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Paul Wall Gets Married In Houston

Paul Wall probably won’t be hooking up with females on the internet, as chronicled on his song “Internet Goin’Nuts.” The Houston bred rapper quietly got married in a low-key ceremony in his hometown over the past weekend, a representative for the rapper confirmed with AllHipHop.com. The identity of his bride was only disclosed as Crystal, “his longtime girlfriend.”

In related news, Wall remixed his song “They Don’t Know” to pay homage to the Houston Astros, who made their first visit to the World Series. His former partner, Chamillionaire has also released a similar ode, “Turn It Up (remix).

Wall released his debut album, The People’s Champ, earlier this year to critical acclaim.

Crips Founder/Children’s Author To Be Executed

A death warrant was signed on Monday (Oct. 26) that clears the way for Stanley “Tookie” Williams, co-founder of the infamous Crips Gang, to be executed at San Quentin prison in mid-December.

Superior Court Judge William R. Pounders signed the death warrant on October 24. The judge rejected requests by Williams’ attorneys to delay the execution until December 22 to give them more time to seek clemency from Gov. Arnold Schwarzenegger. “This case has taken over 24 years to get to this point,” stated Judge Ponders, according to the Associated Press. “That is a long delay in itself and I would hate to add to that delay.”

The December 13 date gives Williams’ attorneys until Nov. 8 to submit a clemency request, a small timeframe. The U.S. Supreme Court declined to consider Williams’ case earlier this month. Williams was sentenced to death in 1981 for fatally shooting Albert Owens, a convenience store worker, in 1979. He also was convicted of killing two motel owners and their daughter during a robbery that same year.

Williams steadfastly maintains his innocence and his supporters attended the court proceedings to rally on his behalf. Despite his past, the former gang leader has renounced his past lifestyle and penned children’s book. Furthermore, Williams has been nominated for the coveted Nobel Peace prize and actor Jamie Foxx played the convict in “Redemption: The Stan Tookie Williams Story.”

Williams, 51, and a high school friend Raymond Washington became started the Crips street gang in Los Angeles in 1971. The gang, well known for their violent ways, were mostly identified by the blue color worn by their members.

Many of Hip-Hop’s elite, West Coast artists in particular, have often been criticized for glorifying the gangbanging lifestyle and pledging affiliation to the Crips. Artists such as Snoop Dogg, Dub-C, Eazy E, Ice T, Daz, Kurupt, Warren G, Tray Dee, Goldie Loc, Coolio, MC Ren, MC Eiht and a host of others have been affiliated with the Crips.

The Crips became popular throughout southern Los Angeles as more and more youth gangs joined it; eventually they outnumbered non-Crip gangs by 3 to 1. In response, some of the besieged smaller gangs formed an alliance that later became the Bloods. For decades, there was a bloody rivalry between the Crips and Bloods until a peace treaty was eventually negotiated, ironically by Williams.

Williams is schedule to be executed on December 13. A website, www.savetookie.org/, has been erected to galvanize support him.

Emcee’s Properganda

Artist: JinTitle: Emcee’s PropergandaRating: 3 1/2 StarsReviewed by: Robert Longfellow

The Emcee…ahem…Jin can’t win for losing. In a matter of months we’ve seen the Asian rap superhero throw in the white flag with an early retirement, get knocked the fugg out at a Fight Klub battle and reclaim his freestyle battle crown, technically, at the recent Power Summit in the Bahamas. The source of Jin’s recent stumbles, at least in the eyes of his supporters, detractors and those oblivious, is rather obvious. His debut album, The Rest is History, was wack. Licking his wounds, his latest independent endeavor, Emcee’s Properganda (Draft/Craft Plugz), is everything his proper debut wasn’t, slicker lyrics over knocking instrumentation. Senorita be damned.

Everyone’s favorite rapper can spit. The deciding factor is weather beat accompaniment helps him merits return listens. Jin calls beats the “Fifth element” on “G.O.L.D.E.N.” On Properganda new jack producer Golden provides all the tracks and proves to be Jin’s lifeline. On “Top 5” Jin rides (pause) a hollow vocal lift snuggled by shuffling drum kicks and avoids controversy by name checking a gang of his favorite rappers, “Scarface ya minds playing tricks and illusions, Pharaoh Monche out to organize the confusion, trying to figure out this fly chick I discovered, at the same time Common said he used to say he love her, Buckshot with his camp click laced up his boots, big up to Black Thought, never forgot his Roots.” On “Mr. Popular” he successfully adjusts the battle raps into a smooth song structure over thumping percussion and subtle keys. The only real suspect cut is “Carpe Diem” which suffers from a listless sitar that runs through the track. On the much too short “My First Time” he gets conceptual, recounting the first time he popped his cherry (pause), and wrote his first rhyme.

Jin’s rhyme book is thick but and he used it to let you know he’s still bitter at rap’s largesse (“Perspectives”, “Properganda”), wants women to respect themselves (“Foolish Little Girl”) and wishes there were less wannabes (“No More Fans”). The stock angry rapper purist peeved at a jacked up Hip-Hop aesthetic is tiresome, though not without merit. But Jin has tried to refine his approach and make it easier to swallow (pause). However, since his fan base would be in agreement-forgive the forthcoming cliché-he’s preaching to the choir. Then again that glorified coaster that was his freshman flop makes him need to endear himself to as many kindred, lyrical loving, and CD buying spirits as he can. After all, it isn’t propaganda that battle money only lasts so long.

Court Orders Young Jeezy To Turn Over Bank Statements

Jay "Young Jeezy"

Jenkins was ordered to turn over financial records of his earnings during a

child support hearing on Tuesday (Oct. 25).

The Boyz N Da Hood former

front man and Def Jam artist is having his earning scrutinized, as the mother

of his 9 year-old son, Nicole D####, is stating that the rapper’s income has

changed drastically since a 2001 child support ruling.

The original motion, which

established the paternity of the child, set the child support for Jenkins to

pay at $178.

Since that motion,

the record label Jenkins’ allegedly owns, Corporate Thugz Entertainment,

has enjoyed success.

Jenkins was a member

of BNDH when they released their self-titled debut on Bad Boy Entertainment,

which landed near the top of the charts when it was released in June of 2005.

In July of 2005,

Jenkins’ certified platinum debut, Let’s Get It: Thug Motivation 101

hit stores through a deal with the Island Def Jam Music Group, a unit of Universal

Music Group.

In court depositions,

Jenkins denied owing a mansion or a house, a car or jewelry, but D####’

lawyers singled out his diamond incrusted "snowman" pendant, as well

as the platinum success of his debut album and the success of BNDH’s self-titled

debut album, which spawned the radio hit "Dem Boyz."

Nicole D#### is asking for

more than $20,000 in expenses for clothing, transportation and housing to care

for the child.

"The ultimate

question is what is he making?" Superior Court Judge George Nunn asked

on Tuesday (Oct. 25), during the proceedings.

The court concluded with

the judge stating that if Jenkins can prove that he’s only living on a minimal

income and driving an economy rental car, rulings would bear in his favor.

On the other hand, if he

fails to disclose a full picture of his income, the judge warned that he will

assess child support based on the rapper’s "lifestyle of a wealthy rock

star."

The judge ordered the rapper’s

attorney to turn over his bank statements to D####’ attorneys and told

the lawyers to file subpoenas for other financial information from Corporate

Thugs Entertainment by Friday (Oct. 28).

Diana Lynch, who is representing

Jenkins in the case, is disputing the claim that he is the owner of Corporate

Thugz Entertainment.

The follow up hearing to

determine the amount of child support is scheduled for Nov. 29.

Rapper DMX Pleads Guilty To Driving Charges, Facing 60 Days

Hip-Hop star DMX may

have to serve 60 days in prison.

The rapper, whose real name is Earl Simmons, pleaded guilty

Tuesday (Oct. 25) to violating the terms of an agreement reached after a driving

infraction last year.

Additionally, DMX confessed that he had a pair of other violations

while his driver’s license was suspended or revoked, according to the

Associated Press.

The rapper’s driver’s license was suspended after

a June 2004 road rage incident at JFK Airport in Queens, New York.

DMX managed to avoid jail time after chasing another driver

through the airport parking lot with flashing lights and sirens on his SUV.

He later admitted to being under the influence of V##### during

the fiasco.

