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April 21, 2008

Eddie Griffin's; Freedom of Speech

GA. Griffin is best known for his starring role as the soulful secret agent in the hit film UNDERCOVER BROTHER and for his co-starring roles, along side funnyman Rob Schneider, in the DEUCE BIGALOW film franchise. In this laugh-out-loud 90-minute concert film Griffin draws on his own experiences and his edgy take on life to bring the house down with laughter! With his unique personality, keen insight and endless supply of original jokes, Griffin scores in this hilarious performance!

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Street Kings; Crooked Cops terrorize L.A. in High - Impact splatter Flick by Kam Williams

It's never a good sign when a movie makes you laugh out loud at dialogue intended to be taken seriously.

But this is exactly the reaction periodically elicited by the unintentionally funny Street Kings, a grisly shoot 'em up loosely based on a crime yarn by James Ellroy.

The story is set in Los Angeles, and revolves around the goings-on inside a trigger-happy police department so crooked that cops don't think twice before shooting a perp or even a fellow officer about to break the blue wall of silence. For, they can always count on Captain Biggs (Hugh Laurie), the head of Internal Affairs, to look the other way.

Such is the case with Detective Tom Ludlow (Keanu Reeves), an alcoholic widower working on the vice squad who considers himself above the law. Drinking since his wife's murder, he has no qualms about unleashing a torrent of expletives and racial epithets in the direction of suspects before blowing them away and planting weapons on their bodies with the help of his boss, Captain Jack Wander (Forest Whitaker).

And why is Wander so eager to cover-up rather than discipline his reckless cowboy? Well, while he freely admits to having designs on a promotion to police chief, he might have another hidden agenda.

Everything comes to a head the day that Ludlow bumps into his estranged former partner, Terrence Washington (Terry Crews), at a convenience store just as a couple of machine gun-toting thugs (Common and Cle Shaheed Sloan) are about to rob the place. When the smoke clears, the gangstas have escaped and Washington and the cashier lay dead.

Although the surveillance camera seems to implicate Ludlow in the killings, Biggs and Wander, curiously, are 

still willing to clean up the crime scene. So, they reassign the shaken detective to a desk job in the Civilian Complaint Department till the controversy blows over. However, the fidgety cop can't sit still and so he secretly sets out on his own to find the creeps who committed the crime. And that quest for the truth uncovers a pattern of police corruption all the way to the top calling for a pile of corpses to rid the department of the foul stench.

Street Kings is a disaster for several simple reasons: a preposterous premise, less credible plot twists, too much gratuitous violence, too many ethnic slurs, an absence of likable characters plus another wooden performance from Keanu Reeves, an actor ill-suited for roles calling for him to exhibit a range of emotions. Forest Whitaker proves to be the most noteworthy of a supporting cast which includes Cedric the Entertainer, Jay Mohr, Naomie Harris and hip-hop stars Common and The Game.

But when you have trouble reading a hero's motivations at every turn, the result is a comical headscratcher like this unmitigated mess.
 
Fair (1 stars)
Rated R for graphic violence, ethnic slurs and pervasive profanity.
Running time: 109 minutes

Studio: Fox Searchlight

Source, Eurweb: http://www.eurweb.com/story/eur42587.cfm


  

Posted by impoetryious at 07:54 PM | | TrackBacks (0)

Erikah Badu "New Amerykah: part One (4th Workd war) by Greg Boraman

Much musical water has flowed under the bridge since Erykah Badu first broke internationally back in the mid 1990's. Back then it would have seemed highly unlikely that over a decade later worldwide record charts would be under a sustained attack from the retro pop-soul styling of Amy Winehouse, Corinne Bailey Rae, Duffy et al - who all owe a debt to Badu's trailblazing blend of vintage soul, jazz soundscapes, conscious hip hop beats and mildly blunted attitude.

Her music though populated with many a sampled homage to her old school funk and reggae influences is within its execution, fiercely individual, contemporary and personalised - there is never a chance of mistaking Badu's music for anyone else’s, and with New Amerykah Part One Erykah experiments with pushing the boundaries further without relinquishing her trademark approach.

Kicking off with the P-Funk styled Amerykahn Promise Badu makes it very clear that her message and music are both increasingly uncompromising. This is Badu in an even more radical and philosophical mode - the lyrics and music both have a harder bite - in many cases exhibiting an other worldly and stripped back quality that challenges all the cliché’s of the banal and musically un-challenging contemporary R&B and rap so prevalent on most music video channels.

