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Hip-Hop: A Little Young for Retirement

Be it voluntary or by force, each day brings more and more talk of some of our favorite (and not so favorite) rappers retiring. Lately, there’s been talk of Jay-Z, DMX, Nas, Andre 3000 and JaRule all retiring. What was once and sometimes still is a ploy to elicit interest in an upcoming project, the retirement announcement seems to be popping up with more frequency and fervor. So what’s happening?!?

Whether you’re glad to see them go or not, what does this say to Hip-Hop fans in general? Are the artists truly falling out of love with the art form, or have they been burnt out by some of the self imposed, sometimes self destructive rules of excess found in many music genres, but celebrated and rigorously enforced in Hip-Hop? Has the endless smoking, drinking, casual sex, arrests and beefs taken its’ toll? Can it be some of them know that over time, they can not carry the image of the straight off the corner, straight out of jail gangsta that has shootouts on the weekends in between orgies and studio sessions, all while in a constant daze of the best liquor and marijuana the planet has to offer.

That image would be hard to convince the public of, by a 45 year old man…it’s almost unbelievable now. Worse yet, has it been a get rich scheme all along? You know get a high paying job, work hard for a few years, then retire. Whatever the case, these guys are retiring in their early thirties. Can we only expect a few albums, maybe a decade or less, from the artists that we’ve come to know and enjoy? It just seems premature, for them as artists, and us as lovers of the art.

Can you imagine if Marvin Gaye or Curtis Mayfield retired at thirty? We would’ve never heard What’s Going On or Superfly. What about Aretha Franklin and Stevie Wonder or B.B. King and Miles Davis? Or what about our D.C. homeboy, the late, great Duke Ellington? He is one of the best musicians and composers this country has ever produced, and he kept jammin’ into his seventies. If he had retired in his thirties, there may be no Hip-Hop, as we know it. For we all know that Jazz birthed BeBop, which was the precursor to Hip-Hop. Artists, be they painters, writers, musicians, etc…simply capture commonly shared thoughts and feelings and express them in their respective art forms. They come to greatness based on how well or uniquely they are able to express those thoughts and feelings. These earlier artists truly loved the process and it showed in their music. They captured the sentiments and feelings of the times and packaged them into something beautiful and digestible for each individual to consume and cherish. They grew with their generation and kept them entertained every step of the way. “The Duke” was available for our grandparents’ generation, while the likes of Aretha and Smokey continue to do it for our parents.

The question remains, who will carry the torch of introspection, inspiration, and entertainment for our cherished art form, throughout our lifespan? And as hard as you may try, though you may love the rhythm and the melody, it is hard to digest the subject matter of someone say twenty years your junior. Which leaves me, and the rest of us Hip-Hoppers in a bit of a quandary. Though we all grew up on the smooth singing sensations our parents introduced us to, Hip-Hop is our cherished art form, our baby, something we birthed and nurtured. We watched it crawl, then take its’ first steps, and now that it’s off and running, will it simply runaway, totally abandoning us?

I love singing and always will, but I also love the rapped form of storytelling as well. So I ask myself, when I am 40 or older, who from among my peers, will I be able to count on to speak to me in the familiar voice I grew up with? I shutter to think of the possibilities.

Again. What’s happening? It appears that some rappers seem ashamed of performing at an older age. Why would they be ashamed to do something in their thirties and forties, that they so loved doing in their teens and twenties? Is it the same as people who in their young adult life may have reveled in the debauchery of promiscuity, petty crime, and experimenting with crime or drugs, but as they get older know that it’s unbecoming of a full grown adult? In other words, are they admitting their guilt in some of the negativity that is being sent out in their messages? Or do they simply fear getting rusty in the public eye?

Those artists showing no signs of fear would include LL Cool J, 35, who is preparing his eleventh album after nearly twenty years in the business. He shows no sign of falling off, and judging by his record sales, his fans seem to still appreciate his presence. Chuck D., 43, of the legendary group, Public Enemy, released an album a couple years ago, which showed him still at the top of his game. KRS-One, 42, arguably one of the best MC’s ever (today’s hottest rapper, 50 Cent agrees) is still capable of battling and defeating some of today’s hottest MC’s. Another legendary group, A Tribe Called Quest, all in their early thirties, are preparing a reunion album, and their fans seem to be eagerly awaiting its’ delivery.

For those in the know, all of the previously mentioned artists don’t have an overly violent, misogynistic, or limiting style, therefore they are able to comfortably grow with the times and express themselves. Not to give homeboy a bad rap, but can you imagine 50 Cent at 40 years old rapping about who he just shot or plans to shoot. It just wouldn’t be consumable.

So to all the up and coming rappers, don’t paint yourself into a corner with limiting subject matter that won’t be suitable 10 years later, if you expect a long career. There are two types of artists. Those that do it for the love and those that do it for the money. The latter wouldn’t be considered an artist, as much as a worker. Now to all the “artists” considering early retirement, if your plan all along is to get rich and roll, then best wishes. I would simply say to you, it would be nice to let your employer know what to expect.

The employer? Yes, that would be us, the fans, the consumers. We’re the employers. Yeah, I know the record companies cut the checks, but who do you think fills up their bank coffers to keep those checks from bouncing. And as much as we enjoy your work, know that just as you were hired, you can be fired and asked to clean out your office for the next guy to do a better job. See you on payday.

Slick Rick Wins Case, Will Be Released From Prison

Rick “Slick Rick” Walters won his court case & has been issued a waiver preventing his deportation. Walters served 5 years & 12 days for attempted murder in 1991.He was re-arrested on June 1 of 2002 & held without bail in Bradenton, Florida, due to a technicality in the law.”We always knew our arguments had merit,” said Alex Solomiany, Walters lawyer, from his office in Miami. “The government was determined to deport Rick, but we were just as determined to keep him here.”Walters spent 17 months in Federal prison after it was ruled that he deported himself, when he performed on a boat cruise with the Tom Joyner Morning show. The INS initially ruled to deport Walters, but the decision was overturned on December of 2002.Walters is expected to be released shortly.

Beanie Sigel: Crossroads

Dwight "Beanie

Sigel" Grant stands at the crossroads – and perhaps the most pivotal point

in his young life. He’s been delivered his share of strife but The Philadelphia-reared

rapper is definitely facing the most turmoil of his entire rap career.

Currently, Beans

is facing federal assault and weapons charges, attempted murder charges and

drug possession charges that, if found guilty, could land him in prison for

over 20 years. Terrence Speller claims Sigel is the man who pumped two bullets in his stomach and foot outside a Philadelphia bar. Sigel denies these claims, expressing profound innocence.

In an exclusive interview, AllHipHop caught the Broad Street Bully and found, despite legal constraints, he still has a lot to say.

AllHipHop.com:

How are you doing, as a man going through some tribulation?

Beanie Sigel: Probably

like how a man would go through it. I’m good man.

AllHipHop: You

aren’t stressing it too much?

BEANIE SIGEL: Nah.

AllHipHop: How

are you doing as an artist? Is it affecting you as an artist?

BEANIE SIGEL: Same

sh*t. Ain’t nothing really changed.

AllHipHop: What

are you doing now music-wise?

BEANIE SIGEL: Right

now I got this house arrest sh*t, this monitor on my leg so its like hard to

come up here [to Roc-A-Fella Records]. I’m building a studio right now in the

crib so I’ll be back at it probably in another week. It’ll probably be a 2 week

process to get everything I need.

AllHipHop: So you haven’t done any recording since your case opened?

BEANIE SIGEL: No.

AllHipHop: Does the legal stuff get in the way? You are supposed to stay in

the Philly area?

BEANIE SIGEL: Yeah,

so I don’t belong here [in New York]. Don’t tell nobody.

