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Weekend Warrior

Artist: Biz MarkieTitle: Weekend WarriorRating: 4 StarsReviewed by: Toshitaka Kondo<font face="verdana" size="2"

Hip-Hop is still fun. Seriously. If you don’t believe me listen to Biz Markie’s new Tommy Boy release Weekend Warrior. It’s an hour of funky fresh music that’ll take you back to fat laces and air-brushed t-shirts. I guess that’s not too far back since they re-issue everything nowadays, but you get the point. Although his flow’s a bit outdated, the music is refreshing and makes for a surprisingly strong return for the old school legend.

The beats are mostly mid-tempo and upbeat, fitting Biz’s simple flow and random thought patterns (“When I watch cartoons, I watch Johnny Quest/I wake up in the morning and shower with Zest”). Although the sung hooks sound a little overused throughout the rather long album, it’s a minor drawback.

Even with his ADD tendencies, he has the ability to stay focused on themes. He reminisces about Dapper Dan and African medallions over a happy guitar loop on “Throwback.” While “Friends” humorously looks at relationships in the same vein of his classic “Just A Friend.” Stripping away a woman’s emotional baggage on “Games,” Biz urges her to “do the right thing like Spike Lee.”

His more spontaneous work is also humorous and incredibly random. Anytime you can rhyme about shrimp-fried rice and beef and broccoli as on “Chinese Food,” and not sound completely ridiculous, that’s good. Although he ignorantly imitates Asian dialect at the end, it can be overlooked as part of his goofy and harmless demeanor.

Even when paired with more current stars like P. Diddy and Elephant Man on “Do Your Thang” and “Let Me See U Bounce,” he sounds as diabolical as ever. That’s ‘cause Biz is completely himself at all times.

Like good wine, old school rappers just get better with age. Well, at least some of them do. You won’t find any ill battle rhymes or cinematic crime narratives on Weekend Warrior, just fun hip-hop that feels good. Hearing a dude that’s closer to 40 sounding this good will make you mad Jiggaman is even talking that retirement s###. But I guess that’s why nobody beats the Biz.

Big Shots

Artist: CharizmaTitle: Big ShotsRating: 4 1/2 StarsReviewed by: Brolin Winning

The past year has been a good one for fans of early-nineties hip-hop. We’ve seen the release of some crucial, previously shelved albums (Dooley-O’s Watch My Moves, Pete Rock’s work with INI and Deda), and discovered new artists who flip the classic styles of old (Little Brother, Edan). The latest entry comes from Stones Throw mastermind Peanut Butter Wolf, who hits us off with the long awaited full-length from him and San Jose emcee Charizma. For those who don’t know the deal, the duo were signed to Hollywood Basic back in the day, but Charizma was killed in ’93, and the album never dropped. Stones Throw put out a few 12-inches from the project (“My World Premiere” was the label’s first release), and finally, the LP is here.

From the first track on, this s### is bangin’. Wolf’s production is relentless, loaded with up-tempo break-beats and absurdly funky loops, while Charizma goes all out on the mic, mixing vivid storytelling with mad metaphors and Big L style bravado. “Here’s A Smirk” starts things off right, rocking a stuttering guitar sample and snares with more punch than a young Mike Tyson. “Jack The Mack” employs a rubbery bassline and seriously live drums, while telling the tale of a flashy crack dealer who ends up catching AIDS. Charizma breaks down his player tendencies on “Devotion” an organ-fuelled, scratch-laden jam, and gives advice to the females on the horn-propelled “Tell You Something.” Grade-A braggadocio abounds on several tracks, especially on “Charizma What”, set to a neck-breaking boom-bap and jumpy piano loop.

While most of the album is on the fast and furious tip, the mellower joints are equally hot. “Talk About A Girl” is a short but sweet romance rap, and the self-descriptive “Methods” is straight classic, built on mellow keys and dusty vinyl pops, punctuated with tight SP beats and swift cuts. Other highlights include the raga-flavored “Soon To Be Large” and the ridiculously catchy “Ice Cream Truck.”

Recorded entirely between ’91 and ’93, Big Shots is just what the doctor ordered for heads who remember the days when rap music was about more than just flossing your shine or trying to out-abstract the next man. Had Charizma lived, there is no doubt that he would have been huge, his mic skills were extraordinary and his emcee name very fitting. With fifteen dope tracks and zero filler, this is easily one of the year’s best albums. Another triumph for Stones Throw, and a must-cop for any hip-hop fan.

Goapele: Dream Street

People might have a hard time pronouncing Goapele’s name but after listening to

the album they will learn what great music is. Her debut CD Even Closer

gives your 14 tracks of soulful, sensual, music that good for the soul. The

title track alone will force you press the repeat button and listen to it all day long.

Everyone has been singing the praises of Goaplele. She has become one of the

sought after talents. Her collaboration resume reads

like a who’s who in the Neo-Soul and hip-hop arena. Doing joints with Raphael

Saddiq, Soulive, E-40, the Hieroglyphics, and the list continues to grow and

grow.

