall, Hip-Hop, Jungle, and other stuff. I say this because people are now more open to new things. When I was a kid, growing up in T-Dot, if someone yelled, “Brooklyn!” Forget it, it was over. We’ve always been cool with New York, but now people are more open to taking chances.

Troy Dunnit: Canada Fly

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

Troy Dunnit is making moves. Some may remember him from Montreal crew, Obscure Disorder, which also yielded Kanye West’s DJ, A-Trak. After a small success with Obscure Disorder, he has journeyed from the frozen north of Canada, to Kool G Rap’s proverbial mass-populated “streets of New York” to seek success. Perhaps it’s just as easy to get lost as it is to get discovered.

AllHipHop.com recognizes Troy’s risk-taking courage. We welcomed him to New York, in part of our effort to shine Canadian – and universal Hip-Hop. From this feature, experience shows new listeners that one thing’s clear – Troy done it.

AllHipHop.com: What’s the name of your new album?

Troy Dunnit: It’s going to be called, “An International Affair.” It’s due out in early 2006.

AllHipHop.com: What happened to your old group, Obscure Disorder?

Troy Dunnit: I’m still in it. We all came up together as kids. We were making some noise back in the late 90’s and up to 2001. We popped up in XXL, The Source, and a few other magazines. We had a few singles, but the vinyl scene kind of slowed down. To be real, I hate when people come out just to put their boys on. You have to have love for your roots, but look at Nelly. Where are the St. Lunatics now? Right now this is me doing me. When you’re in a group it’s a collective of ideas, but when it’s solo, it’s all about you. It’s about what you want to write and about and the sound that you want. I write to get twisted. My boy Eclipse doesn’t even party, but we work well together. Cat is nice. We have different styles of rhyming, but can come together on a common idea and s**t comes out crazy!

AllHipHop.com: Where may people have seen you solo?

Troy Dunnit: I went on tour with Boot Camp [Click]. Smiff n’ Wessun are my boys.

AllHipHop.com: How did you come up with the album’s title, International Affair?

Troy Dunnit: I’m a Haitian-Canadian. In Montréal, there are a lot of people from Haiti, Barbados, and Jamaica. I always came to the states as a kid. I have family in Boston. There are people from all sorts of backgrounds from all over the world doing there thing. Hip-Hop itself is an international affair.

AllHipHop.com: What label are you currently on?

Troy Dunnit: Right now, I’m shopping. I’m looking towards Fat Beats, or something larger. I see kids hustling all over New York. It’s really a rat race.

AllHipHop.com: If that doesn’t work, ever thought about starting your own label?

Troy Dunnit: I should, but I really want to ghostwrite. I wish that I would have made beats back in the day. Producers today are really making money. [laughs] I don’t wanna do paper work though. I just want to rap and ghostwrite.

AllHipHop.com: Ghostwriting seems to be a hard nut to crack. A lot of MC’s admit to reading the thesaurus or doing cross-word puzzles. What do you do to up your vocab?

Troy Dunnit: I don’t really read a lot of books. I have never finished a novel, not even for school, and I’m a college drop out… I love new information though. I also love to educate myself, so I remember interesting vocab that I’ve never heard or haven’t used. It keeps the mind fresh. S**t, I do it so I can use it in everyday conversation. I don’t like to sound stupid, but I don’t have nay shame in asking somebody about a particular word’s meaning. More than likely, so I can use it in a later conversation or rhyme.

AllHipHop.com: Who was one of the emcees that really inspired you to start rhyming and get into the game?

Troy Dunnit: Big L. He’s the illest! His word-play, deliveries, he’s just nice. I can remember when my boy, Eclipse from Obscure Disorder bought, Lifestyles of the Poor and Dangerous.

AllHipHop.com: Big L seemed to favor a packed studio. What’s the vibe like in your sessions? Is it cramped with a lot of people or only the ones that need to be there?

Troy Dunnit: Only the ones who need to be there, unless some one came from out of town or just came home. Basically, all I really need is a lot of hydro and rhyme books.

AllHipHop.com: What’s in your CD player right now?

Troy Dunnit: A beat CD from Simhalak [Montréal producer], Kanye West’s Late Registration, Game’s mixtape “Ghost Unit,” Little Brother [The Minstrel Show] and Kev Brown’s [I Do What I Do].

AllHipHop.com: What’s the difference between the U.S. Hip-Hop scene and Montréal’s?