AllHipHop: You have to get a judges approval to leave?

BEANIE SIGEL: Yeah.

AllHipHop: You aiight? This is pretty serious.

BEANIE SIGEL: Yeah,

its serious, but you know, life is serious.

AllHipHop: You had a short stay in jail. How was that? Were you good?

BEANIE SIGEL: I

was cool.

AllHipHop: Nobody was messing with you?

BEANIE SIGEL: [stares]

AllHipHop: [laughs]

BEANIE SIGEL: Ain’t

nobody f*ckin’ with me, man.

AllHipHop: Alright, dumb question. Have you been writing about the case?

BEANIE SIGEL: Nah. I ain’t putting that out t there. I’ll wind up saying something

reckless.

AllHipHop: When Jay had his situation when he was accused of stabbing "Un"

Rivera, he got R. Kelly and even did a video about it.

BEANIE SIGEL: You know, his case isn’t as extreme as my case.

AllHipHop: You took some anger management, right?

BEANIE SIGEL: No, they wanted me to take that sh*t, but I’m cool. I didn’t do

it.

AllHipHop: Why, not?

BEANIE SIGEL: I didn’t need it.

AllHipHop: The State wanted you to do that?

BEANIE SIGEL: The Federal people.

AllHipHop: So, what did you do?

BEANIE SIGEL: It was in Minnesota…It was rehabilitation sh*t.

AllHipHop: What kind of rehab? Drug?

BEANIE SIGEL: Man, you know what it was! [laughs] You funny. If you know to

ask me that, you know what it was about.

AllHipHop: Seriously, I thought it was anger management, but it said something

about drugs.

BEANIE SIGEL: It was all that sh*t.

AllHipHop: Ya mom is like supportive?

BEANIE SIGEL: Yeah, that’s my homey.

AllHipHop: You seem good man.

BEANIE SIGEL: I’m cool.

AllHipHop: We all had our little issues and many dudes crumbled under less weight

than what you have now.

BEANIE SIGEL: I’m good, man, I’m good!

AllHipHop: When you get the studio together, you plan to do a lot of material

Pac-style thinking the outcome may not come out the way you want it to?

BEANIE SIGEL: No. I’s going to go how I want it to go. That’s my outlook on

it. How I want it, that’s how it’s going to go. Prepare for the worst, pray

for the best. That’s it.

AllHipHop: What are your thoughts on how the Philly media treated you?

BEANIE SIGEL: Assassinating me. It was expected. That’s what they do, exploit

people for the negative. You don’t sell no papers talking about positive and

things like that that I do. I ain’t even going to speak on it now. Like, "I

am in the situation that I am, but I do this and I do that." I’m going

to do that regardless. The people know who I do things for and what I do and

as long as they still getting the benefits of that, helping them out I’m good

with it.

AllHipHop: What about the streets of Philly, how are they treating you?

BEANIE SIGEL: Even before the situation, you know how it goes. Even B.I.G. said,

"There ain’t no guarantee they are going to love you tomorrow." So,

it went from "Yeah, that’s whats up, Philly’s on the map to "F*ck

that n####, He ain’t doing nothing for me." That’s just Philly.

AllHipHop: That’s a lot of weight. Ya whole team is from Philly. It’s not like

you pulling people from all over.

BEANIE SIGEL: That’s what I do. That’s where I’m from. I’m pro-Philly all the

way regardless. I been through a lot of sh*t. If I can help anybody come up

out of that, anyway I can, they got it.

AllHipHop: How is the State Property crew holding up?

BEANIE SIGEL: Everybody is good.

AllHipHop: They had to promote the album without you.

BEANIE SIGEL: Yeah that was kinda f*cked up. That was the only thing that was

a lil’ frustrating for me. We had one of the biggest songs in the country [Can’t

Stop, Won’t Stop] and it ain’t get promoted how I feel it would have gotten

promoted if I was here. You know? So, that was the most frustrating part about

being down for a minute. Just not being able to be there for my team.

AllHipHop: Would you have done things differently?

BEANIE SIGEL: Oh yeah! A lot of people would have been doing their jobs. Believe

that. It was just that from the business point of view from me not being there.

Telling people to "do this" and "do that." I wish it was

pushed and promoted like it should have been. You got one of the biggest songs

in the country but when you look at the SoundScan, you can’t tell. I don’t know

what happened.

AllHipHop: You

got a lot of properties under your belt now. The label. You have State Property

clothing.

BEANIE SIGEL: Yeah, I am still doing my thing with that, the business. With

the clothing line, I got a good team so, we good. My man Goldfish, Charles Southerland.

Everything is going to run itself.

AllHipHop: State Property has the illest logo out. I been wanting to steal the

logo.

BEANIE SIGEL: I

stole my logo. I ain’t gonna tell y’all from where, but I peeped something and

I said,"There it goes right there."

AllHipHop: What’s

next for the label?

BEANIE SIGEL: Putting out the music, man. Getting everybody’s situations tight.

It’s a process. We did Freeway. Young Gunz is next. Peedi Crakk. Oschino and

Sparks. Just making sure everybody is where they are supposed to be at. That’s

why we do the State Property albums. I’s a group thing, but its meant to break

one of the artists off.

AllHipHop: By the way,

Beans, what kind of kicks you got on?

BEANIE SIGEL: These are the State Property joints [sneakers] through Pro Keds.

They’ll be out in February. This is what we are doing. All sneakers are going

to match all gear. Pro Keds wasn’t selling in the United States for like 15-16

years. Two stores in Philly used to sell them and I used to buy them up. So,

I went to Magic [fashion convention in Las Vegas] about a year and a half ago.

I ran into them there and I bought about 40 sneaks and they said "Yo, you

the one that be ordering all the sneaks in Philly." We got to talking.

Now, I get 50% of these Pro Keds proceeds, all sneakers with the State Prop

logo. Holla atcha boy. The State Prop joints is crazy. All different kinds of

flavors .

AllHipHop: You had a cartoon at one point. What’s up with that?

BEANIE SIGEL: Its called "The Playpen." It’s like South Park, The

Rugrats, and Fat Albert and The Gang all mixed. Its gonna be crazy. It’s not

going to be a cartoon for coming on Saturday mornings. It’s basically about

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.

AllHipHop: Is State Property doing the voices too?

BEANIE SIGEL: I don’t know if everybody is going to be doing their voice-overs

but I am going to be doing a couple of them.

AllHipHop: So when is it coming out or is it still in production?

BEANIE SIGEL: Right now we are still in production putting everything together.

Hopefully it will be done by the end of this year.

AllHipHop: Jay brought you in. What’s

your views on him retiring?

BEANIE SIGEL: Its like, its going to be a little damper on everything as far

as I am concerned. That’s who give me my will to do. Its not a competition thing,

but I am used to rubbing shoulders with him. That’s who gives me my inspiration

to do what I do.

AllHipHop: So, you won’t have him to bounce off creatively?

BEANIE SIGEL: Yeah, you could say that. Right now, the music is mediocre. Ain’t

nobody getting into like lyrisc no more. They are looking for that beat to talk

over. The music is selling the music.

AllHipHop: True. You come from that era just before it lamed out. You’d get

on stage and spit 100 bars acapella. Cats don’t do that now. What’s up with

your album?

BEANIE SIGEL: The album was done but we were proud of a song with Chris and

Neef on an underground mixtape, "Can’t Stop, Won’t Stop," and it took

off. That’s what really made us push and put out that State Property album.

So, I took four songs off my album and put it with State Property so we could

capitalize off of that. So, the album is really wrapped up, but I’m feeling

as though I want to record a couple more songs. Its called the B-Coming.

AllHipHop: How are the labels supporting you, The Roc and Def Jam?

BEANIE SIGEL: I don’t deal with Def Jam. The Roc definitely has been supportive.

