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Hip-Hop Pioneer Marley Marl Releasing Memoirs

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsNovember 30, 2005

Producing pioneer

Marlon "Marley Marl" Williams is ready to tell his life story in an

autobiography called "Vapors," a memoir named after the famous Biz Markie

song.

"You know [the book] is like the song. Whatever the song

is about, my book is about," Marley told AllHipHop.com. "It’s about

true things that happened, the ups and downs and episodes [in life]."

"Vapors," from Biz Markie’s 1988 Cold’ Chillin’ album,

Goin’ Off, is a song about standoffish neighborhood people who suddenly

become friendly because of a rapper’s newfound Hip-Hop success. The term also

became common in Hip-Hop vernacular.

Marley Marl hails from New York’s Queensbridge Housing projects,

the largest in the United States.

As a young producer he assembled The Juice Crew, a stable of

now legendary rappers, DJ’s and artists that included Big Daddy Kane, Roxanne

Shante, MC Shan, Biz Markie, Masta Ace and Kool G Rap & DJ Polo.

He first achieved national success in 1984 when he produced

Roxanne Shante’s answer record to UTFO’s "Roxanne, Roxanne."

He then produced one of Hip-Hop’s best known songs, 1987’s "The

Bridge," by MC Shan. The record prompted a response

from KRS-One titled "The Bridge is Over," igniting one of the most

well-known and talked about battles in Hip-Hop history.

Marley Marl, also a co-founder of the legendary Cold Chillin’

label, helped shape Hip-Hop’s sound throughout the end of the 1980’s and early

1990’s, producing such cuts as the legendary song "The Symphony,"

LL Cool J.’s 1990 smash album and Mama Said Knock You Out.

Marley even stepped into the world of R&B when he helped

produce and mix TLC’s 1992 breakout debut, Ooooooohhh…on the TLC Tip.

He still produces records and hosts a radio show in New York

City.

Marley said that he’s already being courted by a pair of publishers

and has been receiving assistance from some high-powered friends in the music

and media industry.

"Wendy Williams (radio and publishing media personality)

is helping me on it," Marley said. "Wendy, you know, she’s kind of

pulling some people in, that’s my girl from back in the day," he continued.

"Me, her, Star (of "The Star & Bucwild" morning show) and

Red Alert, we’ve been there for a minute, the only n***as that really could

truly say we’ve seen a lot in this game. Star’s my people, Wendy’s my people,

and funny thing is that Red Alert (a former rival) is my people. We work together

and make this legacy happen."

"Vapors"

is in its early stages and does not have a release date.

Public Enemy Strikes Wireless Distribution Deal For New LP

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsNovember 30, 2005

Legendary group Public

Enemy and Chuck D.’s label SlamJamz has partenered with Boston-based m-Qube

to help promote their new album New Whirl Odor.

Through the venture, a package of mobile offerings will be available

for download.

"As an independent label, we are always looking for ways

to expand our distribution network," said PE frontman Chuck D. "Mobile

is happening in a big way, and we are thrilled to be using it to reach our fans

– wherever they are."

Fans will have access to exclusive content, including polytones,

mastertones, full tracks and wallpapers.

According to Public Enemy’s manager Walter Leaphart, the new

venture was a natural progression for the group.

"Public Enemy has always been a leader in music and new

technology, and this is the latest phase of their multi-faceted campaign that

will continue to build in the coming months."

m-Qube will manage distribution of the content, releasing it

to their network of wireless carriers.

"We are thrilled to leverage our technology and distribution

network to help innovative entertainers like Public Enemy use mobile to reach

their audiences," said m-Qube’s VP of Worldwide Content, Jon Bukosky. "Mobile

is a critical channel for musicians and we are pleased to have been selected

by Public Enemy to make this happen.”

PE’s album New

Whirl Odor is in stores now.

50’s ‘Bulletproof’ Kept Off Australian Shelves, Rapper Allowed Into Canada

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsNovember 30, 2005

The Australian Office

of Film and Classification (OFLC), has refused to rate 50 Cent’s new video game

“50 Cent: Bulletproof,” effectively keeping the video game out of

stores down under. The game was deemed to be excessively violent by The OFLC. The

organization cited the ability to kill victims who moaned or begged for their

lives, the ability to shoot injured characters as they attempt to crawl away

and blood splattering on the screen as reasons for not classifying the game.

“Bulletproof,” which is rated MA-18 for Mature in

the United States, is too violent to pass approval for the Australian rating

commission, which has an MA-15 rating.

“Bulletproof” is not the first game to be banned

in Australia. Games like “Grand Theft Auto: San Andreas,” “Manhunt”

and “NARC” have also been kept off the shelves due to violent content.

Vivendi Universal, the company that created “Bulletproof,”

has been given the option to resubmit a more toned down version of the game.

Watchdog group

Family Media Guide recently released this year’s listing of the top 10

most violent video games – and “Bulletproof” made the list

along with “Crime Life: Gang Wars,” “True Crime: New York

City,” “Resident Evil 4” and others.

In related news, 50 Cent was granted permission to enter Canada

to complete a tour that launches Dec. 3.

The rapper was granted a temporary resident visa by Immigration

officials despite the objections of Canadian MP, Dan McTeague, who claimed the

rapper’s criminal record and violent lyrics were enough to keep him out of Canada.

Inc. Attorneys Rest Their Defense, Closing Arguments Tomorrow

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsNovember 29, 2005

Attorneys for The

Inc.’s Irving and Christopher Lorenzo rested their defense of the brothers

today (Nov. 29) after only two hours in a federal money laundering probe of the

Hip-Hop label.

Irv and Christopher Lorenzo are facing up to 20 years in prison

over claims they helped launder millions in drug proceeds for Queens, New York

drug dealer Kenneth “Supreme” McGriff.

McGriff, convicted head of notorious drug dealing crew The Supreme

Team, is facing the death penalty in a March 2006 trial on murder and racketeering

charges, including the murder of rapper Eric “E Money Bags” Smith.

Today the brothers’ defense team of Gerald Lefcourt and

Gerald Shargel presented one witness, former IRS Agent and Forensic Accountant

John Ryan.

Ryan testified about Chris’ gambling pattern and stated

that Chris’ gambling addiction lead him to withdraw over $850,000 between

Jan. 2000 and Dec. 2002.

Shargel explained that most of the withdrawals came from ATM’s

inside of such casinos as Las Vegas, Atlantic City and Mashantucket, Connecticut.

On cross-examination by Prosecutor Carolyn Pokorny, Ryan admitted

he only reviewed documents assigned to him and admitted that he uncovered hundreds

of third-party checks that totaled around $100,000, deposited into Chris’

account.

The prosecution also showed Gotti declared $110,000 in taxable

income in 2000, but withdrew over $153,000 from ATM machines the same year.

Tomorrow, both sides will give their closing arguments and sources

stated the courthouse, which has been relatively empty the past few days, is

going to be a packed one.

Today, Ashanti,

Lyor Cohen and Kevin Liles attended the court proceedings.

Young Jeezy Reaches Temporary Settlement With Ex

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsNovember 29, 2005

Young Jeezy and his

former girlfriend have reached a temporary agreement in an on going child support

case in Houston, Georgia.