Badu's quirky self referencing humour is still present - never more so than within the track Me, contrasting nicely against its follow up My People where digital bleeps sit alongside some heavily afro-centric vocalising in an almost formless musical chant. It would be wrong to apply the phrase 'conceptual' to this album - but there somehow is a slightly apocalyptic theme bubbling away that is very reminiscent of Marvin Gaye's What's Goin' On? and Sly & The Family Stone's There's A Riot Going On throughout but especially contained within the spoken outro of the track Twinkle that is almost the work of controversial dead stand up Bill Hicks in its dark, fearful message; bump 'n' grind soul this is not….thankfully.

Badu has pulled off the rare trick of expanding and reworking her musical horizons but without really leaving her own comfort zone - this is a mature Erykah reclaiming her own territory from the myriad talents she originally inspired - and all that achieved without a 'rehab shock' tabloid headline in sight. Badu is back and still balancing the retro/progressive contradiction better than anyone.

Source: http://www.bbc.co.uk/music/release/26gb/

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Greensleves Spring Sampler by Angus taylor

Celebrating three decades in the business seems to have left Greensleeves feeling nostalgic. After a six year hiatus, the label has decided to bring back their Seasonal Sampler - a shorter, quarterly companion to their annual Biggest One Drop Reggae Anthems series – with a range of catchy tracks by established and up-and-coming artists, aimed at a wide palate of tastes.

In Jamaican music, when someone has a refreshing idea, it can often be done to death. So it is with vocoded vocals, once used sparingly on Nanko's Lucky You and Marlon Asher's Ganja Farmer, but now saturating the output of singers like Munga, who probably gives interviews through the device, he loves it so much. Vocoding the eminent Michael Rose, over hip-hop beats, may therefore seem an abhorrent notion, but album opener Real Jamaicans defies expectation, with Rose's sounding even more alien than usual as he sings the powerful opening line, ''I was born under the clock''.

Another perennial feature of reggae is the role played by talent shows, so Greensleeves have included performances by Digicel Rising Stars contestants Lenya Wilks' and O'Neal Peart. Wilks' Fly is as MOR as Tami Chynn's Over And Over from last year's One Drop Anthems, but there is something more genuine in her bouncy, exuberant delivery than in Chynn's anodyne intoning, while Peart's Change is a surprisingly rootsy effort, warning of the judgment to come.

Better Jamaica by Demarco is an excellent (albeit vocoded) reality song; Buju Banton rides John John's mashed-up The Mix rhythm for Sound Killa; Alborosie is on solid but unspectacular form over the Blackboard Jungle rhythm on Mount Zion; while Higher Level by Zareb is a retro-dubby production with busy drums and heavily delayed guitars produced by Cornwall-based producer and record seller Matt ''Lionvibes'' Downs.

Compilations like this are never going to please all the people all the time, but they’re a good way for non-vinyl buyers to keep their fingers near the pulse.

Listeners below a certain age will not remember the Spring Sampler, but, with tunes this good, it's a welcome re-addition to Greensleeves' regular release roster.

Source: http://www.bbc.co.uk/music/release/jv3n/

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Lil' Mama is the unlikely inspiration for a big-screen reinterpretation.

AUSTEN'S EMMA
(www.wenn.com)

Rapper LIL MAMA is the unlikely inspiration for a big-screen reinterpretation of JANE AUSTEN's classic novel EMMA.
Austen's 1816 book will be re-worked into a contemporary urban tale featuring strong hip-hop influences by production company Screen Gems.
The company's CEO Clint Culpepper reportedly came up with the idea, after seeing the video for Lil Mama's hit single Lipgloss last year (07).
The film will be renamed Emme and set in a U.S. high school, according to Allhiphop.com.
Austen's Emma also served as the inspiration for popular 1995 movie Clueless.

Posted by impoetryious at 07:20 PM | | TrackBacks (0)

April 20, 2008

West Indease Victorious i final test match. by Devon Anderson and Dwight Fraiser.

West Indies vice captain Ramnaresh Sarwan stroked a fluent 102 and his Guyanse couterpart Shivnarine Chanderpaul added 86 to pilot the West Indies to a series-levelling six wicket victory over Sri-Lanka in the second and final test from the Queens Park Oval in Trinidad and Tobago on Sunday.

Sri-Lanka had won the first test played in Providence, Guyana by 121 runs. Both players added a record fourth wicket partnership of 157 as they came together with the score on 73 for 3. The target set for the West Indies to win with two day's remaining was 253. However captain Chris Gayle and his opening partner Sewnarine Chattergoon fell in successive overs with the score on 24 for 2.