Police claim DMX was pulling the other driver out of the car

when they arrived on the scene. His charges were eventually reduced to misdemeanor

offenses.

In December of 2004, DMX had more problems with his driving.

The Def Jam rapper was arrested and charged with speeding violations

in

Westchester, New York, after police caught the rapper driving over 100 mph in

a 65 mph zone.

In April of 2005, DMX was driving on the Major Deegan Expressway

in the

Bronx, when he crashed into a car that then struck an unmarked police cruiser.

The rapper has maintained that he was rushing to the hospital

because his wife was in labor, but prosecutors said the child was born three

days later.

Sentencing has

been scheduled for November 17.

Blackalicious: Clockwork

Duos and groups come and go. Their careers skyrocket and plummet in the blink of an eye. After a decade of making music together, not too many acts can even say that’s they’re still going strong together, let alone drop a new album that sounds totally unlike anything they’ve done before. Keeping your freshness seal-tight in today’s music game isn’t as easy as some make it look.

Ten years into the game, Blackalicious is bringing a new album and a new sound to the table. The North California team has forged Quannum Projects as a label to watch, and Blackalicious as a group to hear. Going into The Craft this Fall, Chief Xcel and Gift of Gab are getting all sorts of reviews. AllHipHop.com talks to the duo about the new album The Craft, as well as the span of their careers, the chemistry they have, and drinkin’ on 40’s for breakfast.

AllHipHop.com: I’ve been listening to the new album, The Craft, and it’s really crazy. It has been described as having “sonic depth,”—can you elaborate on that for me?

Gift of Gab: I think that musically alone, the way Xcel put the album together was ingenious. He got live musicians that we knew and brought them all together and had them jam for days at a time. Then what he did was take the parts that he thought were best and made them into songs. There’s a lot of live musicians and instrumentation on this album. And the thing that’s really dope about X’s sound right now is that you really can’t tell if it’s live or sampled.

AllHipHop.com: Is live music something that you usually incorporate into your albums?

Chief Xcel: Yeah, pretty much in all of our records. The thing about The Craft is that there are just as may samples on the record as there are live instruments. For me, pretty much since Nia, the aim had really been to sort of erase the line between what’s live and what’s sampled so it sounds like it’s all coming from the same source.

AllHipHop.com: The other day, as I was listening to The Craft while driving, I caught a slight case of road rage and usually I’m very calm in the car—especially listening to a Blackalicious album. It all reminded me of “Mashin’ on the Motorway”. Now, is that strong feeling that the album puts forth something that was intentional is was I just a mad driver?

Gift of Gab: [laughs] I think that a lot of the songs are more fast paced then stuff we’ve done in the past just on an energetic level I can see how you’d say that.

AllHipHop.com: How was it to work with George Clinton?

Chief Xcel: Well, Mr. Clinton, as you know, is a legend and to be able to be in a session with him is almost like being in school. Each time you collaborate with someone is really a learning process because different artists have different ways of accessing their creative energy and to watch his process in action was really amazing. When we first did the song, Gab had originally written the hook and done the demo so Mr. Clinton came into the studio, listened to it and vibed out for 15 or 20 minutes. It was almost like he was going into a trance, started kind of mumbling melodies and harmonies to himself. Then after about 20 minutes, he was like, “Okay, I’m ready” and then to watch his mind work and watch all these different vocal arrangements unfold kind of gave me a little insight into how they made all of those great Parliament records.

AllHipHop.com: Is there any particular song on the album that meant a little more to, or that you really put your heart into?

Gift of Gab: We put our heart into all of the songs. I know you’re expecting me to say that…

AllHipHop.com: Yes and no…

Gift of Gab: We kinda went by this theory about Quincy Jones and Michael Jackson making Thriller. And the way they went about making that album was by saying “We can’t keep any songs that don’t give us goose-bumps.” So we sort of went by that blueprint. X did over 120 beats and I wrote to about 50 of them, and we cut it down to these 14 because there were a lot of songs we did that were good songs, but after listening to them we’d ask “Okay, but does this song move you? If you had never heard us before and you heard this, would you say ‘Whoa, what was that?’” And if the song didn’t give us that feeling when we were done listening to it, then we’d cut it. We really set a high benchmark as far as what moves us musically in terms of this record. So when you say ‘one song’—each song really stands on its own.

AllHipHop.com: So you would trust him to tell you if you were spittin’ mediocre and would you tell him if his production was average?

Gift of Gab: Yeah, we know that the worst thing to say to each other either after I spit a rhyme or after he makes a beat is “Yeah, it was cool.” We don’t want to just do “cool” stuff. We want a reaction. We want to see that we area affecting the person listening. You can tell when it’s sincere and when it’s not sincere.

AllHipHop.com: Well one of my favorite songs from you guys is “Release” with Saul Williams. Before he got on that track, did you point him in any specific direction before he took the song where he took it?

Gift of Gab: We were just building on the concept of releasing, letting go and being free. He just really went there—he completely created some new s**t. There was no way we could have guessed that he was gonna come with what he came with on that one.

AllHipHop.com: You guys have had quite a few albums now, from Melodica to Nia, and now The Craft; is there any album you feel particularly strong about or is it all love?

Chief Xcel: They’re all kind of like your children, you know? It’s almost as if you have all these different yearbooks on your shelf. Of course if you’re just going into college you have an affinity towards senior year, because that’s what’s closest to you and to where you’re at. But it doesn’t make freshman, sophomore and junior year any less important because that’s where you were at then. So for us I really just look at it as one body of work with various chapters to it. It’s hard for me to go back and listen to anything that I’ve done in the past because that’s who I was then. It’s sort of like revisiting the past as opposed to moving forward in terms of where I am now. So I rarely ever listen to any of our old records.

AllHipHop.com: Gab, your solo album, 4th Dimensional Rocketships Going Up—when you approach your solo music, do you approach it any differently then when you’re working with X?

Gift of Gab: Well, me and X have a chemistry. The difference between my solo album and a Blackalicious album is the chemistry. I can only make a Blackalicious album with X, and he can only make on with me. We can make other albums with other artists and make good records, but we can only make Blackalicious albums with me and him.

AllHipHop.com: Melodica was ten years ago, and that album is very rare now. It’s worth hundreds of dollars if I’m not mistaken. As a record collector, how does that feel knowing that it’s hard to find some of the music you made?

Chief Xcel: It’s cool, as long as its maybe one or two records in your catalog. If it’s your entire catalog then that’s not cool—cause that means nobody’s buying them. But in terms of Melodica, that’s always going to be a very special piece for us because that was our first record. Just to know that it’s sought after is a very dope thing.

AllHipHop.com: And do you see that one being repressed?

Chief Xcel: Yeah, we’re actually talking about re-releasing it some time next year on Quannum.

AllHipHop.com: Looking back at your collection of yearbooks, really not knowing where you are in your career—you’re not at the beginning, there’s no way of telling where the end is, how do you feel about the spot you’re at right now?

Chief Xcel: It’s like, you know when you’re on a long ass road trip and say you’re drving from—where you at right now?

AllHipHop.com: Rhode Island.

Chief Xcel: Say you’re driving from Rhode Island to Oakland and you’re in Austin, Texas right now and hella stuff has happened since you’ve been on the road. You’ve just been through experience after experience after experience and it’s so intense that you just need to stop and be like “Damn I’m only halfway there and I’ve already gone through this, this, this and this.” That accumulation of experiences sort of puts you where you are now and that’s really what you want to show. You’re in Texas, but you have half the journey to go. At this stage in the game, I have about 18 years of beats under my belt and I’m just now really discovering music. That’s where the adrenaline rush comes from. Every single day you get a little breakthrough in the studio, or you learn something new and it’s exciting. Every day feels new.

AllHipHop.com: So lastly, in tradition of one of your most popular records – when was the last time you had a 40 ounce for breakfast?

Gift of Gab: [Laughs] It’s been a long time since I’ve had a 40. I’m not gonna say I don’t have some wine every now and then but it’s been a looooong time since I’ve had a 40.

The Game Launches Black Wall Street East, Working On ‘The Doctors Advocate’

In preparation to begin working on the follow-up to his multi-platinum

album The Documentary, rapper The Game recently constructed and opened

a new recording studio complex in Atlantic City as headquarters for Black Wall

Street East.