AllHipHop: Is your album still coming out fourth quarter of this year?

BEANIE SIGEL: Nah,

I ain’t gonna come out fourth quarter. I’m going to drop Chris and Neef because

they so hot. I wouldn’t do that, take from they buzz. I’ma let them get they

shine and I’ll come out right after them.

AllHipHop: So, we gonna have to wait a minute? Aw, man!

BEANIE SIGEL: I can’t do that to my boys. They on fire right now. I wouldn’t

do that. I’ma be droppin’ some sh*t though, but not my album.

AllHipHop: Some mixtape sh*t?

BEANIE SIGEL: Yeah. I might put out an EP too.

AllHipHop: Any idea what it might be called?

BEANIE SIGEL: I don’t want to spoil it, but a couple mixtapes are about to drop.

AllHipHop: Save the best stuff for the album, man. A lot of these dudes, put

their best rhymes on the mixtapes and the album is wack.

BEANIE SIGEL: See, you can’t judge the album off the mixtape. The album is for

everybody. The album is for the masses. The mixtape is for the underground.

That’s for us. So, I’ma hit y’all with that.

AllHipHop: There is a rumor that you had a dis record for Cam’ron? On a Cosmic

Kev mixtape.

BEANIE SIGEL: That’s crazy. Everybody asks me that and can’t play the record.

Why would I do that? Cam wears a Roc chain just like me. Ain’t no probs with

me and Cam.

AllHipHop: What are we going to see next?

BEANIE SIGEL: Everything as far as the business. Putting my artists out. Gettting

Chris and Neef their album, Youngest In Charge. Trying to get things

back to where they belong. Now, with Jay-Z retiring a lotta people think, what’s

going to happen? We good money. State Property is State Property. We just trying

to shake all that off. It’s a win/lose situation with us. Its like, "Damn,

that’s Jay." Everybody looks up to Jay. It’s going to be different without

Jay around. But at the same time, we get to really do us. People can see us

and what we do.

AllHipHop: Jay even said that some of the pressure would come off the artists

if he left because of all the comparisons to him.

BEANIE SIGEL: That’s why I said it’s like a win/lose situation. We used to Jay

coming in critiquing little stuff. We have full creative control over everything

we do, but its just like that advice. He deserves that sh*t. He can fall back

and enjoy his girl. [laughs] I don’t know if I was supposed to have said that,

but enjoy ya chick man! I know that’s what I’d be doing.

AllHipHop: You always talked about retiring yourself. You still thinking like

that or you going to stick around a little bit?

BEANIE SIGEL: I’m going to always be around as far as State Property and all

that, but as far as Beanie Sigel albums, I don’t gotta do that now. I got so

much other stuff to do. I’m a hustler. I’m in it for the money. Putting out

a record, it ain’t going to make enough money for me. I got my team so I am

going to do it for them, the State Property albums. But, I don’t know, after

my contract is up with The Roc, I don’t know.

The U.S. Army’s Hip-Hop Tour

The Source Magazine

and the U.S. Army have teamed up together to create “The Source Campus

Combat – Ultimate MC Battle Tour 2003.” This tour, featuring headlining

performance artists such as Memphis Bleek, Nappy Roots and Black Moon, is both

a usual and unusual event.

It is usual in

the sense that it allows college students the opportunity to come out and watch

their favorite artists perform, as well as compete in an “ultimate MC battle”

to be featured as The Source Magazine’s next “Unsigned Hype.”

However, what makes

this tour “unusual” is that it also gives students the opportunity

to do something you would not normally do at a Hip Hop event – register for

the U.S. Army.

You must be asking

yourself, “Why would the U.S. Army and The Source Magazine team up?”

Well, here’s the deal. U.S. Army representatives say that the number of

African-Americans enlisted in the U.S. Army is decreasing. This lack of African-American

representation appears to be a major concern. Therefore, the U.S. Army is looking

to recruit more African-Americans into its service.

By combining the

two entities, it gives each one the opportunity to attract its intended targeted

audience. U.S. Army Senior Project Manager Lincoln Parker states, “We are

organically integrating the U.S. Army message into Hip Hop culture, to effectively

communicate the benefits and values of an army experience to a targeted audience.”

Some of those “benefits

and values” Parker speaks of are education, lifestyle and health benefits,

career opportunities and enlistment incentives. According to Parker, “The

U.S. Army feels there goal is to assist African-Americans in developing productive

opportunities for better direction in their lives…As compared to a college

or trade school, the U.S. Army presents opportunities for development, education

and growth.”

Many of the artists

and participants in the event agreed to all the great benefits the U.S. Army

can provide its soldiers. As participants of “Project Salute 2003”

(i.e., a tour that paid tribute to the U.S. Coalition and Armed forces) Atlantic

recording artists Nappy Roots are definitely no strangers when it comes to supporting

the U.S. Troops. Having toured and visited such cities around the world like

Kuwait and Baghdad, Nappy Roots have a very universal outlook on the impact

Hip Hop culture has had on the U.S., its Army and the world.

When asked their

feelings about The Source/U.S. Army collaboration, Nappy Roots responded, “Music

is growing for all of us…the world is based around a beat/a tempo of situations…it

shows growth and development across the board about where we are going with

this Hip Hop culture.” Of course, there is always a flip side to this issue.

Although all of the artists mentioned shared their support for the troops, many

agreed that the down side to joining the U.S. Army is the possibility of a soldier

having to go to war.

When asked his

thoughts on the U.S. Army/Source Magazine collaboration, Roc-A-Fella recording

artist Memphis Bleek responded, “It’s a double edged sword here…Soldiers

get paid minimum wage…And they go out there and risk their lives on the

line. However, there’s a lot of kids who don’t have education in the

Hip Hop community, and if [the army] is going to take those kids and put them

through school to get an education, then yeah, I’m all for it.” Duckdown

recording artists Black Moon stated, “It was positive that [the U.S. Army]

put itself in a situation where they thought about Boot Camp (Black Moon’s

affiliation). The army participating in Hip Hop is a good thing, plus it gives

us the opportunity for exposure…As long as they are supportive of themselves

and of Hip Hop, then we give love to them.”

While the U.S.

Army was preoccupied with enlisting new recruits, The Source Magazine was busy

enlisting participants in its “Ultimate MC Battle.” Between artists’

performances, talented, yet unknown Hip Hop artists got the chance to battle

one another for 60 seconds, while the crowd and judges watched on to find out

and determine who would be the last emcee standing.

Laura Houser, the

participant otherwise known as “Emcee Miss Me” held it down as the

only female in the competition. Surprisingly, she said that this was the first

time she had ever rapped her lyrics “out loud to an audience.” When

asked if she was nervous, she replied, “Yeah, I’m just trying to keep

a free state of mind and let my work flow out.” She battled it out to the

final round against her male competitors “Seezmics,” “Poly Rock”

and “K – Cromozone.” However, the determined winner in the end was

none other than Cole Policy, known to his audience as Emcee “Seezmics,”

of the hip hop group “The Educated Consumers.” The crowd determined

his win as he pulled more “Oohs” and “Ahs” from the audience.

When asked how

he felt about his win, he said, “I’ve been rhyming for nine years,

and I’ve been in a couple hundred battles, so, I don’t get nervous.

I never think I’m gonna do poorly. So, if a person beats me, then it happens,

but that didn’t happen today.”

Overall, “The

Source Campus Combat – Ultimate MC Battle Tour 2003” held at University

of Maryland proved to be a positive event. All of the artists who performed

that night gave their fans a great show, and, of course, they each got the opportunity

to promote their latest and/or upcoming albums.

Memphis Bleek has

a new album coming out December 16th, entitled, “M.A.D.E.,” which

is an acronym that stands for “Money Attitude Direction Education.”