On Monday (Nov. 28), Houston County Superior Court Judge George

Nunn ordered the rapper to pay $1,400 a month in child support to his 9-year

old son.

Jeezy, born Jay. W. Jenkins, came under scrutiny in Oct., when

his ex, Tynesha D####, took him to court, seeking an increase in child support.

In 2001, Jeezy, born Jay W. Jenkins, was ordered to pay $178

a month, based on a reported income of $89.30 per month.

In Oct., D####’ attorney Jim Rockefeller came forward

and said D#### was living in poverty in a rural HUD project in Georgia.

"Mr. Jenkins is one of the fastest rising Hip-Hop/rap performers

on the Billboard Chart, with well over a million records in sales in the past

year and a mansion in Atlanta,” Rockefeller said. “He lives in high

style, tours the country and is in the close company of stars like Jay-Z and

Beyonce.”

In a child support hearing in Oct., Jeezy was ordered to turn

over financial records of his earnings.

A recently filed affidavit reported Jeezy had an income of $15,000

per month, with $300,000 in the bank and $50,000 in jewels.

The rapper released two hit albums in 2005, one as a member

of Boyz N Da Hood and another as a platinum-selling solo artist.

The two agreed to various temporary visiting terms and inheritance

agreements, but both parties disputed the amount of income Jeezy was earning.

The Macon Telegraph

stated that Judge Nunn labeled the case the “most frustrating child support

case he’s ever heard,” as both parties remained locked in financial dispute.

Canibus Talks Cloak-N-Dagga’s ‘Def Con Zero’

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsNovember 29, 2005

Rapper Canibus has

teamed with longtime/collaborator Phoenix Orion as Cloak-N-Dagga and the duo recently

released the album, Def Con Zero.

The title is a reference to a nation’s Defense Readiness Condition

and according to Canibus, the album reflects the rapper’s stint as a member

of the Army’s Stryker Brigade.

“I spent my teen years learning my craft, how to rhyme

and translate the information I was seeing and feeling into poetry,” Canibus

said. “The kinds of songs I wrote in my adolescent years, I mastered in

my 20s. The album is mature, like my indie album Mic Club from a few

years back, but reflects all of the life experiences I had in the army as part

of the Stryker Brigade. The 19 tracks summarize all of my experiences.”

The album is Canibus’ debut for Head Trauma Records in

association with First Kut, a subsidiary of Las Vegas-based Kent Entertainment

Kent is owned 48-year industry vet Morey Alexander, who helped

launch the careers of Eazy-E, N.W.A., Kid Frost and Mellow Man Ace.

Canibus said this album contains his most recent material and

is a throwback to the style of rap music he made before his first album

Can-I-Bus, which was released through MCA in 1998.

“I’m implying that we as a society are very much

at the end of our rope, at the edge of a cliff looking over,” he says.

“There will be an after, but right now we’re on the edge. On the

more personal and artistic side, Def Con Zero is my attempt to make an album

for my fans that would remind them of the more hardcore, uncensored style of

rap music I made before I made my first album for MCA.

The album, which comes with a companion DVD, was executive produced

by DJ/world champion K-1 kickboxer Dewey “Black Cobra” Cooper.

Guests include Kool G. Rap, Free (106 & Park), K-Solo, Zookeepa

and others.

“Def Con Zero shows once again my allegiance

to and the integrity of my music,” Canibus continued. “What pleases

me is that it falls in line with the technical strength and lyrical dexterity

of my best work. The DVD is also the first of its kind for a rap project, so

that’s exciting as well.”

Def Con Zero

is in stores now.

Prosecution Rests In The Inc. Trial, Detective States Hit Out On Ja Rule

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsNovember 29, 2005

After a series of

critical setbacks, New York Federal prosecutors rested their money laundering

case Monday (Nov. 28) against the hip-hop recording label, The Inc., as the trial

winds down.

The center of the government’s case revolved around the

theory that convicted drug kingpin Kenneth "Supreme" McGriff provided

the seed money to start up The Inc.

The government also contends that Irv Lorenzo and his brother

Christopher Lorenzo also helped launder millions of McGriff’s drug money

through the label.

The defense is expected to give their closing arguments today

(Nov. 29) and summations in the case are expected tomorrow (Nov. 30).

Most of the day was spent examining various text messages sent

from pagers owned by The Inc., in an attempt to prove the Lorenzo brothers are

guilty of money laundering.

Prosecutors pointed out that much of McGriff traveled under

an alias and that his travels had been paid for by The Inc.

Attorney’s for the Lorenzo brothers countered that McGriff

was part of The Inc.’s entourage and noted that most of the traveling

occurred in 2002, after Def Jam bought the “Crime Partners” soundtrack.

Interesting testimony came from NYPD officer William Courtney,

who investigated McGriff’s activities in Baltimore, Maryland.

Courtney was also the officer that arrested McGriff in Miami

and is expected to testify in McGriff’s trial in March of 2006 for murder

and racketeering.

Courtney’s investigation uncovered a double-homicide in

Baltimore which McGriff is accused of ordering, as well as a stash house that

had cocaine, heroin and promotional materials from the “Crime Partners”

movie.

The detective admitted under cross-examination that the FBI

warned McGriff of a hit on his life. Defense attorney Gerald Shargel stated

that was the reason McGriff was traveling under an assumed name.

Courtney also testified that there was an unspecified threat

on rapper Ja Rule’s life as well, but prosecutors objected to the line

of questioning and no further testimony was given.

IRS agent Francis Mace also testified without the jury present.

The Lorenzo’s attorneys honed in on Mace’s original

statements in his search warrant affidavits, which led to The Inc.’s offices

being raided in 2003.

The statements were also the basis for the entire investigation.

“This entire investigation set out to prove those false

statements,” attorney’s for the Lorenzo brothers argued.

A verdict is expected

sometime this week.

LOVE AND BASKETBALL

By: Grouchy Greg Watkins (@GrouchyGreg)Category: UncategorizedNovember 29, 2005

A Womans Fashion Sense on the NBA Dress Code…

I love a man in a suit! No offense to the short brothers out there but there is nothing like a tall specimen of a man, draped in something tailored, pressed and pinstriped. Egyptian cotton shirt and silk tie, Ferragamos on his feet – you just know that brother smells good!

On the other hand, here comes the next man: baggy pants wearing, XXXL shirt, boots, doo-rag and baseball fitted to the side, iced up from his ears to his waistline and ladies are exorcist-twisting their necks to get a second look. Yes people, he looks good to us, too!

The problem with mainstream culture is that they have yet to understand that Black people are just as multi-faceted as the next; though we may share the same ethnicity and culture doesn’t mean we appeal to one viewpoint. Why even in this new millennium we continue to be blanketed together as one people instead of looked upon as freethinking individuals remains a notion that is both inconceivable and a travesty. This is the very reason why I believe the National Basketball Association’s recent dress code goes so much deeper than spoiled players and a soiled image, but reeks more of forced assimilation with racist overtones.

Surprising to the masses, Black folks remain extremely divided on this very issue. Some believe that the NBA is no different than any other corporation, and if it dictates that business attire is warranted, then so be it. But is the NBA really like any other corporation?