Black Wall Street’s main offices are headquartered in Los Angeles

and the rapper is also making plans for other Black Wall Street facilities in

other major markets across the country.

Game (born Jayceon Taylor) centered his recording studio in

Atlantic City, New Jersey after collaborating with Black Wall Street in-house

producer, Nu Jerzey Devil aka Anthony Torres.

"Rap is just a branch on my tree of life," Game told

AllHipHop.com. "I am funding these complexes with my own money. It’s very

reminiscent in concept to what the original Black Wall Street was all about

– doing for yourself."

According to Ron Wallace, co-author of "Black Wall Street:

A Lost Dream Chronicles," the original "Black Wall Street" was

in Tulsa, Oklahoma.

The street was in one of the most affluent, segregated African-American

neighborhoods in the United States and flourished from the early 1900’s until

1921.

According to "Black Wall Street," the city was destroyed

by race riots brought on by angry white Ku Klux Klan members, who allegedly

destroyed the town on June 1, 1921.

Game’s Black Wall Street East, which is set in the heart of

Atlantic City, is a fully customized state of the art recording studio, which

is serving as the backdrop for the Game’s next album titled The Doctors

Advocate.

Game, who as Jayceon Taylor was a member of the Los Angeles

gang the Bloods, founded The Black Wall Street as an organization and corporation

that is interested in the primary social development and economic advancement

of the Hip-Hop community.

The Atlantic City location is still under construction and features

a studio, two master suites, offices, rooms for in-house living, a recreational

room with pool tables and a classroom, where mentoring programs for pregnant

mothers and children will be established.

The rapper said he hopes to create almost 100 jobs when the

facility is completed. Other facilities will eventually open in New York, Atlanta,

Miami, Detroit, Chicago.

While no release date was available for his album, the rapper

confirmed he was "knee deep" into production on the follow-up to his

blockbuster debut, The Documentary.

"It’s the same format at The Documentary. If it

aint broke don’t fix it," Game stated. "I am still with Dre and I’m

working with some of the best producers."

The rapper/CEO has already recorded and finished tracks with

heavyweight producers like Dr. Dre, Kanye West, Just Blaze and Cool & Dre.

Game said The Doctors Advocate would not suffer without

the appearance of 50 Cent and his former G-Unit group members, with whom a violent

feud erupted just before 50 Cent released his chart-topping album, The Massacre.

"First off, he didn’t write s**t," Game clarified.

"If you listen to The Massacre and The Documentary, it’s

obvious. He didn’t write anything. We would be in the studio bouncing ideas

off of each other creatively, because it’s all about creative empowerment. I

did that for his album too and didn’t ask for anything or take any credit. Now

50 is trying to sign all the street dudes and turn them against me."

The rapper also announced that he is seeking new talent to sign

to his Black Wall Street imprint.

Interested artists

can visit Theblackwallstreet.com

or Theblackwallstreeteast.com.

The rapper also

stated his sneaker with 310 Motoring, "Hurricanes by 310," will hit

stores on Dec. 26

The Doctors Advocate does not have a release date at press time.

Charity Founded by Leila Steinberg & Tupac Hosting Dinner/Concert

Mike Epps is scheduled to host a benefit dinner and concert to support Assemblies

in Motion (AIM), an international Arts Education non-profit organization founded

by Leila Steinberg and the late Tupac Shakur.

Sponsored by Quincy Jones

and others, the benefit dinner and concert aims to provide support to the international

AIM organization and Steinberg’s "Rose From Concrete" Arts Education

program.

The exclusive charity event

will feature a cocktail reception and a five-course dinner prepared by world

famous chef Nicola Mastronardi and performances by Mike Epps and AIM artists.

A silent auction will also

be held during the charity event. Some of the items for the silent auction include

a private dinner in your home with Chef Nicola Mastronardi, an original poem

handwritten by the late Tupac Shakur while studying with Steinberg and a painting

by young urban artist Capone.

AIM was founded with the

intent to utilize the personal voices of artists through song and spoken word

to educate, heal, communicate, and transform the world.

Through the program, Steinberg

runs a weekly artist workshop where through her innovative teaching techniques;

artists create music and spoken word pieces, which in turn become AIM’s teaching

curriculum.

Steinberg has also been

credited as being very influential in shaping Tupac’s persona in the early

stages of his career. He was a student in the program when it was located in

Baltimore.

She was also instrumental

in introducing and connecting Tupac with Digital Underground.

Proceeds from AIM’s first

annual benefit dinner, will benefit AIM’s Arts Education and rehabilitation

programs in schools, community centers, foster homes, and youth authority facilities.

The charity event will be

held at Vincenti Restaurant in Brentwood, CA on Wednesday, October 26th.

For more information on

AIM and this event call (310) 860-5188.

Paramount, 50 Cent Criticized Over ‘Get Rich’ Movie Advertisements

Paramount, MTV, Interscope

Records and 50 Cent are coming under fire by a coalition of Los Angeles community

leaders, activists and concerned parents over advertisements for 50 Cent’s

new movie, “Get Rich or Die Tryin’.”

Billboards, posters and other ads depict the best-selling rapper

brandishing two handguns as a promotion for the upcoming film, which is based

loosely around his rise from the streets of Queens, New York to the top of the

music industry.

The ads are also receiving major promotion on the internet,

as the campaign is being served through Google’s targeted affiliate advertising

program.

The boycott is being led by Project Islamic HOPE, The National

Action Network, Justice For Murdered Children, the local NAACP, Stop The Violence

Increase The Peace and Dr. Earl Ofari Hutchinson.

"Gun violence is one of the leading causes of death for

young black males in South Central Los Angeles and across urban America,”

Najee Ali of Project Islamic HOPE said in a statement. “It’s irresponsible

for Paramount Pictures to promote and market a movie that glorifies carrying

guns.”

According to recently released statistics, there were 379 homicides

in Los Angeles as of Oct. 8, 2005, down from the previous year. But according

to reports, guns were used in 71 percent of murders.

The group is demanding that the ads featuring the rapper brandishing

the weapons be immediately pulled from the marketplace.

“Guns are weapons of mass destruction that are used to

kill people,” Ali continued. “We demand that Paramount Pictures

remove these negative images of death and destruction, images that our young

children are influenced by.”

Representatives

for Paramount were not available at press time.

Rakim Told Me (Book)

Artist: Brian ColemanTitle: Rakim Told Me (Book)Rating: 4 1/2 StarsReviewed by: Paine

When an artist today reflects on one of their songs with, “it is what it is,” it leads to something bitter-tasting in the mouth of every purebred Hip-Hop listener. After all, many of us would kill for the chance to ask Biz Markie about the inspiration for “The Vapors.” Veteran Hip-Hop journalist Brian Coleman has begun a series that allows artists to reflect individually on their albums in-depth, providing fans with cumulative liner notes some classic Hip-Hop albums. Rakim Told Me (Wax Facts) tackles a dozen or so Golden Age nuggets in and around 1988. The reading is as intriguing as it is necessary to Hip-Hop preservation.

Brian Coleman’s best attribute is his silence. Though he writes outstanding prose, such as signifying the psychedelic cleverness of Ultramagnetic MC’s Critical Beatdown, he spends most of the book letting artists do the talking. Some are short on details, much to the chagrin of the reader. DMC and Slick Rick don’t go nearly into as much depth as KRS-One or Ice-T. Still, it’s interesting to see what anybody has to say. Little known facts such as Schooly D’s DJ having stage-fright or Dana Dane penning chunks of “Nightmares” in 1980, these are the jewels of the read. Before each session, Coleman captures the significance of each artist, each album, and sometimes each song.

Rakim Told Me looks back and does its research. While every reader may have opinions on what should have been included [In Full Gear and The Geto Boys], Coleman does include easily overlooked West classics like Life Is… Too Short and Nobody Does it Better (DOC), as well as the genre-forgotten, Mantronix’ The Album. For groups, there is great chemistry. Erick Sermon and PMD play off of each other as they have in music in looking back at Strictly Business. Dave and Pos are joined by Tom “Tommy Boy” Silverman in revisiting Three Feet High & Rising for a discussion on the music and the business involved. Absences like Prince Paul, Eric B., and Run are tolerable, but hurt the read, in simple curiosity. Nobody slings mud – too much, anyway. Some artists, such as KRS’ description of Scott La Rock, are so powerful, that they seem there. Rakim shows Eric B. nuff respect too. Like TV’s The Wonder Years, everything is peace in retrospect.