Black Moon’s new album “Total Eclipse” is out now. The final

performance of the evening, was given by Nappy Roots, whose latest album is

entitled “Wooden Leather.” The tour gives unknown talent the opportunity

to be featured in The Source Magazine’s legendary “Unsigned Hype”

column. It allows African-American/Urban youth the opportunity to learn about

the benefits and values the U.S. Army could possibly provide them with. Finally,

it provided college students with good entertainment and fun.

Das EFX Hits The Road With The RZA

In stores as of

September 23rd, they have started a national campaign along with Wu-Tang Clan

frontman RZA and his protégé North Star to promote the new album.

Das EFX will be

performing such classics as “Mic Checka,” and “They Want EFX”

along with their latest album’s lead single, “Dro & Henne,”

as well as crossover radio bound, "Diggy Das."

On the new album,

the group worked with outside collaborators for the first time ever including

reggae superstar, Sean Paul, and newcomers J. Dirty, Lovey, Un Pacino, and Scott

Caine.

The official dates

of this tour are below:

3-Nov Mon Minneapolis,

MN Escape Ultra Lounge 8pm

4-Nov Tue New York, NY Taping BET 106th & Park with Ice Cube

5-Nov Wed Breckenridge, CO Sherpa & Yeti’s 1:30pm

6-Nov Thu Vail, CO 8150 10:30pm

7-Nov Fri Park City, UT Harry O’S 10pm

9-Nov Sun Las Vegas, NV House of Blues (Late Show) 12midnight

10-Nov Mon San Diego, CA Belly Up Tavern 9pm

11-Nov Tue Los Angeles, CA House of Blues 9pm

12-Nov Wed Anaheim, CA House of Blues 8:30pm

14-Nov Fri Phoenix, AZ Cajun House 8pm

16-Nov Sun Tucson, AZ Rialto 8pm

18-Nov Tue Austin, TX Stubbs Bar-B-Q TBD

19-Nov Wed New Orleans, LA Twiropa 9pm

21-Nov Fri Bloomington IN Axis 11pm

22-Nov Sat Indianapolis, IN The Patio 10pm

24-Nov Mon Toronto, Ontario (Canada) The Funhaus 9pm

29-Nov Sat Detroit, MI Shelter At St. Andrews 8pm

30- Nov Sun Louisville, KY Headliners 9pm

2-Dec Tue Baltimore, MD Fletchers 9pm

3-Dec Wed Providence, RI Ultra 9:30pm

4-Dec Thu Northampton, MA Pearl Street 8:30pm

5-Dec Fri Boston, MA Axis 7pm

8-Dec Mon Burlington, VT Higher Ground 10pm

Allen Iverson, 50 Cent Ready New Kicks

Allen Iverson and

50 Cent will drop new sneakers in the next week, with Iverson’s Answer 7 hitting

stores November 7th, while 50’s G6 from his G-Unit Collection will land in stores

November 11th.

Iverson and 50

will be featured in various advertisements together for the first time on billboard

and television spots.

"Teaming up

one of the most awe-inspiring basketball players in the world with one of the

hottest global entertainers in one ad truly brings Reebok’s fusion of sports

and music to a whole new level," Reebok’s Chief Marketing Officer, Micky

Pant said. "Combining the excitement that Allen brings to the court with

the energy 50 Cent brings to the stage creates an explosive formula."

The billboards will be displayed in New York, Boston, Atlanta, DC, Baltimore,

Boston, Detroit, Houston, Los Angeles, Miami and Philly.

50 is showing his

charitable side with his G-Unit collection. the shoes will retail for $80.50,

with the 50 Cent going to various charities.

Convexed

Artist: Various ArtistsTitle: ConvexedRating: 4 StarsReviewed by: D. Allen

Underground heads be on alert. The Prof. has devised a new lesson plan for you to follow with his new compilation, Convexed. The well-known producer, dj, and journalist brings slept on mc’s to his Nature Sounds label with the intentions of leaving you craving for more releases. Having already provided the music for ESPN’s Streetball and masterminding High Times’ THC Vol.1, The Prof. blends 60 minutes of head-nodding beats with raw lyrics from underground greats.

MF Doom brings his lyrical skills on “Bells of DOOM.” A menacing beat captures Doom at his best with classic lines like, “Who got the most whips, gats, and cash/If you ask the villain, he say who gives a rats ass.” The legendary RA the Rugged Man rhymes with Timbo King on “Black and White”. The Prof. sets this track as a boxing match as black versus white while RA and Timbo spit back and forth mentioning their color in every line to a rough beat. The audio clips from HBO boxing add a nice touch. Ah, yes, the Worm King makes lends his talents to compilation on “845”. Cage talks about the county he reps and where he came from, while The Prof. supplies a slick, repetitive beat that makes Cage’s lyrics an all out assault.

Aesop Rock enthusiasts will be happy to learn that The Prof. has included him in the lesson plan. Aesop’s track, “Numb (to the guns)”, displays his feelings on media and effects of the government. He sums up his attitude with the line, “So when they ask what’s your opinion on the war/Tell them war sucks donkey dick/What’s the Knicks score.” This track may be the best I’ve heard from Aesop Rock aside from his Def Jux work.

The Prof. gives a taste of Masta Killa’s upcoming release on Nature Sounds with the singles, “Digi Warfare” and “The Day After”. The combination of an old school rhythm and Masta’s hypnotizing voice make for a classic track. If this is the first taste of Killa’s solo effort, those who have been awaiting a solid Wu-tang release will be asking for seconds, thirds, and so forth.

In a market where a fan usually can’t listen to a cd the entire way through, buyers of this album will not need to skip to the next track. It is more likely that they will want to keep hitting rewind. The Prof. puts together a definite classic for Nature Sounds. The overall production should get fans excited to hear future projects coming from The Prof.’s lab and having the roster that is on this album should also provide a heavy buzz. Nature Sounds produces pure hip-hop and The Prof. makes that evident with Convexed. In an unclear industry such as this, Nature Sounds gives true hip-hop fans a ray of hope that there are still creative people concerned with making genuine hip-hop music. Cop this immediately.

Stephanie McKay: Crushed Grapes

It’s not often

that you can listen to an album from beginning to end. There are always those

filler tracks that the artist just threw on the album to keep it from being

an EP.

Well that’s not

the case with New York native Stephanie McKay. Her self titled debut CD will

having you grooving at one moment, then peaceful and calm at another. This is

truly a beautiful and eclectic tapestry woven by the voice of Stephanie McKay.

McKay is like a fine wine; she demonstrates a rich fullness that only comes

with age.

McKay is not new

to the game. She has been singing with various funk bands, sang back up with

numerous artists such as Talib Kweli, and even did a duet with Alanis Morisette

on Tricky’s Blowback album in 2001.

It was in 2000

on tour playing guitar for Kelis when Stephanie McKay got the green light to

break out on her own. Geoff Barow, the man responsible of the legendary sound

of Portishead, got a demo tape of McKay’s and convinced her to leave the tour

and start working on her solo project.

So with no record

deal in hand McKay and Geoff started writing and laying down tracks for a year

and half. Once the record was complete, it took almost another year to sign

a record deal.

Now in 2003 Stephanie

McKay is ready to take the world in her hands, lift her voice and make people

listen. McKay is label mates with British sensation Ms. Dynamite.

During the summer

she released her powerful single, "Tell Him" and is now out promoting

her debut album. We recently spoke with McKay and here is what she had to say.

Allhiphop Alternatives: What’s been your favorite moment since your CD dropped?

Stephanie McKay:

I guess playing the songs live for the first time, The Jazz Cafe show, going

back to Bristol, and just seeing the progression from creating the music to

us getting it out there to an audience. That just has been the highlight. It’s

always been a live performance thing for me. And that’s been a strong point

of the record. Performing the music live.