Goapele was just recently awarded SF Weekly Award for “Best Soul and R&B

Artist.” And her song “Closer” will be featured be featured on the upcoming

Jessica Alba movie soundtrack, “Honey.” Allhiphop.com recently spoke with

Goapele and here’s what transpired.

Allhiphop.com Alternatives:

Do people mess up your name a lot? What are some of the worst translations

you’ve heard?

Goapele:

All the time all my life. A lot of times I’ve introduced my self as Cuapalay

which the “g” sounds more like an “h” and people may get confused and think I’m

trying to say popular or gospel or something that is just a regular word in

English that had nothing to do with my name. They look at me like “oh my

god I know someone didn’t name her that.” That’s not her nickname. There’s

different crazy variations of anything that could sound like Cuapalay since

it’s so unfamiliar. Anything that can rhyme with a word. It’s a South African

name it means “go forward.” It’s my grandmother’s maiden name.

AHHA:

What was the process for you to write the title track, “Closer?”

Goapele:

Closer was a song that was really was kind of a train of thought and a much

more spontaneous kind of song than anything I’ve written. Amp Live and Mike

Tiger who are both producers from the Bay Area produced the track and just

brought it to me and just said it’s a vibe track and I immediately really

liked it. And I was finishing the EP that I was doing and was finally gonna

get my music out there and was gonna finally let it go and let people hear

it and was really excited. The words for “Closer” just started coming to me

over the music and then just really informally went into the studio and

started recording it just as a rough idea because I wanted the feeling to

come across and we ended up just sticking with that first raw version. It

was more the feeling and a stream of self consciousness.

AHHA: What was it like meeting Prince?

Goapele:

I have been wanting to meet Prince for a long time. I have been a fan for a

long time and he came to the show at the Knitting Factory in L.A. and I

guess about maybe 2 months ago. It was definitely a surprise. I wasn’t

expecting him to come. I was expecting some other people to come and it was

a great turnout and a lot of energy and a lot of folks there and Raphael

Saddiq came and he’s come to a couple shows and that was just his offer. That

was really nice. That was kind of the icing on the cake at the end of the

show my brother came and said “Prince came, Prince is here lets go up there

and meet him.” I had heard that Magic Johnson was gonna come and Dre and

Raphael Saddiq and these other people so I was already just like so

flattered and excited and I had already been anticipating that. Magic

Johnson didn’t end up coming but he came to the next show. I just wouldn’t

have expected that and just to be such a big fan and have a surprise like

that is really touching and amazing. I went up there and talked to Prince a

little bit. I was nervous but I think sometimes when I’m nervous I seem

really calm so it was kind of a quiet conversation. I didn’t go crazy or

anything but in my mind I was just like Wow I’m sitting next to Prince right

now talking.

AHHA: Do you feel like you’ve moved closer to your dream?

Goapele:

I feel like I’m getting closer to my dream all the time if there’s really any

measuring point or in the goal or anything like that. Constantly I’m trying

to move forward and I can feel it a lot of the time. I feel like there’s been

a lot of blessings along the way and little benchmarks that just makes me

feel like this is happening and I’m moving more towards really what I’m

supposed to be doing.

AHHA:Who was your favorite person to work with?

Goapele:

As far as people that I have done shows with that I would like to work more

with is like Raphael Saddiq, and Talib Kweli. We did a show with The Roots

and that band is so phenomenal. Jazzy Jeff I really like . Dead prez, Mystic

and Eryka Badu and there’s a lot of people that I’ve met now as fans and its

been really good to get support and see that from a lot of them and I would

love to collaborate at some time. Especially when its mutual just artist

that I’m feeling and artists that are really feeling where I’m coming from.

I think it’s just a matter of time for me to do something with them.

AHHA: You’ve worked with E-40 tell me something about that?

I just met E-40 a little while ago. I really like him. He is on a remix of

“Got It” from my album and we did a song together on his album. I really

liked the song and I enjoyed the experience just getting to meet him and

getting to do something with him. I’ve been hearing his music for a long

time especially out here in the Bay and its tight to see him getting more

recognized for a lot of stuff that he’s done nationally and just how many

people say his words basically. I think he’s getting more recognized for his

contributions and the language and all that. It’s tight for me to work with

him.

AHHA:What kind of music has influenced your music?