For those who love Hip-Hop music history, this book will sit comfortably next to Ego Trip’s Book of Rap Lists on your coffee tables – that essential. It’s a fun, easy read, that’s worth coming back to. Brian Coleman is innovative in concept, and quiet with the pen. His love and passion still manage to seep out of every page, every album. This is the Hip-Hop book of 2005, and a staple in this writer’s holiday shopping bag.

Civil Rights Icon Rosa Parks Dies At 92

Whether it was racists in the 50’s or OutKast, who she felt disrespected her name, Rosa Parks didn’t wince when it was time to put up the good fight.

The 92-year-old Civil Rights icon died on Monday due to natural causes in her Detroit home.

Parks helped birth the modern Civil Rights movement in December of 1955 after she boldly refused to relinquish her bus seat to a White man in Montgomery, AL, as the area was segregated by race.

On December 1, 1955, Parks had finished her day’s work and wearily sat in a seat towards the back of a bus, where Blacks were regulated to assemble at the time. However, the White section in the front of the bus was full and a White man attempted to wretch Parks’ seat from her. Parks, who was an active member of the NAACP, defiantly refused and was subsequently arrested.

Martin Luther King, Jr. demanded a boycott of the bus system that lasted 381 days until the bus company went bankrupt from the lack of financial support from the Black community. The U.S. Supreme Court eventually declared racial segregation on public transportation unconstitutional.

In the aftermath struggle, Rosa and husband Raymond eventually migrated to Detroit after finding it difficult to find work after the boycotts.

In 1999, Parks filed a suit against OutKast claiming defamation and trademark infringement for using her name without consent in the hit song “Rosa Parks.” The suit was settled when OutKast, Sony BMG Music Entertainment and two other companies agreed develop educational programs about Parks’ life and legacy. Under the agreement, which was established earlier this year, OutKast will also appear on a tribute album.

Parks penned a book called “Quiet Strength” in 1994 and actress Angela Bassett played her in a 2002 made-for-television movie.

Kevin Liles: Fallin’ Up

Baltimore, Maryland gave Hip-Hop a gift when its native son, Kevin Liles began as a Def Jam intern. Like Sean Combs at Uptown, Liles worked his way to the top, and never looked back – or down. For those seeking to learn the secrets to Hip-Hop success, they can buy Liles’ new book, From Intern to President: Make It Happen. The self-help memoir offers advice by the pound, and President Liles breaks off a few ounces of wisdom for AllHipHop.com readers.

In celebration of the publication, Liles discusses Hip-Hop’s work ethic, plus a cross-section of Def Jam’s executive fraternity. Those who seek to be the buck-stoppers, read into the mind of a self-made-millionaire.

AllHipHop.com: First and foremost what made you start the book? That’s got to be something that a lot of people trying to get into the game would be interested in.

Kevin Liles: Here’s what happened. I was 13 years old. and Lyor [Cohen] said to me, who was President of Def Jam [at the time], “You remind me of Dick Parsons [CEO, Time Warner].” And I said, “Who’s that?” So whenever I think I’m ignorant about something, I go find out about it. Dick Parsons. I never thought about [people like him] because what I knew was only what I dealt with in Hip-Hop.

[Years later,] a Caucasian lady comes in and says to me, “I want to interview you Kevin, it should take about 15 minutes.” She left like two hours later. She calls me and says “Kevin, you’ve inspired me to take over the world.” I said, “Thank you…I was just doing an interview.” She was like “No, no, no…I feel like I can go out

and do anything. I was like “Okay, that’s great.” She said “Oh, but you have to tell the world the way you live your life. You have to write a book.” I said, ” But I’m only 27 years old, my life’s not over.”

So for six months she stalked me…calling, calling. So I bumped into her and she said, “See it’s meant to be…it’s meant to be, we have to do this.” [So I thought] It has to be a self-help book. So automatically I researched the self-help market and it was nobody there from the culture. So I said, “Okay, I’ll do this.” So the next thing you know I had nine publishers dying to publish this book just from the proposal. It took a year and a half to do. Made the sacrifice to get it done. Now I have something that can help young Americans, as a blueprint. IT can give them something to refer to instead of [books that don’t recognize their culture].

AllHipHop.com: Do you think that the perceptions of rappers is changing? I see a lot of rappers like a Young Jeezy or Jay-Z to a degree, coming into the game as a businessman/rapper. Do you see that mindstate it might be changing a little bit?

Kevin Liles: I think that now that we know what the word CEO means. A lot of them didn’t know what it meant. They thought that if you sold a lot of records, you could be a CEO. Now people realize that you have to go and put in the work. You have to really respect it. Just as having a hot record as a CEO. So that’s why celebrate thought artist, from Jeezy to Jay to Usher now. For all of them wanting…cause very few of us thought of ourselves at a very early age. Ya know Puff was one of those guys that always thought of himself in that manor. But I tell people that even when I was an intern and I first learned what the term meant, I wanted to be the President of Interns. I wanted to be CEO of interns.

I had such a problem when I was growin’ up. You know I wrote rap records, I toured and when I went to see an artist perform and they say throw ya hand up in the air, wanted to see how many hands went up. And I wanted to count each one and multiply that times the ticket price and see how much money they made that night. I couldn’t just hang out backstage. I wanted to go to the front and see what type of people walked in, when they walked in, did they buy more posters or more gold florescent things. I always was

analyzing what made it work. I didn’t really just love the music. I

loved the business of the music.

AllHipHop.com: How would you suggest for somebody to just get

started to be legitimate. Ya know there’s the mixtape thing and

somebody might think that’s a business and it could be but a lot of

that is kind of street businesses, not necessarily legitimate. What’s

your recommendation on getting started in a legitimate fashion?

Kevin Liles: If I wanted to do it all over again, I’d intern for free for another two years. If right now if I wanted to change my career, make a U-turn and I wanted to do something that I had no experience in like if I wanted to get into real estate, I would start a the bottom. ‘Cause I never got questions. No matter what position I took on. Even if I had to make coffee…I wouldn’t just make any kind of coffee. I’d make coffee! Ain’t nothing you couldn’t tell me cause I did it all. I can tell you what size shoe Russell wears and where he got them from and I can tell you he always wanted to order ten pair. And if he got ten pair I made sure three of the ten where for free. Even if I had to buy them I told him “They gave you these three for free.” So he would call the store and be like “oh thank you for hooking me up.” So they would come to me and say thanks and will give you something. But in all people don’t want to sacrifice. They felt that because I went to college and have X degree I deserve to make X amount of money. And it’s a sad day out there now, ain’t it?

AllHipHop.com: I’ve always been impressed with the way you, Russell, and Lyor had that union. Was that not without bad blood at times?

Kevin Liles: You know what it is, we truly love each other’s spirit. We truly realized that we all have afforded different things in life. Without Lyor or Russell, Def Jam might not have survived. Without me, Lyor might not have been able to move on to go greater things. So we all feel the contribution that we’ve made to each other. I always call it the “isms.” Russellisms, Lyorisms, and Kevinisms. And now you have Hovisms. But these people have some very big shoes. I was like how could I even live up to Russell, how could I even walk in the shoes of Lyor, or even think that I have the production quality of Rick Rubin. And now people say “I want to have the business sense of Kevin Liles.”

We have a friend that’s the president of Def Jam. And when I say friend, everyone knows Hov. That’s a friend that’s’ based on us doing everything for each other and serving each other. He’s one of the greatest CEO’s and artist that I’ve ever had to work for. And I’m sure that I’m one of the greatest CEO that ever served him. So that’s what I think is what keeps us all together. And I’ve never worked for anyone else in the music industry but them.

AllHipHop.com: When you left Def Jam what was the clash? What was the situation? Was it the case of you wanting to be in LA’s shoes or position?