It is said that the one with the gold makes the rules. In the NBA, the franchise players are the draw, and without these talented athletes, the NBA would not be the multi-billion dollar industry it is today. Although these players’ salaries seem enormous to the average person, it is a mere drop in the bucket compared to the wealth obtained by the team owners and the organization itself. One could not survive without the other. This sounds more like an equal playing field to me. In some form or fashion, no pun intended, everyone makes the gold; therefore, everyone should have a hand in making the rules.

Let’s be clear: I have no problem with a dress code. The exclusion of specific items that have a representation of a particular facet of urban culture is what I find to be offensive. Once again, I felt the societal hatred of the Black man and everything he represents rear its ugly head, and even in a profession where Black men dominate physically, they must be reminded of their place. The dress code substantiates that ever-present White superiority complex that comes with the fear of the Black urban male – that “look” that deems him a thug, instead of one who may have beat insurmountable odds to get to such a pivotal point in life. Considering the past circumstances of some professional basketball players, the fact that they even reach adulthood should be applauded. Track suit or tailored suit, I know I wouldn’t feel threatened if Allen Iverson was in the ATM vestibule with me, or walking toward me on a dark street. Would you? And in the indictment era of Ken Lay, Dennis Kozlowski, Tom DeLay and Scooter Libby to name a few, it has become imminently clear that thugs wear suits, too. Who was more dapper than John Gotti?

Sadly, I question if we should feel sorry for or respect this new breed of athlete. Gone are the days of Muhammad Ali, who was stripped of his title during his peak boxing years because of his refusal to fight what he believed to be an unjust war. Or Tommie Smith and John Carlos, who threw their black gloved fists in the air during the 1968 Olympics in protest of racism in America. These were athletes who took a stand at their own personal expense. Unfortunately it seems as if the high salaries earned by the modern black athlete is more representative of “p###########” money than for their considerable talent and personal empowerment.

Where would the NBA be if the franchise players joined in solidarity and refused to play another game until their rights as men of color were respected? This is about more than the clothes they choose to wear or how they choose to address each other – it is their character and dignity that is being questioned. I feel like Ashton Kucher is going to jump out any minute in a David Stern suit: “Player – you just been punk’d.”

D4L: Candyshop

By: Grouchy Greg Watkins (@GrouchyGreg)Category: FeaturesNovember 29, 2005

By now you might have heard yourself humming – if not, flat out singing – the chart-climbing song by D4L, Laffy Taffy. The metaphoric reference is a favorite but is it a bit push-pop? D4L frontman, Mookie B has his own opinions.

The rapper chimed in with AllHipHop.com to discuss the little known, but lengthy career of the group. From the affects of the single, to project housing, to the Down 4 Life movement Mookie B is no airhead. Get with it, and get a closer look at a different side of Atlanta.

AllHipHop.com: So really, what does D4L stand for?

Mook B: D4L means Down For Life, which is basically the promise we gave to each other. We have been at this for more then a minute. Weve seen groups come out, put out an album and break up all in one year [and] sometimes faster than that. And unlike most groups, D4L is a movement.

AllHipHop.com: The Diplomats are a movement; G-Unit is a movement explain

Mook B: We all from different projects, not to mention projects that aint get along. How fly is it that we took a major negative and turned it into a positive. How many people can say they got warring projects to come together? People that would normally not speak unless it was top throw disrespect showing each other love. It aint all peaches but it is a start.

AllHipHop.com: Did you think Laffy Taffy would be the song that gave you national recognition?

Mook B: Yeah, because we knew God had something big planned for us. He led, we followed. We just needed to be patient. Quick and easy aint always the best way to get to where you want to be.

AllHipHop.com: Some may look at Laffy Taffy as a one-hit-wonder. Its not your average song on the radio and fans can be fickle to say the least.

Mook B: Since we put God first, we not even worried about that, one-hit-wonder junk. We know this is our time, and we plan to use it wisely. We have a name for haters; we call them cheerleaders, because they are cheering us on to where we know were going to be anyway. How can we be a one-hit-wonder when weve crossed over to Pop?

AllHipHop.com: Why Laffy Taffy?

Mook B: We wanted to put out something sweet for the ladies. There are already enough songs calling them b*tches and hoes. we wanted to give then something different – something they could dance to. Plus, who dont like something sweet every once and a while?

AllHipHop.com: How long did it take you to come up with the concept of the song?

Mook B: Man, I forget where we was, but Fabo sang this hook, and we was all like, That could work. We hit the studio and the song was recorded in 30 minutes. We grinded it out and made it happen.

AllHipHop.com: Is this the signature sound of D4L? Or does your music expand past that?

Mook B: We make universal music, baby. Weve lived the street life. There are enough gangsta songs and albums out there for everybody. We making music that everybody can get down to. You want your moms, sisters, cousins, man, just everybody to be able to enjoy the music. We trying to hit all faces and all races.

AllHipHop.com: Hip-Hop is party music through and through. Do you label yourselves as Hip-Hop?

Mook B: Hip-Hop is a way of life. An expression and you should be free to express yourself however you want to. If more artists stop trying to divide music, and tried more to bridge the gap, I think it could bring people together. We made history in ATL; we were the first group to break 1,000 spins on the radio without a record deal.

AllHipHop.com: From that, on into todays success, how has your life changed?

Mook B: Our families are really proud of us. Our mothers aint been proud of us in a long time. The streets call you when you dont have anything better. And a lot of times when the streets call, the people come running. Yeah, you may be bringing money into the household, but how proud is your moms really when you had to destroy x many people to get it? It feels good to all of us to give back in a positive way.

AllHipHop.com: Do you think youre role models?

Mook B: Hell yeah! You feel the pressure the minute you walk into a spot and people are singing your song, or telling you how much they like or appreciate your music. D4L wants people to see that no matter how bad it is, you can make it. Yeah we trying to get money. But were dreaming bigger then that. We dont want any beefs, we want to live.

AllHipHop.com: Speaking of beefsthere was the situation with Dem Franchise Boyz

Mook B: Im glad you asked that. Its been reported by people that we were taking claim for their success. I used to manage Franchise. I helped then when they were first getting on. I got they song to Coco Brother and thats how White Tee got on the radio. D4L studio engineered and recorded the song, that was our part in the situation and thats it. I wish them nothing but continued success. Im proud of them.

AllHipHop.com: Another ATL group putting it down, right?

Mook B: Yeah. What most people dont know and I aint trying to take nothing away from any other down south artist. We from the projects! Some rappers from Atlanta, true are from Atlanta, but they not from the projects.

AllHipHop.com: Like who?

Mook B: Like T.I. – much respect, is from around the projects. Like many artists, they may claim Atlanta or some city, and make millions. But we are one of few groups to make a way not only out of just one Atlanta project, but four different projects, and I think thats saying something. People forget we been doing this for a long time.

AllHipHop.com: What can we expect on Down For Life?

Mook B: We got Too Short, much love to him for showing real love and not being fake. People promise you anything when they in front of the cameras or a crowd, but it be totally different when you trying to get them in the studio. Busta Rhymes [is on the] Laffy Taffy Remix. Besides that, everything is in house production. We did this all on our own. With a very small budget mind you. Even in that sense were saying something to all those labels out there. It aint about the money; its about the product an artist gives to his people.