Goapele:

I think when I, first of all I have a brother who became Dj Nemani, so I was

listening to hip-hop when I was a little kid probably before I started

really enjoying it by myself. I would say when I really started getting more

into it myself was probably the early 90s. EPMD and Redman and Tribe Called

Quest, and De La Soul. I would say the early 90s and mid 90s was my

favorite time in hip-hop and now theres a lot Mos Def , Pharoah Monch ,

Organized Confusion, Talib , Common , Outkast still have some of that

essence from the 90s. I think what I really liked about the music when I

started getting into was a lot of the old samples. Jazz and soul and I was

feeling that. Although it got a lot of people in trouble I loved that music

so its nice. Although now everybody knows about samples and a lot of people

are trying not to lose too much money and now I feel like there’s a lot of

good music in hip-hop that is going on right now just because live music is

getting big again. I love stuff that knocks and it’s nice when I can slow

down and listen to what they are saying and still appreciate it. It’s a lot

of hip-hop that I like but I don’t want to listen to sometimes because I

don’t want to hear what they are saying. I think that it’s easy to become

decent and I feel like its so male driven. It’s cool when what people are

saying and the music is beautiful and I think a good example for me would be

“Breathe In Breathe Out.” It’s interesting for me because when I first started

performing. First it was acapella. Singing sweet honey in a rock I don’t

know if you heard of that group. Then since my brother was a DJ started.

First thing I started going ouit to hip-hop events and started seeing over

the tighest hip-hop instrumental with my own words. Then later on started

writing more songs and working with a band which now I work with a band but

it was kind of a step by step process. Even closer I feel like it’s a pretty

large mix of live music and tracks and some of it its definitely hip-hop

influence some of it is more straight hip-hop and some it is more R&B and

Soul.

AHHA:

What do you enjoy most about the live performance aspect?

Goapele:

I enjoy just actually getting to sing the songs live off the album sometimes

in different versions or just switching up something here and there. It’s

the funnest when people are getting in the music and I can even expand to

more than what they have already heard. I just love the exchange when

people are right there. There can be a lot of energy at a live show and I

love singing at concerts . I think it’s really dynamic. It’s certain parts

that are mellow and certain parts that are higher and its just nicer to be

able to interpret the music live Its different than just listening to the

album. Its just different to be right there and be able to build on the

energy and make it more personal.

AHHA:

Where do you see yourself in the next five years?

Goapele:

Well I mean right now I’m just really trying to get the Even Closer album out

there . Its out there nationally but just performing more outside of the

West coast. That’s what we been more focusing on. I just look forward to

doing more stuff in the East and South and other spots and also get the

music out there internationally which is something that were working on.

Raphael Saadiq : Escalator Style

Raphael Saadiq has boldly set out to etch his legend in stone just a little deeper. The formation of an independent R&B label is something almost unheard of in the music industry, and if he can pull it off successfully, he will undoubtedly set a new precedent in his already flawless career. His new label, Pookie Entertainment, has already begun to draw their own road map to success with the signing of two new artists.

Two of R&B’s most vivacious songbirds, Truth (formerly known as Truth Hurts) and Joi have formed an alliance with Raphael that is guaranteed to sellout any venue. They are determined to bring forth the vibe that the major labels are seemingly unwilling to do. Raphael took time away from his current tour to speak with Allhiphop.com about the formation of the new label and how he plans to captivate the masses with his unique brand of sound.

AllHipHop.com Alternatives: The last time we spoke, you were in the process of transitioning into your new label, Pookie Entertainment. How have things been since that time?

Raphael Saadiq: Everything is looking real healthy. We are trying to keep our fingers crossed and keep it moving.

AHHA: You got three different albums on the horizon, yours obviously, plus new albums from Truth and Joi. Talk about your plan of action to get these albums the best shine possible.

RS: With Truth, I plan on letting her be who she was as far as doing the type of stuff that she was doing with Dre. Plus, Dre is still going to work with her. We are just going to try to give her more music so that she can have a full album of stuff that she would like, too. We are just going to be real guerilla tactics with it. The same goes for Joi, too. We plan on Joi just really taking off and going overseas and killing that market more than the market over here, and then come back over here.

AHHA: Do you find that the market overseas is more open and honest for artists such as yourselves?

RS: A lot more open. Over here, it’s getting more open, but it’s a bigger scheme of things over in Europe. It’s the same thing…you got to be able to blow up over here, too. I think Truth is a radio-friendly act. Joi is not really the radio person. She’s from the south, and her whole background is the dirty south music. She’s more underground, a more alternative rock kind of feel.

AHHA: How do you blend your style of music with someone who has an alternative rock appeal?

RS: I’m from every type of background of music, so that’s nothing for me. My whole thing with Joi is more like the marketing. We just have to set up the marketing and the place where she can be seen and heard. Music is international with me anyway.

AHHA: When I spoke with Truth, we were talking about how this is almost a first regarding independent R&B labels. Do you plan to stay on the independent road for the remainder of your career?

RS: Yeah basically. I don’t think Berry Gordy went and did anything before he became a major. I plan on becoming a major.

AHHA: Talk about your solo project and what came of that.

RS: That’s the “All Hits At The House Of Blues.” It came out real cool. We put out a wish list of people who should perform and everybody on the CD showed up. It made for a double CD. It’s in the stores and it’s doing cool.