Kevin Liles: The truth is that me and LA are friends. I could never…he don’t do what I do and I don’t do what he does. That’s why it worked. People don’t realize that we had it worked out. But it was a company built…and in order to change and to transition and to allow it to be a disciplined thought and a disciplined action I had to make sure that my man was straight I had to relinquish all my power to make sure that he could accomplish what he wanted to accomplish. ‘Cause the worst thing that could happen is that it wouldn’t work for nobody. So I figure by moving my self out of it, it would give him the autonomy to put his own stamp on it and make it his. But by having Jay be the President, that would preserve the culture of Def Jam. If I would have stayed, and I could have stayed,

Jay wouldn’t be president. I need him to be president. I need LA to be successful, ‘cause there’s so few of us.

AllHipHop.com: Jay-Z, is it a good idea for him to come back as an artist? We’ve been hearing things, being that now he’s considered a businessman, is it a good idea for him to comeback?

Kevin Liles: Hov is not the impossibility, he is the possibility. It’s really on him. I don’t think he should be pigeonholed. I tell people today, “You know what’s so funny, 15 years ago I help a microphone in my hands an I told people to throw them hands in the air and it made them feel good. 15 years later I’ve got a mic in my hand and I’m telling them, “You can be a better person.”

I can’t really say other than he knows how to make it happen. And one thing about him is that people respect him. He’s done built and sold companies to. He did it. He did it. So whatever he decides to do he knows as a fan, friend, and confidante that I’m there, whatever he decides to rock out. If he decided to go back, and truly wanted to just do the artist thing, I’d be there everyday to make it happen for him. And I’ll take his role on in the business so that he can do that and vise verse. As soon you do anything, he’ll call me and say “Kevin you doing a book tour? I’ll host a party I wanna go out and do a tape for you and let people know how much you…” But that’s what people…we celebrate each other and we have to do more of it. And as people, as a culture, not Black, not White, we have to celebrate because we should feel good about the relationships we have and the things that we’ve accomplished, there’s nothing wrong

with it.

AllHipHop.com: On the flip-side, I’ll never forget the interaction between you and Dame in “Backstage.” What has Dame done wrong as a business man in your opinion, if anything?

Kevin Liles: I mean how could you say that you’ve built a brand from nothing, were a part of one of the greatest movements, have the whole world throwing up a sign that you created, what did he do wrong?

AllHipHop.com: I mean things have changed considerably…

Kevin Liles: Have they? What has happened? You don’t see him with Jay. What has changed?

AllHipHop.com: He hasn’t retained a lot of his artists.

Kevin Liles: We [Def Jam] bought the company so of course not.

AllHipHop.com: I’ll put it like this, and I’ll be honest, I’ve heard so many stories about Dame, you know the scene in that movie and I’ve heard that that has occurred on many levels, in the boardroom, from the interns.

Kevin Liles: Oh Dame’s an a**hole. But I think, it’s like I said man, we are all friends, man. That’s his way. “Rule #2” of my book is “To Do You.” DO YOU! If that’s how you feel do you! I don’t choose to live that way. I wish him the best of luck. He has a lot to prove because people are questioning can he do it by himself. In my heart I feel he can. I think he can and if he needs me, I’ll be there for him.

The Inc. Trial Delayed Until Mid-November

The trial of Irv "Gotti"

Lorenzo and his brother Christopher on federal money laundering charges has been

postponed until mid-November because of last-minute filings by the government

in the case.

Jury selection has begun, however, and at U.S. District Court

in downtown Brooklyn on Monday (Oct. 24) the Lorenzo brothers sat with their

attorneys Gerald Shargel and Gerald Lefcourt to watch the process unfold.

It was a mostly uneventful morning, but soon after the proceedings

began a tense moment occurred when assistant U.S. attorney Carolyn Pokorny introduced

IRS agent Francis Mace to the judge and potential jurors.

Investigator Mace provided the most explosive filings and potentially

damaging information in The Inc case.

His findings and affidavits submitted allege that Kenneth "Supreme"

McGriff is the "true owner" of The Inc. (formerly Murder Inc) and

that McGriff and the Lorenzo brothers put rival 50 Cent under surveillance.

The dozens of prospective jurors were subjected to questioning

about their own backgrounds as well as their specific knowledge of The Inc case.

Unsurprisingly, several jurors indicated that they recognized

Irv Lorenzo from magazine articles and television programs.

One juror even

revealed that he had met Lorenzo once.

The Gotti Brothers

new trial date has been set for Nov. 14.

The Source Hits BET With $100 Million Lawsuit, Pursuing Lawsuit Against Funkmaster Flex

The Source Magazine

has filed a $100 million dollar lawsuit against Black Entertainment Television

(BET) and two high-ranking executives with the company, alleging that the network

refused to air The Source Awards as stipulated in a signed agreement.

The magazine is also pursuing legal actions against Hot 97 and

Funkmaster Flex, stemming from comments the popular DJ made last week over the

air.

The BET lawsuit was filed last Wednesday (Oct. 19) in New York

Supreme Court and alleges that BET’s EVP and CFO Scott Mills and EVP,

General Counsel and CAO Byron Marchand conspired to keep The Source Awards off

of the network, which is owned by Viacom.

"We had a contract With BET to televise the Source Awards

on Oct. 25," Source co-Founder Dave Mays told AllHipHop.com. "They

kept moving the date back and then ultimately took a position that they didn’t

want to put it on this year. They have a very clear contract to televise the

awards and we were put in a position to file our lawsuit."

The magazine has played host to the Source Awards for years

in Miami and Source co-founder Ray "Benzino" Scott said he believed

the network didn’t air The Source Awards due to a conflict of interest with

The BET Awards.

"We had the sixth most viewed show in the 25 years that

BET has been on the air," Scott said. "They just did an awards show.

Last year’s show was a success and now the next year they don’t want to do it?"

Representatives for BET didn’t comment on the lawsuit at press

time and were unaware of the looming litigation.

According to Mays and Scott, The Source Magazine enterprise

is also gearing up for other lawsuits, including one against Funkmaster Flex

where they will charge him with defamation of character and torturous interference

of business.

Furthermore, they plan to take on a class-action lawsuit in

conjunction with independent record labels, who feel the major labels are engaged

in monopolistic business practices.

"The power has been consolidated into the hands of a few

reckless, selfish executives, artists and radio people.

"We are heading into a time period when a lot of truth.

Hopefully there will be Congressional hearings to sort out the truth,”

Mays continued. “All we’ve done is report and speak the truth for the

Hip-Hop community and culture; we view ourselves as freedom fighters."

Funkmaster Flex took to the airwaves on New York’s Hot 97 last

week and berated the magazine for implicating him in a payola scandal in the

latest issue of The Source.

"New York is the Mecca of Hip-Hop and it has been screwed

up because of one radio station," Scott said. "Ever since Tracey [Cloherty]

and Flex took over, there’s only been a handful of New York people allowed access

to the public radio airwaves and everyone else suffers. Other markets show love

to each other. They screwed up a whole community of Hip-Hop and it’s sad. If

it wasn’t for the Southern Hip-Hop [scene] we would be f***ed up."

Mays and Scott also revealed that the next issue of The Source

would feature an expose on Funkmaster Flex, focusing on what they deemed questionable

business practices.

"He’s mad because he’s been exposed," Scott claimed.

"Flex has been using the airwaves to pump his car show, artists he’s involved

with. People talk about my ads being in The Source, but no one questions how

they are abusing the airwaves that belong to the p####."

While he has publicly expressed his feeling about The Source,

Funkmaster Flex was unavailable for comment.

The magazine owners also responded to rumors swirling about

their financial status and criticism over their latest issue, which features

50 Cent’s G-Unit crew with the captions "G-UNOT: Is Corporate Rap’s Top

Unit Fading Fast?"

While they admitted the company was downsizing, they said their

magazine was healthy.

"The Source is still the No. 1 Hip-Hop magazine,"

Mays noted. "The whole industry is suffering. Look at the amount of record

labels and clothing companies that are struggling. We are simply restructuring

our business."

The magazine will relocate from their present 23,000 square

foot W. 23rd Street office to an office approximately 13,000 square feet.

"We are practicing smart business," Scott continued.

"The rumors that people hear are simply the propaganda machine and writings

from ex-writers. Everyone has to remember that a lot of these writers and critics

are former employees of The Source."

The owners were confident in their course of legal action as

well, emboldened by their settlement with Hip-Hopper Eminem.