AllHipHop.com: Where would you like to see the D4L movement in lets say four or five years?

Mook B: Everywheretouching a little bit of everything. We wanna be like AllHipHop.comalways being real to Hip-Hop, and the people that live this music. Men, women, children. We want to touch generations and cultures for life. Man, if we cant tell people anything else. We want them to know they are only one hit away from whatever you trying to do. Broaden your mind, put God first, and the rest will come. We living that plan, right now.

AHH Stray News: Diplomats Sued, Arthur Ash Sneak, Illadelph Records Murder Update

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsNovember 28, 2005

The Diplomats, Roc-A-Fella

Records, Island Def Jam Music Group and Universal Music Group have been sued by

music publisher Jamie Music Publishing. Jamie claims The Diplomats song “I’m

Ready” from 2003’s Diplomatic Immunity infringes upon Barbara Mason’s

hit “Yes I’m Ready.” Jamie Music Publishing owns the rights

to the song, which was first released on famed Philadelphia soul label, Artic

in 1965.

Run Athletics has

teamed up with Phat Farm and designer Kevin Saer to release a new line of sneakers,

dedicated to greats in the African American community. The “Legacy Collection”

hits stores in Feb. 2006 along with a shoe dedicated to the late tennis legend,

Arthur Ashe. Ashe was diagnosed with AIDS after receiving a blood transfusion

He died in 1993 at the age of 49. A portion of the proceeds will be donated

to help address issues of inadequate health care delivery to minors, as well

as the Arthur Ashe Institute for Urban Health, which was founded by Ashe shortly

before his untimely demise. The sneakers are timed to hit stores in during Black

History Month.

Jared Heller, the 35-year-old founder of Philadelphia’s Illadelph Records,

was freed from a prison in Denmark, after officials decided there wasn’t

enough evidence to charge him with murder. Heller had been jailed since April

for the murder of a taxi cab driver in Copenhagan. Reports stated Heller testified

he only helped cut and dispose the body of the cabbie and that the murder was

actually committed by Ahmed Numan Isaac Rahma, whom Interpol police said is

known as “The Jaguar.” Heller was associated with Danish Hip-Hop

band The Loft.

Crips Co-Founder Gets Private Clemency Hearing

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsNovember 28, 2005

Gov. Arnold Schwarzenegger

announced Friday (Nov. 25) that he will hold private hearing on whether or not

to grant clemency to convicted killer and Crips gang co-founder Stanley “Tookie”

Williams.

While Gov. Schwarzenegger is not legally obligated to hold a public or private

hearing, he has agreed to a Dec. 8th meeting with Williams’ lawyers and Los Angeles

County prosecutors.

The meeting was prompted by several protests in support of Williams

and a rally held by Snoop Dogg and other celebrities outside the main gates

of San Quentin last week.

"Stanley ‘Tookie’ Williams is not a regular guy, he’s an inspiration,"

Snoop said during his speech at the rally. "All I want to say to the Governor

is it’s about keeping this man alive because his voice needs to be heard."

Williams’ case garnered further attention when Academy

Award winning Actor Jamie Foxx played the convict in "Redemption: The Stan

‘Tookie’ Williams Story."

The former Crips co-founder faces death by lethal injection on Dec. 13 for allegedly

murdering four people in 1979.

Williams maintains his innocence and requested that the California

Supreme Court reopen his case.

He alleges that sloppy forensics and questionable witnesses

mistakenly linked him to the murders.

Proponents argue that Williams, who has been nominated for several

Nobel Peace Prizes as an anti-gang activist, could do more for society alive

than dead.

Last week his lawyers

served the Governor’s office with close to 32,000 signatures of people

supporting his petition for clemency.

Although Williams has reaped national support, the death row inmate is facing

stiff opposition from the LA County prosecutor’s office and victims’ relatives,

all who have demanded his execution.

Jazze Pha, Cee-Lo Talk ‘Happy Hour’

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsNovember 28, 2005

Sho ‘Nuff Records

CEO/producer Jazze Pha and Goodie Mob group member Cee-Lo have linked up with

Capital Records to release their debut collaboration Happy Hour.

"It was inevitable that we would do a project," Jazze Pha told AllHipHop.com.

“When we came together to do Happy Hour, we both knew exactly what

the other was wanting to bring to the table, so that in itself was worth the time,

to see what type of genius would come out of our minds."

Happy Hour, which features collaborations with artists Nate Dogg, Mannie

Fresh and The P#### Cat Dolls, will be a mixture of new school Hip-Hop with old

school funk.

The album also includes guest appearances by R&B veterans

Keith Sweat and Aaron Hall, which was a memorable experience for Cee-Lo.

"I just feel grateful that [Keith Sweat and Aaron Hall]

even wanted to do the album," Cee-Lo said. "For them to step into

the studio and record with us and even know who we are is amazing and something

we will never forget."

Besides the collaboration for Happy Hour, Cee-Lo and Jazze Pha are

both staying busy with other projects.

Cee-Lo, whose daughter was featured on the hit MTV “Sweet

Sixteen," is in talks with MTV about a new reality show starring his family.

"We are in talks right now," Cee-Lo told AllHipHop.com. "It is

definitely something that I would love to do again and something that we are

working out right now."

Cee-Lo is also working with famed producer Danger Mouse to release a new solo

project entitled Gnarls Barkley, as well as an untitled Goodie Mob

reunion album.

Jazze Pha, who is label head at Sho ‘Nuff Records, has a role

in the upcoming film “Jelly Beans,” which was written by Dallas

Austin, Tina Chism ("Drumline"), Antwone Fisher ("Antwone Fisher")

and others.

The flick is being

directed by Chris Robinson and also stars T.I.

"I play a DJ in the film," Jazze said. "It was cool because it

wasn’t some cameo where I was playing me, I was really acting. This is definitely

something that I am going to take seriously. I am in the process now of taking

classes and reviewing scripts, to make sure that I choose what’s right for me."

Besides acting Jazze Pha is also preparing the upcoming sophomore effort from

Ciara and his new artist, Tone Tone.

"I am firm believer that as long as you love what you do, it’s not real

work," Jazze continued. “[With} the stuff that’s coming out of Sho

‘Nuff, people best to get ready. We aren’t holding nothing back."

Happy Hour hits stores February 14th, 2006.

What the Game’s Been Missing!

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Reviews / MusicNovember 28, 2005

Artist: Juelz SantanaTitle: What the Game’s Been Missing!Rating: 3 StarsReviewed by: Brent Woodie

The Dipset movement is now moving at full steam. Under the wing of CamRon since the age of 14, Juelz Santana has played a vital role in the crews growing popularity. Since being named Vice President of Diplomat Records, Juelz has developed a knack for starting his own buzz, with self funded videos and mixtapes. Building off of that hype is his sophomore effort, What The Games Been Missing! (Diplomat/Def Jam). Santana does not live up to the albums bold title, but does provide some fire along the way.