Troy Dunnit: Montréal is different than the U.S. There are a lot of good MC’s, but not many of them get their chance to shine. When you go there, someone is always rhyming, but not many people make money from it. At the end of the day, isn’t that what it’s all about? Being able to pay the bills and put a roof over your head? I like seeing heads make money. All in all, you have to be able to survive. Hell, I still have to work to pay the bills. I’m a bartender. Not many people in Montréal are living off of their music. That’s why came to New York. Half the kids in Canada that can rhyme are dying to be interviewed. We’re up north, but it’s grinding and hustling all the same. That goes for anywhere.

AllHipHop.com: Why do you think that not as many Canadian rappers get noticed in the states?

Troy Dunnit: Too much radio. The sounds are different.

AllHipHop.com: How confident are you that when you drop the album, it will blow?

Troy Dunnit: I’m very confident. It’s the right place and the right time. I meet people everyday. I recently met Large Professor. He was really feeling my music. He’s working with a bunch of cats right now, but I’m hoping that we can put something together. I’m tired of dropping singles. They’re okay, but I want to put out an album. I have 30 tracks already.

AllHipHop.com: Who are some of the producers that you would like to work with in the future?

Troy Dunnit: Definitely Large Professor, DJ A-Trak, Ken Wood, and hopefully Necro. He produced, “No Gangsta.” Also Kev Brown. I love Kanye. It would be great if he could throw me a few beats.

Black, Blue and Purple: The Colors of Domestic Violence

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

The debate over lyrics that promote the worst in our culture is an ongoing affair that we all secretly deal with. It can be difficult to define the line between intentions to either sound the alarm or glorify atrocious acts of violence. As such controversy drives what the music industry seems to expect from Hip-Hop, these two motivations have become blended together – drowned and shrouded in either the obscurity or bright lights of the center stage.

Specifically, domestic violence has drawn such momentum and scrutiny. From Alice Walker’s "Color Purple" to Camron’s Purple Haze, misogyny poses an all too real threat focused specifically within African-American culture. But in all honesty, this cultural scourge neither thrives solely in ethnic distinction nor the Hip-Hop phenomenon. It exists as society’s underside as a whole that threatens our very source of life. After all, a bruised apple can’t fall far from the tree that’s been too ravaged to produce fruitful seeds.

“Battery’s Not Included”

I’ve taken a vow of poetic non-silence

To disavow and correct

a sense of domestic violence.

The Palm Pilot I write with guides this

as it strikes its latent surface.

So to stop hits, I’ll drop this.

When the cops miss, I’ll admonish…

Battery topics are catastrophic

when they break the circuit.

Somewhere along the Alpha line

Some primates crossed the alkaline.

Some men are satisfied

smacking and being rude to women.

I don’t care how much acid she spits,

NO woman EVER asks to be hit…

No woman wants to match bruises

of blackened blueness with hues of crimson.

To operate relationships,

the battery’s not included.

If he stomps you into disgracefulness –

such flattery’s abusive.

Let me gladly stop the foolishness –

real men don’t bruise or hit their better halves.

And just so you know,

that pink bunny he gave you

Can’t excuse being a beating dummy

to channel his rage through…

As long as he tramples his way through –

such kinetics can never last.

Whether an internal bruise or verbal abuse,

You’d best believe it’s still hurtin’ you.

Certain brutes choose rudeness

to influence their ladies’ worth.

Undermining the treasure within women

Un-designs their measure suspended in gems…

As the extent of such men upends them

with hateful words.

Such emotional scars left

run deeper than the physical.

Such vocal alarms set

leave discreet residuals.

They’re completely pivotal

as they load interior bombs set.

If this is his tune –

dislocate him from your hips.

If dude berates you like a b*tch

You ought to replace him by the pitch

of his inferior complex.

Even worse, there should be

no quicker way to draw a charge

Than when liquor plays a part

in battery – small or large.

Cell units should foster and guard

them if AA’s part of their past.

Alcohol only worsens the scenario

As amalgam brawls merge with barley flows…

Only sorry bros spar their souls’

match once they’ve left the bar smashed.

Whether abusive drunks or unruly punks,

These men should use a ‘rule of thumb.’

Though disproved by some –

its lore should be viable for some.

It states that women can’t

get hit by a blunter source

Than anything wider

than a thumb of force…

So whether she’s collided

with one punch or four –

she’s liable to shake, slide him and run.

Sadly though, when females’

strength is beaten out of them

With strategy blows detailed

by heathens that pound them,

There’s a power outage

expounded by cowards

who assault their worth.

As they’re allowed to devour

our brightest sparks,

They sour our

women’s timeless marks…

It’s high time they’re tossed –

lest they trample afoot

the true salt of the earth.

© 2005 Reggie Legend

Steel Waters, Inc.

[email protected]

Eminem Gets Back With Kim; Hopes To Remarry

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

Eminem has reunited with ex-wife Kimberly Mathers.