AHHA: Many artists have gotten into the live CD thing. What makes your live performance different from a “Maxwell Live” album or an “Erykah Badu Live” album?

RS: I haven’t heard their live albums. I think Maxwell’s was an “MTV Unplugged” thing, so it would be a lot different from mine. Mine is mine! (laughs) This is 15 years of catalog on this record.

AHHA: Do you have anything to speak on regarding your next studio album?

RS: It’s going to be a real solid record. But, I’m just playing it by ear really. I’m already recording it, though. I got a couple of things that I’m excited about, and I’m excited to go home to really start working on it. Really man, I’m just going to go real gutter with it. I’m definitely going to work with (DJ) Premier. I’m not going to do it any different than I did any other album. I’m just going to get in there and make it happen.

AHHA: Around what time frame are you looking to drop everything?

RS: I’m thinking like 2nd quarter.

AHHA: Explain to me what the hell happened at the last Grammy awards. You got five nominations, man. They were robbing people like it was the Watts riots or something.

RS: Well you know, you can’t get too excited about them award shows, man. Those awards ain’t really built for that.

AHHA: Do you view the hardware as a show of popularity more so than an appreciation of talent?

RS: It’s more of a popularity thing. It does something for you once you get it because everybody’s watching it. Whether you win or lose, people are still going to watch it.

AHHA: How do you plan to approach this new venture from a business standpoint? As I mentioned earlier, I think you are breaking new ground with the independent R&B label because they virtually do not exist. You are a viable businessman in this industry now.

RS: I’m going to treat it as if it was a major. I’m not going to treat it like it’s an indy. I’m already doing as much as I did with the majors as far as press and shows. I’m still traveling with an 11-piece band. I’m sort of treating it like the majors treated me in the beginning. My approach is going to be to be in everybody’s face and make records. My whole tip is going to be to fill that void that’s out there. There’s a void out there for people who want to hear music.

Always Will Be

Artist: J-LiveTitle: Always Will BeRating: 3 1/2 StarsReviewed by: Toshitaka Kondo

Who’s J-Live? He’s could be the best rapper who you’ve never heard of. The Source Unsigned Hype alum has all the symptoms of the “good rapper, bad luck” syndrome. A heavily praised, yet bootlegged and unreleased debut, The Best Part. His nomadic label situation. And the “is he still rhyming?” look that 97% of hip-hop heads give when his name is mentioned. Leaving Coup d’Etat, who released last year’s All Of The Above LP, he’s returned with the Always Will Be EP through Fat Beats. Although his delivery lacks the intensity displayed on “Braggin’ Writes”, he still personifies a true MC.

Whether speaking on industry ills (“Car Trouble”) or self-imposed isolation (“Walkman Music”), J-Live’s talent as a writer is evident. On the former, the ex-educator uses clever car analogies to school an aspiring MC about potential music industry hurdles. Even with bad experiences, he’s not the madd rapper. As he says on “Deal Widit,” “Don’t get it twisted/ I wasn’t drafted into this life, I enlisted.”

Although his conceptual work is imaginative, he still has the ability to just spit. Riding a jazzy piano loop on “9000 Miles,” his rhymes seems endless: “I get on the mic and strive to be the best/But it’s not just a flow there’s more to the test/I gotta spit like there’s no time to waste/Spit like I can’t take away this life taste/Spit for rebellion/Spit for resistance/Spit for accuracy/Spit for distance.” Elsewhere, the hard horns and battle rhymes of “Get Live” justify the last four letters of his name.

With eight tracks, his chances of missing are slim. However, his calm delivery on “Deal Widit,” doesn’t get across how stressful time constraints are. Also, Stunt 101 disciples may complain about the scarcity of club bangers. Then again, he makes it clear that “If you sittin’ on chrome and it’s spinnin’ when you’re not, this is not for you.” Maybe it’s best that he remain an underground hero. Listening to Always Will Be, this would probably suit J-Live just fine.

The Black Album

Artist: Jay-ZTitle: The Black AlbumRating: 4 1/2 StarsReviewed by: Quia Querisma

It’s no secret that The Black Album was anticipated. The real secret is whether or not Jay-Z is really going to call it quits. Doubtful, but if he does, he’s leaving the game the way you should, while he’s on top.

Jay pulled no punches and dug out the best and the brilliant for his production team. Kanye West, Rick Rubin, DJ Quick, and Just Blaze are about half of The Black Album’s dream team. Unfortunately, in what seems like an effort to create an over-elaborate entrance to his exit, the first four tracks of the album are choking on pseudo-grandeur production. The orchestrated sound lacks the same kind of appeal of the Blueprint’s “All I Need” and just turns into a distraction from the tenacity of the lyrics.