Wasting no time, Juelz hits us with the energetic Rumble Young Man Rumble. The tracks aggressive guitar riffs sets a perfect tone for Juelz, as he flows with flair and arrogance about what he was taught as a youth that makes him triumphant. The self proclaimed human crack in the flesh, showcases his story telling skills successfully on Lil Boy Fresh and Gone. Both tracks caution listeners about the usual dangers of the block that come along with drugs, violence and sex.

Doing what he does best, Santana reaches his full potential when attending to females with addictive club jump offs like There It Go (The Whistle Song) and Oh Yes. On the latter, The Heatmakerz use a classic Motown sample, Please Mr. Postman, by The Marvelettes, to help compliment Juelz and his light hearted flow. The festive There It Go (The Whistle Song) is every deejays favorite with its tickling whistles and thunderous drums to give everybody the urge to hit the floor.

The sluggish track Clockwork, does little to keep up with the dynamic energy of What The Games Been Missing! with its dull production that can surely put someone to sleep. Tracks like Kid Is Back and Freaky, also sabotage the albums enjoyment because of the simplistic lyrics and bland content.

Getting too comfortable in his original rhyme scheme made popular by Dipset, Juelzs lyrical prowess does not show on What The Games Been Missing!. Though he comes through with unique style and energy, it does little to push the envelope beyond what he has already been known to do. Is Mr. Crack Cocain in the Flesh what the game has been missing? No! Yet, he will be a force to be reckoned with in the near future.

Juelz Santana: Crack Music

By: Grouchy Greg Watkins (@GrouchyGreg)Category: FeaturesNovember 28, 2005

Juelz Santana has long been lumped between the success of Camron, and the character of Jim Jones. But as the youngest of the Diplomats shot-callers, Juelz is out to fix that. With his sophomore album, What the Games Been Missing! – Juelz has seen more buzz off of two hit singles, than his debut arguably generated in whole. The industry cosigns it and Santana has recently been working with LL Cool J and Ludacris on their albums. But if you think Juelz is whistling to a different tune, youre wrong.

The young father reflects on his personal life with AllHipHop.com. In everything from his family-life, to his sense of security, to his friendship with Young Jeezy, Juelz gives you an exclusive look of the man behind the movement. If that wasnt enough, the Harlemite addresses rumors concerning Tru Life, Jay-Zs concerts, and even compares recipes with Master P. Oh yes!

AllHipHop.com: Your song, Daddy is dedicated to your son. Hows your son right now?

Juelz Santana: Hes beautiful, man. Actually, he just had a birthday October 24th. He turned two years old.

AllHipHop.com: You made reference to it in the song, but I think so many of the great rappers and MCs grew up without fathers in and around the home. Talk to me a little bit on your own views of fatherhood applied to your life versus your sons

Juelz Santana: I dont ever blame father for his things, cause my father was actually a good dude. I just think these streetsll do it to ya. I think the streets just kinda caught up with him. He got a chance to raise my oldest brother, and my two older brothers. It wasnt like he abandoned me or nothin like that. Thats why, in the song, I say for my father, The game caught him before I did, but back to you, son. I think he got caught up in the game, using drugs and stuff like that. It wasnt like he abandoned me or nothin like that. I feel like every man needs that father figure in their life, so I just wanted to express that in that song so my son can always go back and listen to it whether Im here, God bless, or not here, when hes old enough to really hear what Im talkin bout.

AllHipHop.com: Without your father really around, who filled the void. Who was your father figure?

Juelz Santana: I aint gonna front. My father came around. But like I said, it wasnt like he was affective, nahmean? So my mother was really my mother and my father. It was no guy that could take that place. It was a mother. Shes a soldier. Shes a lot of motivation. She just thugged it out four boys, grindin. Thats why I love her, and thats where I feel I get a lot of my motivation from. Moms just always havin that motivation to keep food on the table, and keep her kids happy.

AllHipHop.com: In the song, you basically say youd blast for your son, and really do anything for him. Any father, any good father, probably feels that way—

Juelz Santana: —And at the same time, if you really listen, I said, right after that, These are things I do, but I wouldnt advise you to.

AllHipHop.com: Right, but as a father, lets not say shooting. Lets say a fight. Youre a street dude. How important is it that your son learns what its like to get his ass kicked one day, or to solve his own problems, as he matures?

Juelz Santana: Oh, I mean, as a parent, you should know when its necessary to get involved. Right from wrong is right from wrong. Im not gonna be a person thats gonna believe that just because hes my son, he got a right to slap somebody upside the head. If my son slapped somebody upside the head, and somebody slapped him back, Im not gonna [intervene]. But you know, I dont think somebodys parent should slap my child. But yo, this is common sense. As a parent, you shouldnt be a parent if you cant justify that. Dig what Im saying? If you cant pay attention to your kid, then you shouldnt be a parent. If your child murders somebody no, you wouldnt wanna send em to jail. I mean, I wouldnt get up on the stand and testify. But at the same time, Im not gonna say, Yo, you should kill people. You know what Im sayin?

AllHipHop.com: I know hes only two, you said. But Harlem cats are flashy. That said, what you got planned to give baby boy for Christmas?

Juelz Santana: Aw man, its all about what he sees. He cant really talk. He like Elmo, he like Blues Clues. I get him a lil Blues Clues cars, somethin nice, man!

AllHipHop.com: You said earlier that youre uncertain of your future, as we all are. Did the Camron incident in Washington D.C. open that up at all?

Juelz Santana: Nah. Its always serious. Right now, I know how serious it is. Like, the drug game is f**ked right now! Rap is all n***as got! I see n***as that I used to look up to, hustlin in the street they [now] comin up to me with demos. The same n***as that used to get money millions of dollars and s**t like that.

AllHipHop.com: And its hard to start a rap career at 30, 35 years old

Juelz Santana: Despite the little n***as, you got the old n***as. Everybodys tryin to rap. Everybodys tryin to take money if they cant make money. Feel what Im sayin? You gotta pay attention. You gotta watch for the jackers.

AllHipHop.com: Its ironic. At AllHipHop.com, Cam came to us first talking about the Lamborghini when he bought it. He said it was a movement to bring yet more flair to New York. Even Tony Yayo recently told us that he thinks after Cams situation, dudes need to stay in bombproof SUVs. Whats your take?

Juelz Santana: With us, our movement is much bigger than the way we act. We do things that people in our position wouldnt be expected to do. We out in the streets. You seen Cam. He was at the light in the Lamborghini with his man. Usually, a n***a have 30 cars behind him, police or somethin, you know what Im sayin? We just still do a lot of regular day-to-day s**t. It kinda puts us in situations, but its how we live. Thats what keeps us in-tune to what goes on. It does make the situation f**ked up, cause its like, Damn. Do I protect myself with all this security and all this extra s**t to protect my life? Or do I just be who I am. It is what it is. These situations can happen just being a regular person walkin down the street. N***as can come and feel like you got two dollars in your pocket, and come and shoot your motherf**kin head off. I seen more n***as get jacked for some petty s**t than a n***a try and get jacked for a Lamborghini. In all actuality, thats the type of thing that happens everyday. More n***as get robbed for sneakers than a n***a for his Lamborghini.

AllHipHop.com: Word. So for the record, Dipset, Juelz, yall are gonna stay flashy in the streets?