AHHA: How has living

in the Bronx influenced your music?

Stephanie McKay:

It’s a very strong neighborhood vibe around here. Everyone knows each other,

everyone speaks to each other and looks out for one another. And that affects

my music cause it’s so cross-cultural. We have a heavy Hispanic community, we

have a Caribbean community, an Afro-Caribbean community, then we have black,

it’s all mixed up. We have Ukrainians, Panamanians; it’s just a cross-cultural

mix. If just affect my music as just being open to all types of music and not

thinking in terms of just one style.

AHHA: So is that

how you as an artist got to be so international?

Stephanie McKay:

I think so. Growing up in New York City and growing up in Manhattan your exposed

to so much more than people living in middle America. I’ve noticed that about

myself. I’ve always been attracted to what’s going on across the waters. Listening

to all different types of music. Whether it is Brazilin or traditional African.

AHHA: So what are

some good international artists to check out?

Stephanie McKay:

I know there are some good ones, Check out Eumu Sungargi. Then this other album

called African Lullabies. I like to listen to it for the melodic content.

AHHA: Like Omar?

Stephanie McKay:

Yeah, like Omar. I remember growing up being always intrigued by Sharon Nelson,

Mica Paris, and Caron Wheeler, so many great soul artists from there.

AHHA: So what inspired

the song "Tell Him"?

Stephanie McKay:

That’s just based off a personal relationship. And the fact that people sometimes

don’t want to be vulnerable in relationships. They want to protect themselves

but by doing that, they don’t really get to reap all the rewards that a loving

relationship can give. It’s basically about showing your vulnerability, giving

all that you have and telling the person. If not then don’t bother doing it.

Just let it go since your just taking the person for granted. I think it’s important

to make relationship songs that kind of accept the positive stride towards positive

communication. There have been a few songs out like that but we need more.

AHHA: How has your

music been inspired by Hip-Hop?

Stephanie McKay:

Hummm…I think the production style of the record was influenced by Hip-Hop,

because it was very sparse and very focused. Growing up listening to Grand Master

Flash and hearing them talk about social issues, it really has helped me be

like a folk singer, a story teller, it’s help me use of language and help me

find creative ways to bring your own personality to language and create new

words.

AHHA: So how do

you label your music? Do you like calling yourself a black alternative artist?

Stephanie McKay:

No I just think it’s a soul record. I think people in America call it alternative

because the production style is different. Our legacy and our history is so

rich and varied.

AHHA: Now you worked

with Kelis?

Stephanie McKay:

Yeah I played guitar for her band. I worked with her for 8 months then got the

opportunity to do my album.

AHHA: What do you

hate most about the music scene?

Stephanie McKay:

How they force artists to become generic and homogenous. They don’t really promote

individuality and personality. They don’t want to create new ways to market

a new artist. Everyone has become so complacent and not being creative. It’s

up to the new labels and artist that are starting their own labels to break

down those walls with distributors and marketing. We have so many good artists

out here and so many varied types of black music but it’s not getting out there

because a marketing strategy hasn’t been developed for it. Me as a black woman,

I don’t want to take off my clothes. I want to do the music. Come to the live

shows

and support live music.

AHHA: Why do you

think you get more love over seas then in the states?

Stephanie McKay:

I think we have too much great music that comes from our country. We tend to

take it for granted. Over there people cherish it. When you go into a record

store there is so much more diversity as far as music that is available. They

really study the history. They more know about black music then I do. They know

rare records, rare pressing, they really know the lineage. They some how have

access to a lot more then we have in our own country.

AHHA: Where do

you see Stephanie McKay in the new 5 years?

Stephanie McKay:

I’d like to release 2 more albums, start a family, and tour the world performing

my music.

P.Diddy Finishes Marathon, Doubles $1 Million Dollar Goal

After only 8 weeks

of training, Sean "P.Diddy" Combs ran the 26.2 mile 2003 ING New York

Marathon in 3 hours and 58 minutes.

"Not only

did I meet my goals, I exceeded them," Combs told AllHipHop.com. "I

raised $2 million for the children of New York City. I want to thank God for

giving me the strength to finish what I started & the people of New York

for their support."

Combs, who ran

as Number 30,792, raised the $2 million dollars for various children’s charities,

doubling the $1 million dollar goal he set.

Combs ran a steady

eight to nine minute miles for the race on a sore knee, accompanied by police

and one of his employee’s.

The mogul ran with

his hair cropped in a mohawk, a breathing strip on his nose and sunglasses on

his face.

While reports of

Combs finishing the race in 4 hours and 14 minutes, Combs said a chip in his

sneaker captured the 3 hour and 58 minute time.

On Monday, Combs

will leave to tape an episode of The Oprah Winfrey Show.

Get Free or Die Tryin’: Turn Off the Radio Vol. 2

Artist: dead prezTitle: Get Free or Die Tryin’: Turn Off the Radio Vol. 2Rating: 3 StarsReviewed by: Paine

Dead Prez provided a critical addition to the chapter of Pro-Black hip-hop with their 1999 debut, Lets Get Free. While the album was politically potent and socially challenging, the album also found listeners for its principles of great songs. A track like “Mind Sex” remains one of hip-hop’s greatest love songs. After their record label, Loud Records, folded, dead prez released the street-acclaimed, Turn off the Radio mixtape last year. Since then, rumors circulated of Sticman and M-1 courting offers from the likes of Bad Boy and Roc-A-Fella Records. With neither scenario happening, dpz put out their newest installment independently again.

Lyrically, dead prez have only gotten better. They have newer issues, deeper emotions, and stronger ways of presenting these ideas. A track like, “Babyface” serves as a newspaper anthology to all the corruption in America this past year. Beyond highlighting the negative aspects, the group also provides hope and solution. Tracks like “In The World” and “When Mama Cries” are innovative story-driven tracks of how dead prez reached their plateau of art and activism. This album is dead prez’s most personal album, and answers some of the questions that remained a mystery last time around.

A dead prez album has always come with pot-luck production. In 1999, the duo got their initial buzz based on the absolutely mind-blowing bounce beat to “Hip Hop.” Get Free or Die Trying has a much more laid back musical approach. While the lyrics and thoughts are only sharpened, the music was dulled down. Besides the Rock-aggressive, Black Jeruz produced, “F the Law”, expect less bump in your trunk. While Tahir was the star last time round, his sound has softened quite a bit.

While with Loud, dead prez had an expertly marketed record with legit creativity. Given full creativity, the message is stronger and better. Still, the dead prez need to hone a sound that matches their lyrics. The aggression and their strongest asset and they need to up the beats. Nevertheless, besides the single-fiends, if you enjoyed Let’s Get Free, this record will suit you like a visit to Men’s Wearhouse.

Tell Your Senators To Vote NO To Charles Pickering!

The Fifth Circuit, one of the most conservative federal courts, has the largest

percentage of minorities of any federal circuit court in the country and has

issued many extreme anti-civil rights rulings.

The Fifth Circuit

needs a judge who will have a moderating influence on the court and who will

support vigorous enforcement of civil rights laws.

Given Charles

Pickering’s record of hostility to important civil rights issues, Pickering

should be disqualified from elevation to any federal court of appeal.

Pickering has shown remarkable sympathy for cross-burners. When presiding over

a 1994 trial involving a cross burning in the yard of an interracial family,

Judge Pickering aggressively promoted his views to prosecutors that the sentence

for the one defendant who was convicted at trial was too severe, even though

the law mandated it.

In the end, he

persuaded prosecutors to drop the charge that would have required the long sentence.

Pickering has supported

measures that have helped perpetuate voting discrimination against African-Americans.