After getting past another Neptunes/Jigga joint for the girls, “Change Clothes,” a certifiable banger finds its place. The Timbaland-produced “Dirt off Your Shoulder” is full of BET-brand egotistical flow. Tim bounces the beat like a Spalding as Jigga tells us “I drop the Black Album then I back out / I’m the best rapper alive, n#### ask about me.” It’s this song that lights a fire to the production that doesn’t go out until the close of the disc.

Eminem gave up a sinister-sounding track for “Moment of Clarity” where Jay rhymes about why he chose the road he has taken. Talking about everything from feeling awkward at his pops’ funeral to critics complaining about his content, he spits, “I dumb down for my audience and double my dollars / they criticize me for it yet they all yell ‘holla’ / if skills sold, truth be told / I’d probably be lyrically Talib Kweli / truthfully I wanna rhyme like Common Sense / (but I did 5 mil), I aint been rappin like Common since.”

Jay spends a lot of time reminding nay-sayers that he’s from the streets and he refuses to be punked. “Threat,” “99 Problems,” “Justify My Thug” are all odes to his street credo. “Allure” is his Neptunes-produced love song to the drug game. Gunshots ring out in the background amidst the violins and piano. It’s a good song but it sounds out of place on the heels of what is arguably the best song on the album, “Lucifer.” Kanye West unleashed all production Hell on the Reggae-inspired joint that brandishes a sample from “I Chase the Devil” like twin Desert Eagles. More gunshots in the background as Jigga confesses “Lord forgive him / he got them dark forces in him / but he also got a righteous cause for sinning’ / dem’ a murda me, so I gotta murda dem first / emergency doctors performing procedures, Jesus.”

Jay closes out his solo career with the ironically-titled “My 1st Song.” We hear a clip of Biggie saying that the key to staying on top of the game is to approach everything like it’s your first project. A bluesy guitar shares this track with a southern-sounding rolled bassline. Jay reverts back to a faster-flow a la “In My Lifetime.” Somehow, he managed to recapture the hunger of a fledgling artist because his inflection is full of passion.

Jigga has definitely bowed out gracefully with an album that can stay on repeat all day and not get old.

G-Unit, Beanie Sigel Both Working On Saturday Morning Cartoons

In addition to the

massive success of his debut album, Get Rich or Die Trying and the debut

of G-Unit’s Beg For Mercy, 50 Cent and Lloyd Banks will provide voices

to an upcoming Saturday morning cartoon, "Beaver Street Gang."

"It’s basically

about a bunch of kids at an orphanage hanging out outside," Lloyd Banks

told AllHipHop.com. "It’s like the new age Cosby’s."

50 and Lloyd Banks

join Beanie Sigel and members of the Roc-A-Fella family, who have their own

Saturday morning cartoon in the works as well.

"[The cartoon]

is the whole State Property squad and we do to this day care center everday.

None of us like it there. It’s like jail for us. The whole language is from

the inside [of jail]. We don’t gotta take naps, we gotta take it down. We don’t

eat lunch, we gotta go to chow. We don’t go to yard to play, we gotta go to

rec. It’s gonna be a funny cartoon."

In addition to

the "Beaver Street Gang" cartoon, Banks said that an unnamed video

game surrounding G-Unit will be released next Christmas.

G-Unit’s Beg

For Mercy debuted at number 3 on Billboard’s Pop Chart, moving over 300,000

copies the first week in stores.

Wordsworth Inks Deal, Preps Solo Album

Rapper Wordsworth has inked a deal with Halftooth

Records and will drop his highly anticipated solo album.

Wordsworth, who

gained fame from his role in the Lyricist Lounge showcase, said that his decision

to sign with the indie label was based on the owners belief in his music.

“I chose to

go with Halftooth because they believe in me and my music," the Brooklyn

bred rapper said. "It’s hard to find a label that believes in you.

They understand what I’m doing as an artist and that the music I’m

making will have an effect on the world so they support that.”

Halftooth Record’s

President, David Schrager, said that signing Wordsworth would help his upcoming

label, due to the rapper’s knowledge and experience.

"We are very

excited to have Words as part of our family," Schrager said. "Words

is one of the most talented and most respected Hip-Hop artists to date. I’ve

been a fan of Wordsworth since ‘97, and it’s an honor to be putting

out his first solo endeavor.”

The untitled album

will drop in June of 2004.

"I think

of my CD as an audio mirror of life," Wordsworth said of his upcoming album.

"It embodies a timeline of experiences. Each song is a cinema crafted to

strike a nerve and actually deliver a message. In my rhymes, I try to create

pictures that illustrate emotions. When people hear my album I want them to

feel like I said everything they couldn’t say, so when a song ends their response

is, ‘Word!’ To put it bluntly, my album is like an audio art gallery of emotions."

For more information

on Wordsworth and Halftooth Records, visit www.halftooth.com.

New York Council Member Seeks Reparations From Record Labels

New York Council

member Yvette D. Clarke joined community activists and elected officials last

week, denouncing misogynist and racist lyrics by Eminem and other popular hip-hop artists.