Juelz Santana: Its not about flashy. We work hard to get what we got. Its not about being flashy, its about being us. We like nice things. We dont flaunt it. He wasnt yellin out the window, Yo, I got this car and you dont. He was bein him. People just call it flashy.

AllHipHop.com: Now, you got a song on there called, I Am Crack. If anything, it reminded me of Master Ps Ghetto D. I know from the Bout It Bout It remix, theres a relationship there. But I wanted to have yall compare recipes on crack, and have some fun.

Juelz Santana: Yeah! Go head.

AllHipHop.com: [quoting Master Ps lyrics from Ghetto D] You start with one gram of soda for every gram of coke.

Juelz Santana: [long pause] Imma keep it funky: I wouldnt agree with puttin one gram of soda to one gram of coke. That means you got half nothin, half somethin ya dig? I dont know if those were [Master Ps] exact words if they arent either.

AllHipHop.com: Then he said, Shake it till it gets harder / Sit the tube in cold water / Then twist the b*tch like a knot / While its still hot / Then watch that s**t rise while it can, to the f**kin top. Those were Ps instructions in 1997.

Juelz Santana: Yeah, man. I dont know. Maybe they do it different down South. My thing was more-or-less straight to basics. You touch the coke, touch the pot, add the soda, what you got? Me! I am what I am, I be who I be, and that you will see, and I am crack. He was kinda explainin makin real crack, I was kinda explainin me bein crack human crack, in the flesh.

AllHipHop.com: Theres a lot of talk regarding the chemistry you and Young Jeezy have. Like I Am Crack you both make loads of drug references in the lyrics. But off the page, on the personal, is there chemistry and how so?

Juelz Santana: I think we have a general respect for one another. I got to know Jeezy, just through his music. When we gave each other a pound when we first met each other, we knew a lot about each other through our music, cause its real. Like, I dont even have to have a conversation. The next song Jeezy make, or the next song I make thats like the conversation. He tellin me what he really been up to, and Im tellin him what I really been up to. So next time he see me, he may be askin me somethin like, Oh, you f**kin with that b*tch? Its that real with us. Real n***as do real things.

AllHipHop.com: I know that recent albums from Diplomats have really cut back on Heatmakerz. Yours, not as much, but a little. Their sound is changing, but some believe youre working on other guys now. Whats really goin on with that?

Juelz Santana: Ummyou got a lot of inside scoop, huh?

AllHipHop.com: [laughs] I dont know.

Juelz Santana: [laughs] Yo, you know, n***a. Nah, nah. Its cool. Its all good. Heatmakerz, it wasnt them. This time around, I wanted to use a lot of different s**t. I got over 160 songs [recorded] this time around. So I did 14 Heatmaker tracks this time around. Last time around, it was just like, those were the first I recorded, and I only did say, 20 tracks. The Heatmaker ones was the best ones, actually. When I say 160 tracks, no bulls**ttin. When I had to narrow it down to 20 songs, it just wasnt as much Heatmakerz. They not [phasing] out. They actually did my next single, though Oh Yes. They definitely came through. Nothin really changed with they sound, I just wanted to do my own thing. Plus, them samples be killin a n***a.

AllHipHop.com: Fans are questioning certain things. As we look at the Carter Administration at Def Jam, speculations have been made. For starters, reports have come from the Power Summit that Tru Life poked some remarks at Jim Jones

Juelz Santana: Who!?

AllHipHop.com: Tru Life.

Juelz Santana: What he say!?

AllHipHop.com: I wasnt there, and Im not gonna quote him. You were there.

Juelz Santana: I was right there, he didnt say nothin! As you know, I got on stage, by myself on behalf of the whole Diplomats and said, I stand up here by myself. For New York, we rep the hardest. N***as know what it is. Im sayin those are the exact words that came out my motherf**kin mouth. As far as dude [Tru Life], I dont know whats goin on with him, but he didnt say Jims name. He said comments that coulda been related to anybody, nahmean? Bottom line, he didnt say Jims name. It is what it is.

AllHipHop.com: On the same track, it might not be an issue. But numerous fans expected Jay to step to Jim or Cam in his two performances. People also speculated that with your album coming, thats why he didnt. During those performances, what was going through your head?

Juelz Santana: Nothin. I had no [expectation] that Jay-Z was gonna say anything about us. I think Jay is a businessman. I know he understands whats goin on, just like we understand whats goin on. It is what it is. Despite us not speaking not bein the best of friends, and him not [being as involved] in our careers as he is in say a Bleek or a Young Gunz despite that, we have no beef with Jay. It is what it is. We all grown men. Some people are closer with some people than with other people. Thats all it is. Some people got it twisted like, Just cause youre so close to Jay-Z, you have to be cool with him cause thats Jay-Z. People are still human beings! At the end of the day, everybodys not everybodys best friend.

AllHipHop.com: Like T.O. and McNabb last year.

Juelz Santana: Even with Kobe and Shaq.

Benzino Hit With Tax Charges, Planning New Diss Track

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsNovember 27, 2005

Raymond "Benzino" Scott, embattled co-owner of the Source Magazine, has been charged by the United States attorney’s office in Massachusetts with failing to file tax returns in 1999 and 2000.

Scott plead innocent in a U.S. District Court to willful failure to file tax returns on Oct. 28. Scott is accused of not reporting an estimated $1.5 million in combined income from 1999 and 2000.

He was arraigned and freed on $10,000 unsecured bond.

"There was an extensive investigation into this matter," FBI spokeswoman Gail Marcinkiewicz told The Boston Herald. "We took a sweeping look at this individual. We were aware of the allegations of murder and everything else. This is what we came up with."

Scott plead innocent in U.S. District Court to willful failure to file tax returns on Oct. 28 for not reporting $1.5 million dollars. "I’ll be vindicated," Scott told AllHipHop.com. "They’ve been investigating me for years and all they got me for is not filing taxes. I had someone in the office that was supposed to do that and something must have happened that year."

Marcinkiewicz would not speculate on whether Scott’s tax charges are part of a larger probe in the Hip-Hop industry, but FBI sources told The Herald that the inquiry into Scott also examined his gang ties, which they claim were formed when he was a member of the rap group The Almighty RSO.

While they were never charged, the Boston rap group became the subject of a murder investigation in relation to the 1994 slaying of Roxbury bouncer Michael Adams.

Scott served as the co-founder of The Almighty RSO.

The federal tax charges are just the latest round of legal and financial troubles for the Source Magazine. In recent months, the publication and its employees have found themselves facing various criminal charges and civil suits.

The Source is also currently engaged in a bitter war of words with Hot 97 on-air personality Funk Master Flex, 50 Cent’s G-Unit and Eminem.

"It hurts my heart where n**as support Curtis Jackson [50 Cent]. If you’re brave and stand for the ‘hood you will be a target," Benzino said.

Scott said he has a new group he will release material with to take on his rap rivals.

"I got a diss song against Eminem called ‘Detox’ this Friday. Capitol One N***as that is my new movement, they got something for 50 and G-Unit."