Marlon Samuels then joined Sarwan and they added 49 before Samuels, on 11, drove a slower delivery from Vass into the hands of cover fielder Malinda Warnapura. The rest was history as both Sarwan and Chanderpaul took over from there and guided the Calyso-Reggae team to victory.

Chaminda Vaas 2 for 52, Thilan Thushara 1 for 49 and Muttiah Muralitharan 1 for 93 were the successful wicket takers for Sri-Lanka. Most of the cricket loving fans in the region were very happy that the regional team had won the game with a day to spare. Captain Chris Gayle and his team-mates will now turn their attention to the three one-dayer's and one 20/20 that starts on Thursday in Port Of Spain, Trinidad. 

 

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Buckshot & 9th Wonder's "the Fomula" by The Beast

As one of the anchors that has been a popular face with longstanding label, Duck Down Records, Ebbets Field, Brooklyn bar layer – Buckshot, is a vet in the game and has managed to stay relevant unlike many artists that emerged during his break in the game with Black Moon.

Staying true to the essence that kept him in the eye this far, he and hot producer 9th Wonder teamed together again to drop their new album titled The Formula.

It’s the follow up album from their last collaboration, Chemistry, in 2006. On The Formula, they match the strength and production from the first joint in doubles. Their banging single “Go All Out” has MP3 listeners and YouTube enthusiast wanting more, and the album is surely the filler.

With a track 13 listing, The Formula draws reasons why 9th Wonder is on his shit and primed to be the next big mega producer. All the tracks are produced by him and feature’s Talib Kweli, Keisha Shontelle, Tyler Woods and many other artists throwing a verse. The album will be in stores April 29th.

Catch them on the Paid Dues tours starting in June. – The Beast

Source: The Beast - Writer for www.HipHopRuckus.com

 

 

Posted by impoetryious at 09:15 PM | | TrackBacks (0)

Kids in The Hall album review of "The in Crowd" by The Beast

For a group of guys that definitely know how to have fun, Naledge and Double-0 of Kids In The Hall, carry that same energy into their latest album called The In Crowd. Although they haven’t become quite a house hold name just of yet, their persistence to bring back the fun in Hip-Hop has them a dedicated fan base that spans from the states to overseas.

Signed to Duck Down Records in 2007, the guys have spent some in the studio crafting an interesting album that features Phonte of Little Brother, Estelle, Camp Lo, label mates Sean Prince and Buckshot and more. The current single playing now from the album is called Drivin’ Down The Block (Low End Theory). It’s and ode to Masta Ace classic Born To Roll with a twist of Outkast’s Elevators (Me & You). It’s a hit for sure and the video is even crazier.

On the 14 track album, you the listener will find joints: Paper Trail, Lucifer’s Joyride and The Pledge promoting infectious head nodding. However, tracks: Inner Me, Blackout and Snob Hop taint the albums charm just a little bit. It’s a steal though if you won’t to escape from the norm and into the in crowd for a cool time.

The album drops May 13, 2008. You can also get a glimpse of the guys in person while their out on tour with Gym Class Heroes right now. They’ll also be on the road in June for the Paid Dues and Rock The Bells tour this summer. – The Beast

Labels: kidz-in-the-hall, The-Beast

Source: http://hiphopruckus.blogspot.com/search/label/kidz-in-the-hall

Posted by impoetryious at 09:11 PM | | TrackBacks (0)

The Battle to keep ancient Egypt Black. By Fred Muhammad

PHILADELPHIA - National Geographic magazine insulted the historical and cultural legacy of Blacks during Black History Month by distorting history and blatantly insinuating that ancient Egyptians were anything but Black, said a critic. In an exclusive interview with The Final Call, Temple University scholar Dr. Molefi Kete Asante decried the article’s entire framework, beginning with its title “The Black Pharaohs-Conquerors of Ancient Egypt.” “If you assume that this article is about the Black pharaohs then the question that is begged is that, who were the other pharaohs?” Dr. Asante asserted.  According to the author of “The History of Africa,” a comprehensive history of the continent, National Geographic writer Robert Draper erroneously suggests the pharaohs were not Black and it didn’t matter since “the ancient world was devoid of racism. At the time of Piye’s (the Nubian monarch who reunified Ancient Egypt) historic conquest of Egypt, the fact that his skin was dark was irrelevant,” he argued. Mr. Draper jabbed at Black scholarship stating, “Revisiting that golden age in the African desert does little to advance the case of Afrocentric Egyptologists, who argue that all Ancient Egyptians . . . were Black Africans.”