Clarke, along with

Erica Ford of the Code Foundation, Viola Plummer of the December 12th Movement,

representatives of the Harriet Tubman/Fannie Lou Hamer Collective, the Masses

United for Human Rights, Africans Helping Africans and others rallied at City

Hall in New York, saying they were "fed up with what has become a pervasive

and destructive theme in the commercial world of hip-hop."

"There is

nothing more important than what we have to say about the context of the images,

sounds and words that are broadcast to our youth," Clarke said. "We

are here to say that the entire hip-hop industry must begin to make itself more

respectful and accountable to a community it owes so much to and should be compelled

to repay."

The groups condemned

the racist lyrics of Eminem, which surfaced when the Source magazine released

a ten-year-old tape that featured the multi-platinum artist using the word n*gger

and making disparaging remarks about African-American women.

"Far too many

have become apologists for what is wrong in hip-hop," Clark continued.

"Just because someone has apologized for their destructive actions doesn’t

mean that we all don’t have an obligation to stand up and say what Eminem did

was wrong. And more importantly, to make sure that his fans, black and white,

hear that message loud and clearly."

Clarke said the

positive themes of earlier hip-hop have been replaced with self hating and defaming

images, which have stunned the growth and development of the community.

"There are

other artists who look like my father and brother, who are just as guilty of

the type of hateful, anti-female words that Eminem espoused. These brothers

need to check themselves and realize that as artists, their words and actions

are strongly having a devastating impact on our youth," Clarke continued.

"While we hold Eminem accountable for his actions, we must at the same

time pose this question: who made it culturally acceptable for the word "n*gga"

to be used so openly and freely, without repercussion? Who made it acceptable

for hip-hop to be a forum for the denigration of Black women? And the most important

question of all: Who profits from this madness?"

Clarke criticized

the music business for promoting "hatred on our airwaves and in the record

stores" and called on the major labels to invest more into the Black and

Latino communities of the United States.

"While we

acknowledge that there are several organizations making contributions to the

community, it is only a fraction of the billions of dollars made annually off

the destruction of our culture," Clarke noted. "I am calling upon

the music industry that is hip-hop to seek out ways to give back to community

institutions that feed the minds, bodies and spirits of our youth. And for the

hip-hop community to wake up and realize that they are our future. We need their

strength and energy to combat the problems that afflict our community, and not

add to those problems."

DJ Quik Wanted For Assault

An arrest warrant

for David "DJ Quik" Blake was issued by San Bernardino County this week

after the rapper allegedly entered his sister’s home and assaulted her.

According to authorities,

Quik entered the house of his 42 year-old sister on November 2 with two other

men while she was sleeping.

His sister said

that Quik made comments about family problems and punched her in the face multiple

times.

Authorities said

the woman broke free and hid. One of her children allegedly witnessed a gun

as Quik searched the house for the woman before leaving.

The woman suffered

minor cuts and bruises.

Quik recently produced

"Justify My Thug," on Jay-Z’s Black Album.

Details In Soulja Slim Shooting

James "Soulja

Slim" Tapp was shot and killed yesterday (November 26) in front of his

mothers house in New Orleans.

Police are investigating

a number of leads in the killing, but have yet to charge anyone in connection

with the crime.

"Slim was

wildin’ out, he was on X (Ecstasy) hard," a source told AllHipHop.com.

"He was out at a club on the West Bank. Someone said something like f*ck

Magnolia (Magnolia projects in New Orleans), then all of Magnolia busted em

up. The dude that got jumped has been walking around with a vest on all week,

looking for Slim."

In addition to

that incident, Slim allegedly got into an altercation at a club in Mississippi.

The source said that a man was in the V.I.P. area of an unnamed club. Slim didn’t

recognize the man and apparently struck him, before being thrown out of the

club.

In another similar

altercation in a club in Miami, Slim was allegedly involved in an altercation and took a man’s jewelry. According to the source, there was also an altercation at a New Orlean’s gas station.

"This aint

no bullsh*t," the source continued. "Slim must have forgot something,

because he ran back into his mother’s house and left his truck running. The

dude walked up in all black from the side of the house and shot him 5 times

in the head. This was a hit. Whoever did this had to have done it before. Slim

was one of the realest n*ggas on the streets. B.G. and Juvenile and all the

local rappers are planning to do a tribute concert for him on Friday. All this

violence has got to stop. Kids see these big time rappers beefin and think that

it’s ok for them to do the same thing."

Soulja Slim Gunned Down

According to sources,

James “Soulja Slim” Tapp was shot and killed today (November 26) in New Orleans.

Tapp was shot several

times and killed in the front yard of his mother’s New Orlean’s house, as he

exited his vehicle.

Police are currently

seeking a motive for the rapper’s slaying.

Before signing

to Master P’s No Limit Records, Slim released The Dark Side and Soulja

For Life.

In 1998, he Rapp

released Give It 2 ‘Em Raw for No Limit, which was certified gold.