As a state senator in the 1970s, Pickering twice voted for a reapportionment

plan that would increase the number of senators per district while diluting

the voting strength of African Americans and other racial minorities.

In 1993,

Judge Pickering published an opinion questioning the "one-person-one vote"

doctrine as "obtrusive."

As a district court judge, Pickering has often made extraneous statements showing

his disdain for plaintiffs in race discrimination suits.

In cases such

as Seeley v. City of Hattiesburg, and Johnson v. South Mississippi Home Health,

Judge Pickering used identical language in both opinions, describing them as

having "all the hallmarks of a case

that is filed simply because an adverse employment decision was made in regard

to a protected minority."

Pickering has a history of anti-miscegenation positions. While in law school,

Pickering supported the imposition of stronger criminal penalties for violating

a ban on interracial marriage.

In a three-page

article for the University of Mississippi Law Review, he urged the legislature

to pass a stronger law against the practice.

Take Action Today – Tell

Your Senators to Vote NO on Charles Pickering!

From the Crates to the Files: The Lost Sessions

Artist: Lord FinesseTitle: From the Crates to the Files: The Lost SessionsRating: 4 StarsReviewed by: N. Context

It’s the L-O-R-D F-I-N-E double S-E!!!! It’s been a long minute since we last heard from Finesse on the mic. He has comeback with From the Crates to the Files: The Lost Sessions to bless all “the true Lord Finesse fans & followers” with original recordings, remixes and tracks previously released as promo singles. Finesse first hit the scene in 1989 with “Baby You Nasty” and followed it up with his classic debut album in 1990, Funky Technician. Since then he’s collaborated with the likes of DJ Premier, B.I.G., Dr. Dre and his fellow D.I.T.C. (Diggin In The Crates) Crew to establish himself as a renowned emcee and producer.

From the Crates… was unofficially released in 1998 on vinyl. The official CD features a collection of Finesse’s old school hits and remixes such as “Return of the Funky Man (Remix)”, “You Know What I’m About (rmx)” and “S.K.I.T.S (Shorties Kaught in the System)”. Listening to this album is like entering a time warp back to the early 90’s when James Brown and horn sampling was prevalent as well as the use of scratching and mixing vocals to create hooks. On “You Know What I’m About (rmx)” he loops the opening to Scooby Doo’s theme song to create a sinisterly rugged beat. The variety of Finesse’s samples show why he’s a founding D.I.T.C. member.

What make this album special are the early recordings with the late Big L and the hard to find releases. “Yes You May (Unreleased Remix)” and “You Know What I’m About”, both featuring Big L, are underground gems not released on either’s previous albums. Finesse and Big L are two peas of a pod when it comes to rhyme styles. While Big L’s flow is slightly more fluid and his content is more “horrorcore” rap than Finesse, their rhyme structure, delivery and metaphors are uncannily similar.

The only knock I have with this album is that there are neither any songs from his first album, nor anything current. I was looking forward to hearing “Strictly For The Ladies” and/or “Funky Technician” or brand new tracks I’d never heard before. But alas, it was not to be. Regardless, Finesse provides ample songs to keep your ears happy and to his loyal followers, underground bangers only found on mix tapes and scarce vinyl.

Too Hot for T.V.

Artist: Bad Boy’s Da BandTitle: Too Hot for T.V.Rating: 2 1/2 StarsReviewed by: Toshitaka Kondo

It’s judgment day for Babs, Freddrick, Ness, Dylan, Sara, and Young City (formerly Chopper) of Bad Boy’s Da Band. Their debut album, Too Hot For T.V., is the culmination of a difficult and tumultuous development process; all scrutinized by a national television audience. However, after listening to the album, it’s clear that they need more development as they fail to forge an identity or distinguish themselves.

With Bad Boy producer Tony Dofat supplying a majority of the tracks, production is not the problem. It’s refreshing to hear P. Diddy allow a more sample-free sound instead looping hits from the 80’s. The album’s downfall comes with the lack of chemistry between group members and lack of originality.

Young City uses his solo cut “Chopped Up”, to do an uncanny impersonation of Lil Wayne right down to the vocal inflections. If Cash Money ever decides to do a Hot Boys tribute album, he should be included. Other lapses in originality can be found with Babs’ attempts to be salacious on “Tonight.” She sounds sillier than Ja spitting gun-talk and does little to refute the notion that all female MCs rhyme the same.

Complaints aside, when Da Band speak from experience, the results are enjoyable. The Wyclef-produced “Do You Know”, features Sara singing inspirational messages over a funky guitar loop. Other group members assist with a dope first verse asking each other questions with their answers reflecting differences in their respective upbringings. “My Life” is a dark look at each member’s life before Bad Boy, with Ness reminiscing: “Even my pops was knocked over tickets for speeding/ Drinking and driving, I ain’t forget/ He think I forgot him, My moms got gray hairs from worrying sick.” On a less autobiographical “Stick Up”, Ness rides shotgun with Fred while the two MCs alternate on varying bar counts, giving the narrated robbery a very spontaneous feel.

Da Band should be commended for beating out thousands of others to have this opportunity. They should also be given gratitude for creating some must-see T.V. every Wednesday at 10 pm. But none of this holds any weight when judging the album. Too Hot For T.V. does not lack talented artists or producers. It lacks all the components of a dope album: originality, chemistry and interesting concepts.

Hip-Hop History Month Kicks Off

Today (November

1st) marks the start of Hip-Hop History month. The Universal Zulu Nation will

pay tribute to the pioneers of the genre during the weekend of November 7th-9th

in New York City.

KRS-1’s Temple

of Hip-Hop will also pay homage tomorrow, by presenting the 1st Annual Temple

of Hip-Hop Showcase in Atlanta.

In that event,

rappers will compete for the chance to open up for The Blastmaster.

"Hip-hop was

created be about peace, love, unity and having fun in order to help people to

get away from the negativity that was plaguing our streets," Afrika Bambaataa

said. "Even though this negativity still exists, as the culture progresses,

we play a big role in conflict resolution and encouraging positivity."

KRS-1, M.C. Shan,

Keith Murray, Roxanne Shante, Dana Dane, Joe Ski Love, Newcleus, Kurtis Blow

and others will perform at the Zulu event.

In October or 2002,

Senator Pedro Espada Jr. of the 32nd Senate District, in the State of New York,

recognized November as the official Hip-Hop History month.

This years Zulu

celebration is dedicated to Hunter College student Matthew Hall, a Zulu who

was gunned down in Harlem in October.

The Temple of Hip-Hop’s

showcase takes place at The Somber Reptile in Atlanta and kicks off at 7 P.M.

Below is a full

listing of the Zulu Nation events scheduled for November 7th-9th:

TRIBUTE TO:

THE FATHERS OF FUNK

JAMES BROWN

SLY & THE FAMILY STONE

GEORGE CLINTON &

PARLIAMENT – FUNKADELIC

THE GREAT TRINITY OF

HIP HOP CULTURE

AFRIKA BAMBAATAA

KOOL DJ HERC

GRANDMASTER FLASH

&

ALL THE PIONEERS

OF HIP HOP

THE NATIONAL BLACK THEATRE

2031 5TH AVE.

(BET.125T & 126TH)

9PM-UNTIL?