“We have reconciled and are probably going to remarry,” Eminem told Detroit radio station WKQI-FM Tuesday, according to the Associated Press.

The pair divorced in 2001 after a turbulent relationship, yet Eminem still referred to Mathers as “my wife Kim” in the interview. They were married in 1999.

In song, Eminem has lyrically abused, killed, cursed his wife and even has a gravesite tattoo on his stomach emblazed with “Kim: Rot in Pieces.”

The interview is the only one that the Detroit rapper will conduct to promote his new greatest hits collection, Curtain Call. The rapper also stated that, while he isn’t retiring, his future is in question.

“I’m at a point in my life right now where I feel like I don’t know where my career is going. This is the reason that we called it Curtain Call, because this could be the final thing,” he said. “We don’t know.”

The 33-year-old also referred to a recent bout in rehab as prevention “before [sleep medication] gets too out of hand.”

Game Talks ‘Stop Snitchin” DVD

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

Rapper The Game is set to release “Stop Snitchin, Stop Lyin,” a controversial tell all DVD and mix-tape.

“Stop Snitchin’, Stop Lyin'” features the multi-platinum Compton rapper candidly talking about his rap career, personal life, ex-label mates and his fall out with G-Unit, his former crew.

“It’s a tell all DVD about the in’s and outs of the whole beef between G-Unit and me from the beginning to the end,” Game told AllHipHop.com. “I along with the rest of the world, am growing tired of 50 cent and his antics. G-Unit is dying and I am the reason. This is the end. After this, the DVD and mixtape ‘Stop Snitchin, Stop Lyin’ is the last of this whole beef s**t with them clowns.”

The DVD also features Game on a mission to hunt down 50 Cent that takes him from Los Angeles through New York City (including a stop at the G-UNot billboard in Jamaica Queens), finally ending in Farmington, Connecticut outside of 50’s luxurious mansion.

The DVD, entitled “The Blair Snitch Project,” also features Game searching through the woods near 50’s Connecticut estate, eventually snagging 50’s basketball hoop from off of his property.

Other features of the DVD include Game addressing the beginnings of the “G-UNot” movement, as well as the G-Unot tattooed on his forearm and G-Unot haircut he sported at the recent Vibe Awards.

The included mixtape features The Game spitting a new “120 Bars” and features Notorious BIG, Paul Wall, Eastwood, Charli Baltimore, Lil’ Kim, and more.

In addition to releasing the DVD, Game is also putting the finishing touches on the follow-up to his blockbuster debut, The Documentary, as well as expanding business ventures.

“I’ve only been rapping for four years now and my development since my first album has taken a tremendous jump,” states Game. “I’m getting better everyday so I want to focus on my forth-coming album The Doctor’s Advocate which is slated for a late March early April debut. I’m also maintaining focus on the development of artists on my Black Wallstreet imprint, which is currently in a bidding war between 5 major distributors.”

“Stop Snitchin, Stop Lyin” hit stores Jan 10.

Diddy Grants Wish To Cancer Patient

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

Sean “Diddy” Combs granted a wish to a Florida teenager stricken with cancer at a fundraising event over the weekend.

Chalon Keen, 17, was given the opportunity to meet the Bad Boy mogul as a part of the Make-A-Wish Foundation at the Chris Evert Children’s Hospital at Broward General Medical Center in Florida.

“I was just so choked up, she was so excited,” Ava Keen, Chalon’s mother, told the Associated Press. The teen was cheerfully tearful during the visit by Diddy.

Chalon, who hails from Sunrise, Florida has fought a form of cancer that produces tumors in her muscles. She and her doctors are exploring the possibility of getting a bone marrow transplant.

Diddy bestowed his gift to Chalon during Chris Evert’s annual charity tennis tournament in Delray Beach. The occasion has raised over $13 million dollars for needy and abandoned children.

Foxy Brown Nearly “Totally” Deaf

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

Foxy Brown, whose real name is Inga Marchand, is nearly deaf according to her lawyer, who made the announcement after a court appearance on Monday.

Attorney Joseph Tacopina made the revelation at Manhattan Criminal Court after he was seen passing notes with the rapper in court, reports the New York Daily News.

“She’s pretty much totally deaf now,” Tacopina said. “She can’t hear me. We have to write things back and forth. Anything I have to communicate with her now has to be written. It’s dialogue, communication.”

The Def Jam artist has already undergone one surgical procedure to relieve her hearing loss and is expected to have another to help restore her ability to listen. “Hopefully it is reversible. She has to undergo another surgery,” Tacopina said.

Earlier this year, Brown revealed she suffers from a rare condition called sudden sensorineural hearing loss in both ears. “I started breaking down in tears and screaming and I couldn’t even hear myself scream,” she explained to People magazine. “I know God is working on me. I’m on a personal journey. I believe God wants to be the only voice I hear right now. I know I will be all right.”