50 Cent’s G6 Sneaker Debuts Big

50 Cent’s recently

released sneaker with Reebok, the G6 from the G-Unit Collection, marked one of

the best liquidations of a debut Reebok shoe.

According to Reebok, the shoe completely sold out of the Reebok.com store and

in key global markets such as New York, Philadelphia and London.

“My Reebok G-Unit sneaker blew out of the stores just like I hoped it would,”

50 Cent said. “The word has hit the streets, I rap about the shoe in my new video

and the fans are definitely feeling it.”

The next installment of the collection is the black/royal G6, which hits stores

December 23rd, while a white/pink version for girls hits stores in February.

To market the sneakers to consumers, Reebok created the “Rbk Street Squad,” comprised

of the same team members responsible for creating the street buzz around 50’s

major label debut, Get Rich or Die Tryin’.

Posters, postcards and flyers featuring 50 will be placed in barbershops, hair

salons, nightclubs, clothing stores and restaurants.

“Reebok is thrilled with the early buzz the G6 has generated,” said Micky Pant,

Reebok’s chief marketing officer. “50 Cent has earned his reputation as the hottest

MC right now and young people want to sport the shoe he is wearing.”

Big Tigger, G-Unit, Wyclef Raise AIDS Awareness

Cable television channel

BET will provide special programming to coincide with World AIDS Day, a globally

recognized event that takes place on Monday, December 1.

The network will

utilize hip-hop to kick off the programming, airing a special two-hour edition

of Rap City: The Bassment.

Host Big Tigger

will discuss the important HIV testing information with guests G-Unit.

"I’m happy

to be involved with anything that raises the awareness and prevention of HIV

and AIDS," Big Tigger told AllHipHop.com. "That is the main goal of

my not for profit foundation, The Street Corner Foundation, LLC.."

The cable network

will televise HIV-related programs and public service announcements (PSAs) throughout

the day, geared towards educating teens, young adults and African-Americans

about the disease that has drastically impacted the urban community.

Wyclef and Alicia

Keys will stop by 106 & Park with other guests, discussing the impact of

HIV/AIDS on young people.

BET.com’s Celebrity

Charity Auction and the Rap-It-Up Film Competition will also be announced during

the live telecast.

Jay-Z Goes Out On Top At Farewell Concert

Jay-Z held his farewell

concert last night (November 25) at Madison Square Garden.

The sold out show

was a who’s who in rap and R&B music, featuring Beyonce, the Roc-A-Fella

family, R.Kelly, Missy Elliot, Foxy Brown and Mary J. Blige.

The concert highlighted

the phenomenal success the Brooklyn born rapper has acheived.

Jay-Z started the

show performing some of his greatest hits, bringing Freeway, Beanie Sigel, Memphis

Bleek, Young Gunz, Missy Elliot and Twista to the stage for duets.

Later in the evening

Jay’s love interest, Beyonce took over the stage with five dancers. Her set

was backed by Illadelphonic, a new 7-piece band fronted by The Roots’ ?Love.

She performed "Crazy

in Love," "Baby Boy" without Sean Paul and "Summertime"

with Ghostface Killah, who appeared on an unofficial remixed version of the

song.

Foxy Brown and

Jay appeared together, performing their smash, "Ain’t

No N*gga."

Mary J. Blige was

on hand to perform "Can’t Knock The Hustle" and then launched into

her own set.

R. Kelly was the

final guest and after the performance, Jay-Z finished the show on his own.

The concert was

an exclamation point to Jay-Z’s career, in which he has sold over 20 million

records, produced movies and a clothing line and debuted at number 1 six times.

Xzibit Forms New Crew

LA rhymester Xzibit has formed Strong Arm Steady, a new group that includes San Diego’s Mitchy Slick, former Likwit member Phil The Agony and Krondon.Next year, X and the group will drop a DVD to introduce the collective and reveal their ways through shows and backstage.

In addition, the DVD will include an exclusive mixtape of the group. The set drops March 2, 2004 and features Busta Rhymes, WC, Talib Kwale, Ice T, Cypress Hill and G-Unit.

Recently, Xzibit has been doing tour dates, domestically and internationally, and finishing up his new album tentatively titled Weapon of Mass Destruction. The set is due summer of 2004. He recently performed at University of Southern California with Evidence of Dilated Peoples and rock bands Chomsky and Magna-fi.

“Not everyone can be a rapper, not everyone can be an athlete,” X told the crowd at USC, “This is a very prestigious school. You can make a difference in the world.”

Xzibit’s last album Man vs. Machine was certified gold by the RIAA.

Miami’s Pitbull Signs With TVT

Popular Miami rapper

Pitbull has inked a long term deal with TVT Records, home to such southern acts

as Ying Yang Twins and Lil Jon & The Eastside Boyz.

“The timing was just right with TVT. The label has its finger on the pulse of

the South movement and I wanted to be a part of that,” Pitbull said.