T. Pain Planning A Return To Rap

By: Grouchy Greg Watkins (@GrouchyGreg)Category: NewsNovember 27, 2005

T.Pain is a unique

sort of crooner, who brands his R&B style "Hard & B," for its

reality-based approach.

But, Pain has only been singing roughly 9 months and the Tallahassee,

Florida native was a rapper beforehand.

Despite the success of his hit single “I’m Sprung,”

T. Pain reckons he’ll return to Rap music on his next album.

"I’m definitely going to have to go back to rapping,"

Pain told AllHipHop.com. "Yeah I think ill switch it up on the next album.

The R&B s**t still going to be there. I aint going to totally push back.

It’s not just totally R&B right now."

Pain, born Faheem Najm, began rapping at the age of 10 and converted

his bedroom into a studio equipped with a keyboard, beat machine and four-track

recorder.

However, the 20-year-old singer opted to re-focus his career

even though he had moderate success with groups like Nappy Headz.

"It just felt better," he explained. "It was

a better feeling. It was crazy. At the time R&B wasn’t cool like that. N**as

was like ‘Don’t be doing that singing s**t. You an R&B n***a now.’ It was

a big decision for me so I was like f**k it. It feels better so that’s what

I’m doing."

Without the approval of friends and disenchanted with commercial

R&B, Pain crafted a merger of his two musical loves and labeled it “Hard

& B.”

"I aint give a damn if anybody liked the [Hard & B]

s**t or not. I just wanted to do it. It was just what I felt at the time. That’s

all that counted to me," he concluded.

T-Pain’s debut

I’m Sprung is set to hit stores on Dec. 6.

Justin BUA: Reflection Eternal

By: Grouchy Greg Watkins (@GrouchyGreg)Category: FeaturesNovember 27, 2005

In Hip-Hop, image is paramount component of the culture. Whether it’s a video, hood regalia, or diminutive speech; image solidifies an artist’s position among his or her peers. Imagery stands as a physical rendering of the intricate thought patterns and mental perceptions one hopes to elicit. Incredible reflections of life come in the form or artistry. The mind creates with an astounding ability to parallel and contort reality by explicating mentality, physicality, spirituality. The truth of Hip-Hop artistry comes in many shapes and forms, from the elaborate elocution of the provocative Big Daddy Kane or the methodical, melodic productions of Kanye West. Hip-Hop, with its explicit nature, exudes thought, feeling, and spirit with a wondrous visual application.

The work of Justin BUA compounds the various intangible facets of the human aura and brazenly captures and births them into reality. We took the time to kick it with this insightful native New Yorker who gave us his vivid perspective on Hip-Hop.

AllHipHop.com: How are you doing? How do you feel?

BUA: We have a big AllHipHop following over here; we’re all about the alerts, to be a part of that is good.

AllHipHop.com: We love to hear that. What’s been keeping you busy recently?

BUA: A lot of painting. I am working on finishing up my book. I am in negotiations to get my book done, it’s a project I worked on for about five years; it’s called The Beat of Urban Art, which is an acronym for BUA. It’s a story about me growing up in New York, before Hip-Hop; before the definitions of Hip-Hop when things were in a more raw, visceral street state. It’s also a complete library of not just all of my work but all of my preliminary work, all of my studies: color keys, value keys, classical studies. It’s really cool, it gives the story of Hip-Hop and my life how I saw, how I relate to it; the growth of it, but at the same time it shows it through my work. There is a lot of stuff that has never been seen before.

Another project I’ve been working on is with the King of the Hill guys for a show called Urbania. So, now we are redoing it and putting together a pilot, that’s really going well; it’s got some really cool people behind it – the Dust Brothers are doing the music. I am also working on a series of heads; I want to come out with a gallery called “BUA Headz,” all of the heads from my imagination, friends, some famous people.

AllHipHop.com: How will the book develop contextually?

BUA: I discuss Hip-Hop, my perception of it from a child’s point of view all the way up until today. Really, growing up; I grew up on the Upper West Side of New York. Really, there is a kinetic energy that was really untapped, untamed and really hard to articulate. They say pictures speak a thousand words, that’s really true; there is no way to really explain those kinds of characters. The b-boys, the drug dealers, the pimps and hustlers. All of those people were just so rich and their all captured in my book. I paint the people who inspire me, the b-boys, DJ’s, underground piano players; those are all characters I grew up around, even though they are distorted interpretations in my mind.

AllHipHop.com: So, what’s you take on Hip-Hop in it’s present form?

BUA: Like any era, everyone always claims their era was the best. I still love old school rap the best, and it is definitely a lot of stuff going on that I love today. I love what Pharrel is doing, for of example, I am not a fan of a lot of jiggy stuff, but there is a lot of stuff that is real catchy. I really hate to admit it, but I do listen to Chingy every once in a while. I have a lot of very hardcore b-boy friends that say that Sugar Hill [Gang] was very commercial. I just saw an article in Vanity Fair that said Sugar Hill was groundbreaking and that “Rapper’s Delight” was the most amazing thing ever. It did get it out to the general population, but in my circle it was commercialized. The Fantastic Five and the Fearless Four were much more underground and much more real to the people I grew up with, in my circle. I try to see it all objectively, see the big picture.

AllHipHop.com: As far as seeing the big picture, do you think a lot of the music considered jiggy or not as grounded may be seen as a potential movement years down the road?

BUA: Yeah, definitely. It’s like some of the 80’s stuff is so cheesy but it’s really good. A lot of people think the Bee Gees are phenomenal; I particularly love the Bee Gees, believe it or not. A lot of people think it’s horribly cheesy, or Abba. I feel the cream will rise to the top. We have had artistic historical periods that are very poor in quality. I feel that some periods are stronger than others. Impressionism, Romanticism, and Realism were very strong movements, but Baroque and other movements were very weak.

AllHipHop.com: Do you have a fascination with artistic deception?

BUA: Art is sort of like magic, it is a two-dimensional thing and what we are creating is an illusion of three-dimensions. What we are seeing is refracted light. The light is bouncing through our retina, bouncing off shining through our eyes. What we are seeing is abstract colors of light reflected on to surfaces giving the illusion of space, giving the illusion of texture, giving the illusion of things. So, we are living in this really abstract world as a painter and your best of painting what your seeing and not what you know. That’s why Picasso said, “Art is a lie, which makes us see the truth.”

AllHipHop.com: What is an aspect of Hip-Hop that you feel has waned as the culture has moved forward?

BUA: Hip-Hop is such an umbrella word now. Hip-hop can mean Britney Spears, Backstreet Boys, and N’ Sync. It could also mean, Big Daddy Kane, Afrika Bambaataa, and Crazy Legs. It’s a very weird thing to get into a conversation about Hip-Hop. I can tell you what to wane, what I want to ebb and I want to flow. I love lyrics, really meaningful lyrics, smart lyrics; I still to this day haven’t had a Hip-Hop artist. The only ones close are Big Daddy Kane, Eminem, people who have amazing lyrics – somewhat to the level of what Bob Dylan did with his lyrics or Suzanne Vega—her old, old stuff. Like really smart, intelligent lyrics; where are those? There are definitely a lot of people with creative, clever lyrics but really smart. When I was listening to DMC back in the days, and they came out with, “It’s Like That,” and all the old stuff. There were so many political and social overtones that were really interesting and really well spoken. I am missing that today, like Public Enemy, a real voice of dissent. I am definitely inundated with Britney Spears and the Backstreet Boys and all that crap, I wish it would all go away, all the fluff, flush it down the toilet. Puff Daddy is really an interesting character because he is on both sides of the spectrum, Biggie Smalls; great, beautiful, genius but…

AllHipHop.com: What’s the call to action? If people reading these and seeing these images are interested, what can they do?