"The first lawsuit we were involved in is when Eminem sued

us and we won," Mays said. "Two years, we won; he lost, plain and

simple. They had to pay our lawyers fee. We have a good track record in the

legal arena and we know what our boundaries are and what they aren’t. We are

about to enter into a period of serious legal activity."

As for their controversial November issue with a report on the

G-Unit Crew, Mays and Scott stood by their defense that they are simply covering

the state of Hip-Hop.

"There’s

no question 50 cent is talented," Scott continued. "But what they’ve

perpetrated in the past few years and what he’s done to get there and how he

tries to hurt people’s careers has to be stopped. We didn’t print any lies.

We didn’t sensationalize anything. But it’s how they got there. We all have

children. Do I want my child to think that glorifying violence is how you have

to come up? We have a moral responsibility to our people and the culture because

it’s saved our lives."

Judge Tosses Bulk Of Family Lawsuit Against Eminem

A judge has thrown

out most of a lawsuit filed against Eminem by relatives who claimed the rapper

backed out of a deal to move them into a new home and pay them so he could be

closer to family members.

Jack and Betti Schmitt filed the lawsuit in Macomb County Court

in August of 2005, claiming that in 2001, the superstar rapper asked them to

sell their Missouri home because the rapper wanted to be closer to family members.

The Schmitts’ lawsuit claims that Eminem offered to purchase

a $350,000 house with $25,000 worth of furniture included.

Eminem also allegedly offered to pay the Schmitts $100,000 a

year for five years.

The couple claim they moved into a house in Eminem’s name

in 2003 and stated they made over $50,000 worth of improvements to the house.

They filed the lawsuit when the rapper refused to put the title

to the home in their name. According to the Schmitts, they also received an

eviction notice.

The Schmitts further claim that Eminem only paid $165,000 of

the $500,000 between 2002-2005.

Judge Mary A. Chrzanowski ruled that Em’s relatives could

amend their lawsuit in the next 14 days to reinstate their claims.

She also ordered the superstar rapper to give a deposition in

the case within the next 45 days.

The lawsuit was

originally filed in August of 2005, just as Eminem canceled the European leg

of the "Anger Management 3" tour due to exhaustion and an alleged

addiction to sleeping pills.

Cam: ‘It Takes More Than A Botched Carjacking To Keep Me Down’

Cam’ron returned

from New York and is recuperating after suffering bullet wounds to both arms during

a botched car-jacking attempt in Washington, D.C. Sunday morning (Oct. 23).

The Harlem, New York rapper, was shot as he was leaving Washington,

D.C. nightclub H20 while in town with his Diplomats crew to celebrate Howard

University’s homecoming.

The rapper and his security detail became separated and when

the rapper was stopped at New York and New Jersey Avenues, two men in a burgundy

Ford Expedition pulled alongside his blue Lamborghini.

The men attempted to car-jack him and when the rapper refused,

the gunmen open fire. A bullet struck Cam in one arm and lodged in the other.

He drove himself to Howard University Hospital and spent 12

hours recuperating. Cam then caught a flight from D.C. back to his hometown

of New York.

"People are foolish if they think I’m going to lose my

head and give up anything to anyone just because someone threatens me,"

Cam’ron said. "I’m doing OK. It takes more than a botched carjacking to

keep me down."

The rapper and his Dip-Set affiliates were in town promoting

his upcoming album and movie, Killa Season, both slated for a Feb.

release.

Killa Season is

the first album released through a $2.5 million dollar deal between Cam’s

Diplomat Records and Warner Music Group’s label, Asylum.

The Inc. Trial Slated To Start, Evidence Detailed, More Shocking Hip-Hop Connections Alleged

As the money laundering

and racketeering trial gets underway today (Oct. 24) against The Inc. (formerly

Murder Inc.) and the Gotti brothers (Irv and Chris Lorenzo); the federal government

recently provided alleged money laundering evidence against the defendants.

Ethan Brown, writer of new book "Queens Reigns Supreme:

Fat Cat, 50 Cent, and the Rise of the Hip-Hop Hustler," will cover the

trial for AllHipHop.com and explain the case in detail to readers.

Here is some of the evidence the government plans to use against

The Inc:

Skytel

pager records and copies of checks ranging from $38,000 to $100,000 from Full

Circle Entertainment and prison phone records from Kenneth “Supreme”

McGriff.

Records from the Westin Swissotel Atlanta for John Simms (an alias for Kenneth

“Supreme” McGriff.

Statements

of Accounts from HSBC Bank from 10/1/02-10/31/02 and 11/30/02-12/31/02 for John

Bryant.

Records

from the Ritz Carlton for Leslie Pridgen.

Judgment

and conviction for Kenneth McGriff dated 11/29/88 of operating a Continuing

Criminal Enterprise (CCE). McGriff was sentenced to 12 years.

The US attorney’s office in Brooklyn conducted a two-year

investigation into The Inc., assessing the extent of the links between the label

and convicted drug lord Kenneth ‘Supreme’ McGriff.

In 2003 raided the Manhattan offices of the label seeking evidence

to solidify their case.

Shortly thereafter, McGriff, who is being tried separately from

Irv, was charged with the retalitory murder of Eric “E Money Bags”

Smith and various drug and weapons charges. Feds say Smith was gunned down for

the murder of Colbert "Black Just" Johnson.

Federal prosecutors continue to maintain that The Inc. was founded

by McGriff using drug proceeds.

McGriff allegedly provided proceeds from drug trafficking in

New York and Maryland as "start-up money" for the powerhouse music

label, which is home to Ja Rule and Grammy Award winner Ashanti.

Irv Gotti has previously denied any wrongdoing and said that

Murder Inc. was founded using $2 million dollars in seed money from Def Jam.

If convicted, McGriff, who also faces murder charges, could

receive the death penalty.

The Inc. CEO Irv "Gotti" Lorenzo and his brother Christopher

pleaded not guilty in January to money laundering charges.

Brown’s

book is causing a firestorm, offering a glimpse into the drug dealing underworld

that has ensnared The Inc., and affected the careers of various rappers.

Additionally, the book reveals the name of the gunman who allegedly

shot 50 Cent in 2000.

Brown’s book claims that Darryl "Hommo" Baum,

a stickup artist from Brooklyn, was the person behind 50 Cent’s shooting.

While 50 Cent himself has offered a number of possible suspects,

in the song “Many Men,” 50 Cent references Baum’s murder.

Hommo shot me, three weeks later he got shot down/Now it’s

clear that I’m here, for a real reason/ ’cause he got hit like I

got hit, but he ain’t f***ing breathing

Baum

was allegedly gunned down by Lil’ Kim’s ex-boyfriend Damion “World”

Hardy and his notorious Cash Money Brothers crew.

Hardy was hit with federal RICO charges in July, alleging that

he was the head of the murderous Brooklyn gang that operated out of Bedford

Stuyvesant, New York.

The area has produced some of hip-hop’s most legendary rappers,

including Notorious B.I.G., Jay-Z, Big Daddy Kane, Fab 5 Freddy producer Easy

Mo Bee and others.

Baum’s murder is one of several murders that Hardy and

other CMB have been charged with.

Authorities also investigated Hardy’s involvement in a

September 2003 shooting at the Doubletree Hotel in Jersey City, where 50 Cent

and entourage were staying.

50 Cent had made disparaging remarks about Lil’ Kim on

Funkmaster Flex’s Hot 97 show and hours later shots were reportedly fired

at the rapper and his entourage.

Police later charged a man associated with 50 Cent in the shooting.

The

intertwining nature of the Queens drug culture and the music business is detailed

in “Queens Reigns Supreme: Fat Cat, 50 Cent, and the Rise of the Hip-Hop

Hustler.”

The book hits stores Nov. 22. The

author, Ethan Brown, will provide documents and explanations to AllHipHop.com

during the The Inc.’s federal money laundering and racketeering trial.

Blair Underwood: Man Of Distinction

When you hear the name Blair Underwood, you may fondly reminisce on the 1985 classic film Krush Groove, in which he portrayed now-billionaire Hip-Hop mogul Russell Simmons. Or perhaps you envision the good-man banker who so desperately tried to save Jada Pinkett’s character Stoney in the dramatic film Set It Off. Whatever your first memory of Blair is, his presence in Hollywood has been undeniable.