FRI. NOV. 7, 2003

IN THE TEMPLE ROOM

FEATURING

NICE & SMOOTH

KURTIS BLOW

FONDA RAE

JOESKI LOVE

DANA DANE

STRAFE

NEWCLEUS

KING JUST

IN THE THEATER ROOM

HIP HOP SHOW CASE

FEATURING

BAZAARROYL

LOOSE CANNON

MUSIK G & THE UNDERGROUND ARMY

MS. MERCILESS

SUPER NOVA

DYNAMAX

SNAGAPUS

JOJO BEAT

MAD CIRCUS

BLURRED INSIGHT

SAT. NOV 8,2003

IN THE TEMPLE ROOM

KRS ONE

M.C. SHAN

TKA & K7

KEITH MURRAY

ROXANNE SHANTE

WANDA DEE

KING SUN

CRASH CREW

T.C.IZLAM

SUN. NOV. 9TH

THE BRONX MUSEUM

1040 GRAND CONCOURSE

3PM-9PM

THE MEETING OF THE MINDS

FEATURING

KEYNOTE SPEAKER

(DR. PHIL VALENTINE)

ZULU KING CASHUS D

MARTHA DIAZ

NAKIM BEY

DXT

BOOKER T. COLEMAN

HAKIM BEY

ERNIE PANICCIOLI

AT NIGHT

S#####S

204 VARICK STREET @ HOUSTON

KRS ONE

THE JUNGLE BROTHERS

DJ"S FOR THE ANNIVERSARY

EASY LG, KOOL DJ RED ALERT, DJ KMT, TONY TONE, DJ BARON

DJ DXT,

COOL CLYDE & LIGHTNIN LANCE

GRAND WIZARD THEODORE

LIL THEODORE, DJ CHANCE

HOSTS:

IKEY C, PROFESSOR X,

GRAND MASTER CAZ

MARIA DAVIS (MAD PRODUCTION)

Birth of a Prince

Artist: RZATitle: Birth of a PrinceRating: 2 StarsReviewed by: Jason Newman

The good thing about RZA is that he’s one of the few producers today willing to take chances and make the effort, amidst a sea of mediocrity around him, to change and add to the hip-hop genre. The flipside is that when people like this fall, as RZA mostly does on Birth of a Prince, they fall hard.

Birth tries to be the perfect medium between the techno-rap of RZA’s alter ego Bobby Digital, the smooth, soul-based beats of classic Wu-Tang and an unusually large dose of bouncy, ready-for-the-club music. Unfortunately, so little of it is memorable, it makes you long for the days when it was all so simple.

Not that the album is without its hot moments, but listening to most beats and verses alike makes you question if RZA is serious or pulling a Prince Paul-type mocking of the industry. He’ll never be confused with a Native Tongue, but am I really reading this chorus to “Fast Cars” right?

“We be ridin’ fast cars/Weed all in the glass jar/Chrome all on my crash bar/Glocks all in my stash bar.”

Many of hip-hop’s finest can be faulted for lack of solid choruses, but most of them on Birth sound amateurish and even bordering on parody. I know I just gave an example, but another one needs to be shared to prove my point. You could probably throw a dartboard at the list of songs and get a good case, but let’s go with “The Whistle”: “We smoke those blunts the size of bats/We got those gats as long as ax/We snatch that cheese right off the trap/We put those bees all on your map.”

It’s not that thug rap is dead, but it’s not the change many people would think, or like to hear, from the Ruler Zig Zag Zig Allah. Which makes hearing fantastic songs like “The Birth (Broken Hearts)” that much harder to listen to. Over a slow, synth & strings beat and soul vocal sample, RZA plays the role of social crusader/observer, rhyming “They use you as a fool to deceive your own people/And fillin’ my children’s head with pins and needles/But I’ll take out the pins you inserted/And I’ll avenge all my mothers that you murdered.” The psychedelic-sounding (both in title and music) “A Day to God is 1,000 Years” also sees RZA showing his deft musicianship, creatively and effectively using the flute as a main instrument in one of the standout tracks. These moments, though, are too often overshadowed by beats that are, regardless of style, lackluster.

Overall, if your friend cops this album, have them throw a couple of songs on a mix and move on.

Woodlawn High School Opens Stadium Named After Def Jam Prez

Last week, Woodlawn High School held opening ceremonies at the Kevin W. Liles Stadium in Baltimore, named after the President of Def Jam Records.Liles donated $150,000 to build a 2,000 seat stadium at his alma mater. He graduated from Woodlawn in 1986 and attended Morgan State University.Liles left college shortly before graduation, for an internship at Def Jam in 1991. The gamble paid off for Liles, who was named President of the label in 1998.The stadium is the largest of all public high school stadiums in the Baltimore County.The $550,000 project will be completed next season when the lighting for the night games are installed.

The Big Tymers: Back For The First Time

The duo of Baby and

Mannie Fresh, collectively known as the Big Tymers, have been able to change clothes

and go. From white T’s and Reeboks, to throwback jerseys and Air Force 1s,

they’ve kept it fresh to death amid the departure of three-fourths of the

Hot Boy$ and the arrival of out-of-towners to the Cash Money roster.

Now with the upcoming

release of their fifth album, Big Money Heavyweight, the twosome is taking

it back to where it all started: No outside production, no outside guest artists.

AllHipHop caught up with the Big Tymers to discuss

beef, business and lawsuits.

AllHipHop.com:

When you do the Big Tymers albums, it sticks to the script but it’s fresh

every time—no pun intended.

Fresh: That’s

the whole purpose of it. We always say that it sticks to the script. Don’t

expect no special ass sh*t, it’s gonna be a Tymers album.

AllHipHop.com: Baby, your solo album was a departure from the regular Cash Money

release since you worked with a lot of different producers and artists….

Mannie Fresh: Yeah,

that mu’f*cka [laughs]

AllHipHop.com:

Is the new Big Tymers going to be like that? Or are you taking it back?

Baby: Nah, Bird

Season, ain’t nobody producing on that but Fresh. Maybe R. Kelly gon’

get one or two on that. But, me and Fresh bout to tie it up. I don’t want

nobody else on that mu’f*cka.

AllHipHop.com:

R. Kelly is on the next single, right?

Baby: Yeah

AllHipHop.com:

How did you link up with him? Cause y’all doing the Best of Both World

2, right?

Baby: It just happened,

dog.

AllHipHop.com:

At first when you signed Boo & Gotti….

Baby: That’s

the connection (with R. Kelly).

AllHipHop.com:

At first it looked like beef, like y’all stole them or something, because

he was promoting them and everything.

Baby: Nah, it was

something he asked me to do. He got caught in a situation and was like ‘I

don’t want to hold them up and they fit y’all.’ And right from

there a vibe grew and that’s how the Best of Both Worlds sh*t started.

AllHipHop.com:

Fresh, are you going to be contributing to the Best of Both Worlds 2?

Fresh: Yeah.

AllHipHop.com:

Do you have much input? Or does R. lead and you follow?

Fresh: I mean,

it was his project anyway. You know dude was like, ‘give me a couple of

tracks.’ Songs that I gave him so far—they love.

AllHipHop.com:

And how many tracks are going to be on that album?

Baby: We doing

a double CD, dog. It should come out in February. It’s a wrap. After that

I’m not doing anymore group albums—straight solo.

AllHipHop.com:

Fresh, are you putting out a solo album?

Fresh: f*ck no.

Baby: We gonna

do a group thing every now and then.

Fresh: I’ma

stand in the back and get 50 percent of his sh*t.

AllHipHop.com:

Y’all got Juvenile back now, right?

Baby: Juvenile

got us back now.

AllHipHop.com:

What about Turk? He just had an album drop.

Fresh: I see Turk

all the time. We still cool.

AllHipHop.com:

You gonna buy his album?

Fresh: Yeah, I’ma

check it out.

AllHipHop.com:

Baby, does BG still have a lawsuit against you?

Baby: Man, him

and a bunch of more mu’f*ckas got lawsuits.

AllHipHop.com:

The Wendy Day one still going on? (Day, founder of Rap Coalition claims she

helped broker the deal between Cash Money Records and Universal Records.)

Baby: Nah, that’s

been dead.