The rapper is already working on his album, which is slated for a September 2004

release date. He recently recorded “That’s Nasty” with Lil Jon and Lil Scrappy.

The song will appear on TVT’s Crunk & Disorderly compilation, which also

features David Banner, T.I., Bone Crusher, Ying Yang Twins and others.

“Pitbull is one of those rare artist whose character and presence is felt not

only on a record but throughout an entire community,” TVT Records President, Steve

Gottlieb said.

The 22-year-old rapper recorded “Oye” for the “2 Fast 2 Furious” soundtrack. The

Crunk & Disorderly compilation will be in-stores December 9, 2003.

Howard U Keeps Marching Band Out Of DMX Video

Howard University officials ruled that the prestigious school’s marching

band could not appear in “We Bout to Blow,” a new video by rapper

DMX.Franklin Chambers, Vice Provost of Student Affairs, said

the

school’s General Counsel did not have enough time to review the

contract, due to the timing of the request.Chambers also

said

the historically black college did not want to commercialize their

learning institution.”In the end, we decided that it

wasn’t in

our best interest to commercialize what

we do educationally,” Chambers told the Black College

Wire.The

band had worked out a dance routine, planned to form the letters “DMX”

and was prepared to play the music to the song.Some students

opposed the decision, alleging the university officials were operating

on double standard.”Concern has been expressed over the

potential offensive nature of the video,” student Jahdai Dawes said.

“I

find it more offensive when my friend is assaulted at a university

function and the assailant[s] are allowed to remain and enjoy themselves

the rest of the evening. Where is the administration

then?”DMX’s

representatives are looking to use the marching band concept at another

university, including Morgan State in nearby Baltimore, where Def Jam

President Kevin Liles attended college.

DMC Reminisces Over Thanksgiving Dinner

Darryl “DMC” McDaniels will join disco diva Gloria Gaynor, former

teen

idol Debbie Gibson and Dee Snyder of rock group Twisted Sister on VH1’s

first-ever “A Very Classic Thanksgiving.”VH1

invited the

“classic” artists to eat food, drink wine, share Thanksgiving memories

and discuss music.Highlights of the festivities will be

played

over a two day span on VH1 Classics, starting Thursday, November 27 and

Friday, November 28.The highlights will also replay on

Saturday,

November 30.Launched in 2000, VH1 Classics is a 24 hour

network

that features music videos, concerts and music specials featuring

classic rock, soul and pop artists from the 60s, 70s and

80s.

The Source Criticizes Russell Simmons And HSAN

Source owner David Mays has decided to step down from the Hip-Hop Summit Action Network’s board of directors, alleging that Russell Simmons was irresponsible for his recent defense of Eminem. Last week, the magazine released a 10-year-old tape of a younger Marshall Mathers rapping disrespectfully about Black women and using the word ni**er.

“Russell Simmons’ rush to defend Eminem over his racist lyrics is disturbing and

disappointing to me,” David Mays said in a statement. “This is not the Russell I’ve known and admired for many years as a strong leader of the hip-hop movement.”

Simmons’ non-profit Hip-Hop Summit Action Network (HSAN) released a statement last week supporting Eminem and accepting his subsequent apology for his remarks.

“These lyrics are disgusting, but the oneness of hip-hop culture has transformed many young people in trailer parks around the country away from their parents¹ old mindset of white supremacy,” Russell Simmons said in a statement. “We believe Eminem’s apology is sincere and forthright. He continues not only to be an icon of hip-hop, but also has evolved into a good soldier who gives back money, time and energy to the community, encouraging this generation of youth to reach their highest aspirations.”

Mays said that he would not rejoin HSAN’s board until Simmons revealed what financial ties HSAN may have to Eminem and Interscope Records.

Co-owner Benzino reiterated his previous sentiments not content with Eminem’s previous apology issued last week.

“First and foremost Eminem owes a true apology as well as a more detailed explanation to the Black community and to Black women for these offensive lyrics. Perhaps Eminem can be a more powerful force in uniting poor people from the trailer parks to the projects. But we must use this situation to explore that idea more closely,” Benzino said.

Simmons responded to the allegations and accepted Mays’ resignation.”In almost 30 years in this business, I’ve never been in a hip-hop

battle and I will not be drawn into one now by The Source magazine,” Simmons said. “Dave

Mays

and Benzino are my brothers and I wish the best for them. Unfortunately,

we

do not agree on this issue. In a Hip-Hop Summit in Detroit earlier this

year, Eminem, Nas and Detroit Mayor Kwame Kilpatrick inspired 14,000

young

people to reach for their highest aspirations. At that time, Eminem

also

received an award from the Hip-Hop Summit Action Network for his

generous

donation of coats to those who were cold on the streets of Detroit.

Although

The Source magazine takes the opposite position, I stand by what I said

in

that I believe Eminem’s apology is sincere.”