Since his initial appearances, Blair Underwood has established himself as a very influential actor. Over the last 20 years, he has appeared in more than 20 films, and has received several industry awards and critical praise. Although he widely known for his nice guy roles, his performances in the films Asunder and Just Cause earned him the notoriety as an all-around actor. Aside from his acting career, Blair also has credits behind the lens as director, producer and author.

With his upcoming film G, Blair is once again proving that he has the talent to pull off an alter ego, and with his upcoming book, the father of three proves that he has a sixth sense in dealing with children. AllHipHop.com Alternatives got a chance to sit down with the man who was named in People Magazine’s 2004 ‘Sexiest Man Alive’ issue to discuss his new role, his new book, and his thoughts on being considered a sex symbol.

AllHipHop.com Alternatives: After being a successful actor for the last 20 years, what was it initially that drew you to want do this as a career?

Blair Underwood: I just loved the fact that it was an art form that brought so many different human emotions to the surface. That to me was the initial attraction, because ever since I was a child I always looked for way to express myself creatively and acting is the perfect way to do that.

AHHA: You have played a very broad spectrum of characters. Looking back, which would you say is your favorite and why?

Blair: One of my favorites was a mini-series based off of one of Alex Haley’s books called Mama Flora’s Family, because that was really an every man kind of person. I love it because it was a very touching story, and also because I played a range of characters. It portrayed a man who you got to see age from 15 to 50, and of course because I co-starred with Ms. Cicely Tyson, who really inspired me when she starred in The Autobiography of Miss Jane Pitman. The other one [of my favorites] would be the movie Just Cause, just because I got a chance to play a character so vastly different from myself. In that movie I played a serial killing pedophile, which was very intense. Any movie where I have to play a range or makes me tap beyond my creative ability is always going to be a favorite.

AHHA: For a role like what you played in Just Cause, how do you tap into the psyche of that character? In essence, for the role you are that character?

Blair: That one was a challenged because it was so dark, it wasn’t a role where I could tap into any part of myself, but you really have to immerse yourself into the darkness of your soul. I mean the character was a serial killing pedophile, so it was really off the deep end. But for me it starts from research to find out what type of people do those types of things, and just really get into the mind of a character. Once you get a clear view of who these people are, you have to bring yourself then to try and understand why they do what they do so it makes sense to you logically. Because, although we step outside of those individuals mindset, there is a disconnect between the mentality of us and them, and that is where it becomes challenging.

AHHA: You have a book coming out called Before I Got Here. What is the book about, and what made you venture into that area of art?

Blair: The book is inspired by my four-year-old son who said something so profound to me that just blew me away. When he said it, it made me realize that children are spiritually connected, and connected to a spiritual reality, and they remember every aspect about that spiritual place before they were born – unlike we do as adults. So really the book is written by children all over the world. It’s their stories and anecdotes and remeberances of these little people in their words. So I wrote the foreword and the introduction, as well as edited it with my partner Danyel Kennedy, who created all the pictures and the photographs in the book.

What’s funny is, initially I thought it was going to be a children s book, but it is really a book for adults to encourage them to listen to the souls of children – not only your own but other children around you. I mean it’s easy for us as parents to teach them and guide them, because that’s our job. But every once in a while if you just listen to them, not to what they are regurgatating off of what we taught them, but really listen to what their souls are saying when they speak unedited. It’s profound.

AHHA: Dealing with this project and the children, do you see yourself writing children’s books, or are you planning on just steeping into being an author of various types of books?

Blair: It’s funny you should ask. I have a production company with my brother called Eclectic; it’s called Eclectic because we as people are all complex and we all are capable of thinking and doing things in many different ways. As an actor am I fascinated in playing a good guy, bad guy and everything in between. Even in this book, it’s a book for adults about children, but I have another book that’s an erotic mystery that is written by Tananarive Due, her husband Steve Barnes and myself. It’s a book about a gigolo who gets swept up in tracking a murder mystery, and realizes that he has a skill for uncovering mysteries and detective work. It’s called The Chronicles of Tennyson Hardwick. But once again, I like the fact that the two books are polar opposites. I am also in the process now of pitching and solely writing a series of children’s books.

AHHA: With all that you are doing with fiction books, are you planning on turning these into feature films?

Blair: The Chronicles of Tennyson Hardwick is something that I would definitely like to turn into a feature film, but we’ll see how the book sells and take it from there.

AHHA: With all of the behind the scenes work that you have done, do you think that it will be a permanent move that you will make?

Blair: Producing and directing is something I have been doing for the last 10 or 15 years, and I really enjoy doing. But I like doing it in addition to acting, because that’s my first love.

AHHA: Now, no one may know this, but you got your start directing music videos for Tony Terry…

Blair: Yeah. [laughs] That was along time ago. But it was great because it gave me the experience I needed to direct feature films.

AHHA: Can you describe your character in the movie G and his dilemma?

Blair: I would say he’s a philandering womanizer, a greedy Wall Street banker who has let the greed get into the way of both his personal and professional life. But eventually he finds out that he’s about to lose his wife, who he truly does love, to another man.

AHHA: With this character, how far did Blair have to reach inside to capture the attitude of this character?

Blair: [laughs] It was a stretch for me, but I do like that about this character. I have another film coming up by Tyler Perry called Madea’s Family Reunion, and I don’t play a nice guy in that either, but it’s all parts that I truly enjoy because it gives me a break from how I am in everyday life.

AHHA: What words of advice would you give to other actors, especially those of color trying to break into the industry?

Blair: I would definitely say know your craft and treat it like a business more than anything else. Always get better at what you are doing and always strive to be the best.

AHHA: A lot of people are speaking on the fact that there are a lack of Black film makers who want to make movies from our perspective. After the boom in the late ‘80s and early ‘90s, it seems as if although Black directors are still here; they aren’t really making Black films.

Blair: Well, like you said they are there, but it’s just about getting the money to make the films you want to make to have your voice be heard. So it’s really not a matter of shortage of film makers waiting to be heard, but money to produce and create these films. That’s a reason I said treat it like a business, because now in this day and age you can make a film with a video camera, a computer and a couple of thousand dollars and do it yourself. Honestly, I am seeing a lot more people taking that mentality and not waiting for someone to invest five million dollars into a film, but instead taking the bull by the horns and doing it all by themselves.

AHHA: On that note, with so many film directors coming in and creating low budget films, where do you think that leaves actors who aren’t quite as big as Denzel Washington, but have done enough to require a nice bit of compensation?

Blair: Those are the ones that I would say have to make their own films or align their forces. If you aren’t a writer, go out and get a writer, because that’s the way of the land, but there is a huge vacuum of starvation to make our story. So the only thing we can really do is grab someone who also shares the same passion and hunger to fill that need.

AHHA: Although within the last few years a lot of African Americans have either been nominated or won an Oscar, do you feel that racism is still a strong factor in Hollywood?

Blair: I am going to actually quote a great book written by Cornel West entitled Race Matters, and honestly I think it will always matter and factor into everything especially in Hollywood. But honestly it’s human nature to want to see someone who thinks, acts and looks like you, so film makers and directors are always going to do things from their point of view. It may seem racist, but actually it’s from a human point of view in the art of storytelling.

AHHA: It’s no secret that women have been lusting after you for years. How did it feel when you first saw yourself on the list as one of the hottest guys in Hollywood?

Blair: You know, [laughs] it was funny then and it’s funny now. I mean I take all that with a grain of salt because at the end of the day, I am still that loving father and husband regardless of how many people think I am sexy or how much money I am making.

AHHA: How was it getting to play a role in the HBO hit Sex and the City?

Blair: Because the show itself was a successful, it was a great opportunity. I love the fact that it opened so many doors for me to further extend my career, because it was that role that landed me the role on NBC’s LAX.

AHHA: What happened with that show, because it was actually a really great show?

Blair: I know, I think that the time slot actually played a huge factor. I mean we did really well the first few weeks, but then we slumped because we were up against Monday Night Football so it was a definite ratings killer.

AHHA: Are you looking into going back to TV?

Blair: Actually I love traveling and the excitement that comes with shooting a feature film. I mean I love acting, so anything that allows me to express my creative ability is always welcome, but I would have to say that movies is the bulk of my passion.

AHHA: With everything that you have accomplished in your career and all the doors that you have opened, what would you say is your legacy?