BUA: “1981”, “Trumpet Man”, “El Guitarrista”, and “Piano Man” – gorgeous limited editions, I only have 75-100 of them so people need to tune into my website, www.justinbua.com and start ordering them; great, great holiday gifts.

Vertically Challenged EP

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Reviews / MusicNovember 27, 2005

Artist: Lady SovereignTitle: Vertically Challenged EPRating: 3 StarsReviewed by: Jamin Warren

When UK teen Lady Sovereign dropped Random this past spring, bloggers on both sides of the pond collectively freaked. The single brashly took aim at Yankee rappers and the 19-year-old wunderkind was, apparently, the new Queen of Hip-Hop. The Fader Magazine blessed Sov with cover credits (she had only a handful of material floating on the web) and Jay-Zs Island/Def Jam grabbed her for a 06 debut.

So wheres the cocky, headstrong emcee that dazzled her way into overnight celebrity? On Ch-Ching from the Run the Road comp, Sov boasted Ive got 50 things to say in a cheeky kind of way and we gave her the benefit of the doubt. On Vertically Challenged (Chocolate Industries), Sov stumbles through 8 things and it turns out she has very little to actually say.

No doubt, Sovs production is more coherent and melodic than other grime exports like Dizzee Rascal and Wiley; Mentas Random is the closest thing to an English dancefloor burner youll hear this year even with Rikos messy, phoned-in verse from prison. Beastie Boys Ad Rock steps out to bless Sov with a remix, retrofit with driving digital snares and frenetic tempo worthy of a Billy Blanks infomerical. But the Wembley native shortchanges her production. With style-free choruses like, Abuse your speakers/lose your manners/disturb the neighbors/this ones a banger, on Fiddle With The Volume, Sov sounds listless and apathetic. Frost P utterly upends his host on the 8-minute, war of the sexes The Battle, barreling through a fiery, furious speed-rap. Even the gratuitously multi-tracked vocals fail to give her the authority to carry the torch alone.

Who knows? Maybe Lady Sovs full-length will make good on Def Jams speculative investment and you can tear up this review and quit badmouthing this reviewer on your blog. But dont hold your breath; Vertically Challenged is in dire need of intensive care.

Charnier T. Corey: The World Through A Rearview

By: Grouchy Greg Watkins (@GrouchyGreg)Category: FeaturesNovember 27, 2005

Part of the mystique in Ras Kass’ Van Gogh album was its portrait cover. Hip-Hop sees itself as meaningful, like we endear our musical artists. This is why there’s something so visually pleasing in seeing talented painters, photographers, and sculptors devote their energies to Hip-Hop’s beauty.

Charnier Corey is a Fort Wayne, Indiana native who has does just this. With recent gallery showings in New York, the art community is fast learning of Corey’s visions of Hip-Hop, poverty, racism, and innocent beauty in his colorful portraits. Corey’s words are as resonant as his brush-strokes… enjoy.

AllHipHop.com: What motivates your art?

Charnier Corey: Waking up. Just having the opportunity to create. I just don’t take it for granted that you know, just the ability to be an artist. It’s a task that I’ve grown to accept as being a part of me. Every day I create, and as far as motivation it’s natural, I just feel driven to create.

AllHipHop.com: Is there anything you focus on creating in particular?

Charnier Corey: Stuff that I like. When I create I try to satisfy my own creative urges and stay true to my own beliefs.

AllHipHop.com: What made you decide that being an artist was something you wanted to pursue on this level?

Charnier Corey: I feel like to me, I had to stop rejecting that part of me and just embrace who I am. "9 to 5 is how you survive," but I want to grow and do more than just survive. I want to live.

AllHipHop.com: Right now, what would you say was your favorite piece or work you have done?

Charnier Corey: A piece entitled, "For Diego, Eric and Gonzollo on Mexican Day." A portrait of a young Hispanic boy with a cowboy hat. Black boots. It’s got a light blue background. I like the piece for what it means to me, though it kind of stands for more than the portrait. There’s kind of a narrative involved and the story goes like this: Mexican Day is the day before the pool was to be cleaned in the public school/park system in Los Angeles. They would clean the pool one day a week. Mexicans were allowed to swim the pool the day before the cleaning day so in effect the day that the pool was dirtiest, the Mexicans were allowed to swim. So hearing all this racism – because it not only affects Black people, but all people of color, that motivates me and that’s what kinda made me create this piece.

AllHipHop.com: How does Hip-Hop influence your work or does it?

Charnier Corey: Oh most definitely! That was what I listened to growing up and I kinda came of age listening to it.

AllHipHop.com: What was your first memory of Hip-Hop?

Charnier Corey: Da Hah! That was my first or maybe like "Planet Rock." I think Da Hah was my first real Hip-Hop experience in terms of me wanting to be involved in the culture because it was by the Rapping Duke and I don’t know if any body remembers but he was kinda rapping like John Wayne and it was more a mockery or a parody of Hip-Hop but I thought that it was creative, and it showed the music in a creative light and people playing with the form. As an artist, that appealed to me. I thought that was important.

AllHipHop.com: Now as an artist yourself, how does that “playing with the form” reflect itself in your art?

Charnier Corey: I try to push the envelope and play with the paint strokes, create different angles and approaches and make pieces that are enjoyable. My imagery and color schemes are vibrant and celebratory, like having an enjoyable experience because that’s what I’m all about. My portraits are not really deep in terms of abstraction, but my subject matter is playful and uplifting and promote a positive experience.

AllHipHop.com: So you don’t only paint icons, you do capture the essence of the everyday man?

Charnier Corey: I paint family people, loved ones, friends, people I don’t know. I love to paint children in their element having fun and expressing joy because there is an honesty there that people don’t show. Children are a lot more open and real.

AllHipHop.com: If there was one thing you could change about Hip-Hop, what would it be?

Charnier Corey: I wouldn’t change Hip-Hop. I love Hip-Hop, and everything we go through just makes us better. I’m a part of Hip-Hop, so I feel like you know it’s gone through its phases and stages but at the same time it’s brought upon a bigger growth to the point where you can have rappers develop a life time career out of something that was done for recreation.

AllHipHop.com: Favorite Rapper?

Charnier Corey: By far, Jay-Z. I just think he represents a type of ambition; a type of mentality where you just have to make your life what you want it to be. We all have decisions to make but you can’t allow those decisions to limit who it is you want to be. I think he embodies the bigger picture.

AllHipHop.com: One bullet. One Rifle. One Time Machine. And 30 seconds before the cops come. Who do you take out?

Charnier Corey: The cop that killed my brother.

Those interested in Charnier T. Corey can visit www.blackfruitpunch.com or www.nobbq.com