AllHipHop.com:

How did that go down? Because it seemed clear, she helped y ’all get the

deal and….

Baby: She didn’t

help me, man. How the f*ck she gon’ help me?

AllHipHop.com:

Nah?

Baby: That b*tch

ain’t been in the projects grindin’, putting in no work with me. I

don’t even know that woman.

AllHipHop.com:

Y’all never met?

Baby: Maybe once

or twice, but she ain’t help me. She ain’t catch no bullets or spit

no fire out there.

AllHipHop.com:

She made it sound like she helped y’all broker your deal.

Baby: C’mon,

man. Well then that means she had put in 7 years worth of work.

Fresh: Featuring

Wen-dee [laughs]

AllHipHop.com:

Baby, now that your going to be putting out solo albums, how does that affect

you handling day-to-day business?

Baby: It’s

better for me to do solo sh*t, because me and this group sh*t ain’t working

out.

Fresh: I’m

about to take that spot, dude. The day-to-day business.

Baby: I’ma

do the solo sh*t and I’ma give him half of my sh*t (ownership).

Fresh: It’s

gon’ to be some cuts around this mu’f*cka [looks at entourage in the

room]. Y’all better get everything y’all can get.

AllHipHop.com:

Fresh, since you gonna start handling day-to-day business, when are we going

to see some of the other artists on the label? Like TQ, and do y’all still

have Gilly (of Major Figgas)?

Fresh: Yeah, we

still have all them. We working on Gilly’s album right now. It’s just

the Cash Money way. We just don’t throw artists out; you know what I’m

saying? You got to be here for a while

AllHipHop.com:

So when can we start expecting those albums to be released? Is it gonna be next

year? Or are they gonna fall back?

Fresh: It ain’t

that long. Probably next year. We really don’t care about…even though

it is a big issue. It ain’t about the sales. It’s about the loyalty;

you know what I’m saying?

AllHipHop.com:

Fresh, everyone recognizes you have a good sense of humor. What kind of stuff

do you do when you’re not in the studio?

Fresh: I like comedy

sh*t like American Pie. I’m about to go with Nick Cannon, man. [Points

toward flat screen TV in the room] Nick Cannon is SAFE, he don’t want no

problems in life. All y’all rappers shooting at each other and sh*t….

Nick Cannon is safe. Y’all should get up and walk outta of this b*tch with

me right now. [Gets up and fakes toward the door]

AllHipHop.com:

Fresh, are you gonna be involved on the Teena Marie album?

Fresh: Yeah.

AllHipHop.com:

Is that something that you and Jazze Pha going to work out?

Fresh: Actually

we’re kind of going to let Teena do her thing. You know, however she calls

it then that’s how it gon’ be. She knows better than anybody. So if

she wants something from me, I’m doing it. But however she wants the tracks

to go that’s how it’s going to go.

AllHipHop.com:

Have you laid anything down yet?

Fresh: Yeah, I

did a couple of songs for her.

AllHipHop.com:

How is it producing R&B? I know Cash Money had that one group Official.

Fresh: They pretty

much did they own songs. R&B is pretty much the same to me anyway. But when

it comes to Teena Marie—that’s R&B. You know right now, R&B

is just hip-hop music. But Teena Marie is true R&B.

AllHipHop.com:

So you don’t want to do a compilation album at all? A lot of people feel

your beats, but you haven’t done much work outside of Cash Money, with

the exception of projects like Biggie’s Born Again.

Fresh: I might,

you know? If I do a compilation it has to be new cats. f*ck the established

dudes. That’s already done. I’m trying to get some kids that want

to do something.

AllHipHop.com:

Do you have any say on the cats y’all sign?

Fresh: I really

don’t trip on that because that’s not my job.

AllHipHop.com:

Well, with you moving to the business side is that something you’re going

to look to do?

Fresh: Yeah, definitely.

Cause I know where the game is going.

Diddy Raises $250 G’s, Honduran Sweatshop Claim Denied

Sean "P.Diddy"

Combs spent over 16 hours on New York’s Hot 97 for a radio telethon aimed at raising

money for children’s charities.

The mogul’s efforts

raised more than $250,000 for his "Diddy Runs The City" campaign,

in which Diddy will run the 27 mile 2003 ING New York City Marathon.

"I feel blessed

that companies and individuals alike have come out to support me in my efforts,"

Diddy said. "I was especially thrilled that the people of New York came

out in full force to pledge for the radio telethon."

Diddy’s goal is

to raise at least one million dollars for charities dedicated to improving the

lives of children. Proceed’s will benefit Daddy’s House Social Programs, the

public schools of New York City and the Children’s Hope Foundation.

"By supporting

me, [people who donate] are supporting all the children of New York and I hope

they continue to do so in their own individual ways — whether that means donating

their money or their time — well after this initiative is over."

Diddy has set up

a hotline, 877-RUN-DIDDY, for people who wish to donate to the fundraising effort.

A website, http://www.diddyrunsthecity.com also has information on how to donate.

In related news,

an inspection of a Honduran factory where Diddy’s Sean John is produced did

not produce the violations that were reported.

The country’s Labor

Minister, German Leitzelar, led a team on a six hour inspection of the Southeast

Textile factory in Choloma.

Officials said

the accusations were aimed at damaging a free trade agreement the Honduran government

is negotiating with the United States, Nicaragua and Panama.

No complaints relating

to the allegations were ever filed with the Honduran Labor Ministry. Representatives

for the factory said the employee who spoke out, was being used by Honduran

and U.S. labor unions opposed to the free trade negotiations.

Philly Legends Honored During “Hip-Hop Holler-Day”

Philly Word Magazine

will present "A Great Day In Philly," in which influential rap and R&B

artist will be photographed.

The shooting will

take place on November 2, during the "Hip-Hop Holler Day" weekend,

which takes place November 1, 2 and 3rd in Philadelphia, Pennsylvania.

Legends confirmed

include Schooly D.,Lady B, MC Breeze, Larry Lar, Yvette Money, LP, BadLandz,

Golden Girl, and others.

The purpose of

the Hip-Hop Holler-Day weekend is to raise the awareness of the hip-hop generation

to their consumers, students and voters.

Organizer and publisher

of Philly Word Magazine Ogbonna Hagins told AllHipHop.com that the weekend will

"aggressively promote education and activism to youth, using the common

denominator of hip-hop."

The photo’s will

be featured on the cover of January’s Philly Word Magazine.

For more information

email: [email protected]

Timbaland, Missy Elliot Re-Working “We Are The World”

Timbaland will

produce and write a new version of the USA For Africa charity effort, "We

Are The World," to raise funds for worldwide HIV/Aids programs.

The new song, titled

"The World Is Ours," is being co-written by Missy Elliot and Justin

Timberlake and will feature more than 40 performers, who are being recruited

for the project.

"I see this

as a passing of the torch," Timbaland said. "I will use the legendary

model of We Are the World, but update it in a way that works for the trends

of the music industry today. Just as Quincy Jones, Lionel Richie and Michael

Jackson did, we will create an anthem with today’s most talented artists to

produce a song that will bring the world’s attention to the Aids pandemic."

The project is

being released with Quincy Jones’ blessings, on Tim’s Beatclub Records.

An accompanying

video will premiere on VH1 and a DVD will be produced by Quincy Jones III (QD3).

Proceeds will benefit

the YouthAIDS organization and Quincy Jones’ Listen Up Foundation.

The original We

Are The World project featured such heavyweights as Willie Nelson, Diana Ross,

Tina Turner, Cyndi Lauper, Bob Dylan.

The song was written

by Michael Jackson and Lionel Richie. Legend has it that they wrote the song

in under two hours.

The project raised

$90 million to support the famine relief effort in Africa.

Timbaland’s project

is slated to hit the stores in the Spring of 2004.