In addition to her health condition, Foxy Brown must contend with her legal status, where the 25 year old stands charged with misdemeanor assault, attempted assault and harassment.

Brown is accused of punching and kicking two employees of a nail salon after they allegedly refused to let her leave the salon without paying her bill. According to the Daily News, Judge Melissa Jackson adjourned the case until December 23. Brown has steadfastly maintained her innocence and rejected two plea deals that would have kept her out of jail.

Brown reportedly turned down the deals to avoid a criminal record and to circumvent a costly civil suit.

Brown’s highly anticipated album, Black Roses, is expected to hit stores in 2006 in spite of her legal and health matters.

dead prez, Chuck D., KRS Support South African Hip-Hop

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

The inaugural Baobab

Urban Youth Conference (BUC) will take place on Dec. 9th in Cape Town, South Africa.

The event will feature a keynote address from dead prez, as

well as recorded video messages from KRS-One and Chuck D.

Various South African artists including Emile Jansen, the BeatBanagaz,

Embawula will also deliver speeches.

Project Director Shamiel Adams describes the event as an important

step in educating youth and reaching a generation bombarded by commercialization.

"Combined with certain aspects of globalization, the explosion

of mass media and information technology have made it increasingly complex to

reach young people with alternate information," Adams said. "The disproportionate

balance between commercial and development info is worrying, and this goes across

the economic divide. The need to reach young people is urgent."

In combination with the special guests, the conference will

have workshops, concrete action programs, film screenings and an awards ceremony.

The event will be in a conference setting but will mix youth

culture elements to make it more appealing to the younger people in attendance.

"We understand and respect the standard conference formula,

but we don’t believe it works optimally for young people," said Shamiel.

"We have designed a program that we expect to revolutionize young people’s

experiences of conferences."

A similar conference will be held in Amsterdam on Dec. 17.

For more information

you can check out www.baobabconnections.com.

Wrestler Diamond Dallas Page Sues Jay-Z Over Pyramid Sign

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

Wrestler Diamond Dallas

Page has filed a lawsuit against Jay-Z for unlawful use of his "Diamond Cutter"

hand signal.

Page, born Page Falkinburg, filed the lawsuit in Los Angeles

Federal Court, claiming he trademarked the rights to the diamond-shaped symbol

in 1996 and has used it for wrestling and other entertainment ventures on multiple

occasions.

Page contends that Jay-Z started using the diamond symbol years

after on various commercial products, including the cover of Dynasty: Roc La

Familia 2000 and Fade to Black.

Hip-hop fans are aware that the Def Jam President has used the

diamond sign to signify his Roc-A-Fella Records dynasty.

According to Page, he introduced the "Diamond Cutter"

symbol in 1996 on WCW’s weekly Nitro and Thunder programs.

The wrestler, who uses the sign on the cover of his new book

"Yoga for Regular Guys," also says he used the symbol on monthly PPV

events, WCW live events, and media appearances, including The Tonight Show with

Jay Leno.

Representatives

for Jay-Z or Roc-A-Fella were not immediately available for comment.

Pimp C. To Be Released From Prison, Bun B. Comments

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

After being incarcerated for nearly five years, Pimp C. has reportedly been granted parole and could be released before Christmas.

Born Chad Butler, Pimp C. is currently serving an 8-year sentence for parole violations on an aggravated assault with a deadly weapon charge.

The Port Arthur, Texas bred rapper was sentenced to prison January 28, 2001 and was not scheduled to be eligible for parole until late 2005.

On Saturday (Dec. 3), Bun B. announced the news that Pimp C. had been approved for parole and would be released soon.

“Words coming back that he’s been approved for parole and should be home in the next 60 days,” Bun B. told WHXT Hot 103.9 radio host Charlamagne Tha God.

“It’s definitely a blessing, it’s a beautiful thing. I hope that everybody will be able to burn the Free Pimp C. shirts real soon and throwing those caps away. Then we can start rocking the Welcome Back Pimp C.”

Pimp-C. and Bun B. formed UGK in the late 80s, releasing several major label albums with Jive, including Too Hard to Swallow, Ridin’ Dirty, and Dirty Money.

The rapper has also produced records for Master P, C-Murder, 3-6 Mafia, David Banner’s group Crooked Letters and has made cameo appearances on tracks by Jay-Z, David Banner, Young Jeezy and others.

Though incarcerated, Pimp C. released his debut solo album, The Sweet James Jones Stories, in March 2005 through Rap-a-Lot Records.

After being paroled, Pimp C. will remain under the State’s supervison until 2009.