Blair: Wow, that’s a hard one. I would definitely say to be the best father and husband I can be, because at the end of the day everything else is just acting.

Steve Spacek: For The People

You know that chilled-out music that DJ’s play in the wee hours of the night at lounges? Often times, we’re too preoccupied or too stubborn to ask what it is. Steve Spacek’s solo debut Space Shift is that kind of album that you wish you had ask about. The Electronic-Soul fusion finds the front-man of the group, Spacek, touching on love, seduction, and even the economy.

Born in South London, living in Australia and working in Los Angeles offers Steve many inspirations. Sharing his art with ‘70s R&B legend Leon Ware and Hip-Hop super-producer Jay Dee, Steve Spacek wants Americans to hear what others already have. In a discussion with AllHipHop.com Alternatives, we address the audience, the craft, and some of the influences behind such a musical anomaly.

AllHipHop.com Alternatives: ‘Sound In Color’ is such a great name for a company. We see the color in your logo too. What does that term/phrase mean to you?

Steve Spacek: My family is from Jamaica, that’s the colors. I was born in South London though. It’s more the Rasta colors. I always wanted to represent that in something.

AHHA: That said, what is the most colorful record ever made in your opinion?

Steve Spacek: That’s a difficult one for me. There’s quite a few, really. One would be Grace Jones’ Nightclubbing, the one that Sly & Robbie produced. That’s a wicked album, it’s got some Reggae, some Dub, but also a French accordion on there. It reminds me of movies, like James Bond, and all that stuff. It’s kinda epic.

AHHA: Electronic music is really driving the trends in other genres. Groups like Postal Service and Radiohead are making records that people wait for in the Pop/Rock community. Do you think the Soul genre can ever follow?

Steve Spacek: It’s funny that you say that, ‘cause I think it is already. I think it has been for many years. Maybe when people describe Electronic music, they’ve got to go in deeper. The time when I was really conscious of Soul music was obviously growing up in the 80’s. There was Jazz-Funk and Electro going on, and from that moment on, it was really Electronic. In the 70’s, it was live instruments with horn sections, orchestral. Today, there’s [not, with] people like myself, and Platinum Pied Pipers, Sa-Ra, we reside in part of it.

AHHA: Jay Dee will attract a lot of Hip-Hop heads to this record. “Dollar” might be my favorite thing he’s ever produced. That track just sounds like classic Curtis Mayfield made understandable for today’s folks. Tell me about what that record means to you…

Steve Spacek: You’re not the first person to [make the Curtis comment]. “Dollar” means a lot. Jay Dee’s groove just made sense to me when he played it for me. When I was sitting and writing, I wanted it to mean something. I’m not here to preach to anyone. That’s the one thing I never want to do with my music – tell people how they should be, ya know? Hearing the lyrics on the [sample] saying, “Let the dollar circulate,” I wanted to portray that in a positive way. There’s such a limited amount of people who have money, so it’s touchy. It’s about spreading, making sure everybody gets some.

AHHA: Going back to Curtis, his music thrived in depressing economic and social times. One could argue we’ve returned to that…

Steve Spacek: I think a lot of the world is in a lot of fear. People are trying to sweep it under the carpet. Recently, I’ve been living in Australia with my girl, ‘cause we just had a child whose eight-weeks-old now. When she was pregnant, I was like, “S**t, I have to take care of someone now, and think about bringing somebody in this world.”

AHHA: Did having your first child on the way inspire you differently with Space Shift?

Steve Spacek: I been on this tip for the last few years, even with my band [Spacek] too. I’m trying to put music across in a way that’s being honest to myself. At the same, I’m not leaving people out. A lot of music does that now. It screws a lot of people ‘cause it’s too cool and it’s too underground. Underground’s cool and all, but I’m making music so many people can listen to it. This whole period, and hopefully the stuff that comes in the future, there will be a commercial element to it. This is not just for the heads, this is for the heads and everyone else. Me having this child, has really made me like that a lot more. ‘Cause now, the fact of the matter is: we gotta got over, we gotta get paid. You gotta practice your art, but you’ve got to think on the mainstream tip as well.

AHHA: In talking about underground versus mainstream, do you think, in the States, the radio will respond to this record?

Steve Spacek: They’re gonna do whatever comes natural to them. You’ve got to get a certain number of sales, and appear in a certain number of magazines, and get a certain demographic, then it’ll kick in. It’s an interesting time, so it could go either way.

AHHA: What’s been your reaction in America with the Spacek group work?

Steve Spacek: It’s cool, but we really haven’t been out here that much. Only the second album [Vintage Hi-Tech] came out here, and that was really more geared for Europe. The first [Curvatia] didn’t, and the States would’ve liked that. To me, as a band, that’s the best thing we’ve done. It’s forward-thinking, but also really traditionally soulful. That’s what held us back most in this country. It’s about being visible and available.

AHHA: My friends and I were talking about R&B these days – and the stories in the music. R. Kelly’s “Trapped In The Closet” is really a story… it’s all talking, like a Chi-Lites record. I like the way you use shorter phrases, not simple by any means, but concise. Like “Rapid Rate”. Is this part of your “not preaching” philosophy?

Steve Spacek: When I’m making music and vocalizing, I feel like I’m exploring certain places. I don’t know where I’m actually going. I’m just trying to be original. Every time you listen to someone, they’re trying to go somewhere new. On this album, like you said, it’s concise. It’s almost like I’m on stepping-stones trying to move across different places. I’m never sure till I really stand on it.

AHHA: What was it like to work with the legendary Leon Ware? How did you determine that “Smoke” would be the right song to share with him?

Steve Spacek: I had a few tracks when he and I were hanging out one day. I left like two or three. Obviously, he’s doing so much with different things going on. I’d just leave him a few beats and see what he’d come up with. He might just play a keyboard or something. “Smoke” came from one evening hanging out, and he presented it to me. Then, we went back and forth making little changes over time. It’s a cool vibe, we had fun doing that. He’s got such a good spirit.

AHHA: To anyone who’s never heard of you prior to this interview, why do you think they should check for Space Shift?

Steve Spacek: If you’re into music with a soulful sensibility, this’ll definitely reach out to you. If it doesn’t, then that’s cool. It’s got something in there for a lot of people. Hip-Hop is the biggest music, but Soul’s bigger – ‘cause it encompasses Hip-Hop, R&B, Drum & Bass. This is just taking you on another journey.

M.O.P. Salutes the St. Marxmen

Artist: M.O.P.Title: M.O.P. Salutes the St. MarxmenRating: 3 1/2 StarsReviewed by: Bill “Low-Key” Heinzelman

Whether you love or hate G-Unit, you have to be happy for M.O.P. For over a decade Billy Danze and Lil’ Fame have repped hardcore Hip-Hop to the death, only to be shunned by the mainstream. With their upcoming G-Unit debut, the duo hopes that all changes. For the meantime, M.O.P. offers their second installment in their St. Marxmen series to hold fans over. M.O.P. Salutes The St. Marxmen (Family First/Koch Records) features old and new material that follows the typical Mash Out Posse formula.

“Muddy Waters” finds Danze and Fame reminiscing about street soldiers lost in the struggle, as well as contemplating their own situation, as Danze states, “I was driving an eighty thousand dollar car before I got with Dash/But I won’t lie and say this ain’t about the cash.” The 9th Wonder produced “Instigator” continues to display vivid street tales, as 9th provides a harder beat than usually expected, while M.O.P. spits their usual fire on the mic. The only DJ Premier produced track, “Pop Shots Remix,” is a successful collaboration with the late great ODB. As always, it gets no better than Primo and M.O.P. The mixtape favorite, “Big Boy Game,” is also included, even though 50 Cent is notably absent. You didn’t think 50 would be on a Koch album – did you?

While Salutes The St. Marxmen will please diehard M.O.P. fans, the production isn’t as fulfilling as previous releases. Wyclef lends his guitar and vocals to the poorly executed “Hip Hop Cops,” which sends a strong message, but lacks the necessary pizzazz behind the boards. Similarly, the choppy guitar riff of “Party Like A Rockstar” makes it hard for Danze and Fame to build up any momentum, therefore, ending in a bland effort.

Nevertheless, M.O.P. Salutes The St. Marxmen is another solid outing that should tide fans over until the duo’s long awaited G-Unit release. Salute!