Mr. Draper added, “Tut’s own grandmother, the 18th dynasty Queen Tiye, is claimed by some to be of Nubian heritage.” He points to a bust of Queen Tiye and asks, “Did the powerful Queen Tiye, King Tut’s grandmother, have Nubian ancestry? This bust, made of wood that has darkened with age, has inspired claims that she did.” Dr. Asante scoffed at that notion. “Look at the lips! These days what we have to do is assume that these people will never accept it. They will never accept the truth ... that nothing like this was in Europe. Greece and Rome combined do not make Egypt.” Referring to Septimus Severus, a Black Emperor of Rome, Mr. Asante said, it would have been better to write an article called “The Black Emperors of Rome.” “That would of made sense since most of them are White. But to say ‘The Black Pharaohs of Egypt’ where most of them were Black, that doesn’t make sense,” he said.

“I disagree with the article’s intent because the intent is to throw African people a bone. This article came as the result of the tremendous attempt on the part of Europeans to claim Egypt as not African. That was the attempt of the King Tutankhamen’s exhibit when it was first presented. So this is a long struggle.” National Geographic has a history, going back at least to the 1940s, of portraying the ancient Egyptians as anything other than Black. The June 2005 edition featured a Caucasian-looking King Tut on the cover. The same image was used on a King Tut exhibit that recently toured the country and featured on the cover of the February 2008 edition. Seemingly anticipating some backlash, the online edition of National Geographic provides a video of Dr. Zawi Hawas, head of the Supreme Council for Egyptian Antiquities, who said the race and the origin of the ancient Egyptians are difficult to ascertain. He attempted to explain away the Black statues. “If you look at the statues that were colored black, it doesn’t mean anything. Sometimes black can show the fertility of the land,” said Dr. Hawas. Another video provided is of Shomarka Omar Keita, a Black geneticist who postulates that modern Egyptians look  similar to ancient Egyptians, i.e., light skinned Arabs or non-Black.  “The idea that the Ancient Egyptians are like the current Egyptians is so far off that it is laughable. General Amr ibn al As was invited by the Black people of Egypt of the 7th century to come over to help throw out the Romans, when this was so he remained. This was the beginning of the large Arab presence in Egypt, 639 (B.C.) was the major movement of Arabs to Egypt. They found the Black people already there. “The presence of Arabs today in Egypt should not be read as an ancient presence just as a White presence in Australia should not be read as an ancient presence. The same for America. We have to take back the writing of our own history for it is absolutely essential,” Dr. Asante said.

He pointed to ancient firsthand testimony from the 5th century Greek historian Herodotus who referred to the ancient Egyptians as “melanchroes” (Black-skinned). Dr. Asante argued if the ancient Egyptians were White, Herodotus would have used the term “leucochroes” and if brown or red skinned “phrenychroes” would have been used. Professor Asante debunks the notion that ancient Egyptians did not refer to themselves as Black as European Egyptologists suggest. The meaning of Egypt or Kemet is “Black nation,” “Black country,” “the Black City,” “Black land,” or “Land of the Black People,” Dr. Asante

Source: http://www.playahata.com/hataforum/viewtopic.php?t=11543

Posted by impoetryious at 09:07 PM | | TrackBacks (0)

Eminem Booked for Mandela Birthday Concert: But TMZ says his camp has yet to offically acept offer.

(April 14, 2008)

*Will Eminem come off of an extended break to perform for Nelson Mandela or not? Multiple reports over the weekend said the rapper had accepted a request to perform at the 90th birthday bash of former South African president Nelson Mandela, which is being organized by former Queen member Brian May. But TMZ reported yesterday that Em's camp says May's invitation has yet to be officially accepted.

According to the New York Daily News, May first contacted the artist's team about a month ago without much expectation that he'd ever sign on. As previously reported, Will Smith is tapped to host the celebration, and confirmed performers include Stevie wonder, Annie Lennox, Razorlight and Keane. Source,Eurweb:  http://www.eurweb.com/story/eur42578.cfm

Posted by impoetryious at 09:04 PM | | TrackBacks (0)

Jay - Z, live Nation said to be in talks over deal that could hot $150 Million

LOS ANGELES — Concert promoter Live Nation Inc. said Thursday it was in talks with rap mogul Jay-Z over a potential business deal. The company, however, stopped short of confirming published reports that the deal would give Live Nation a stake in virtually every aspect of Jay-Z's career and land him a potential windfall in excess of $100 million.

A person familiar with the negotiations between Live Nation and Jay-Z told The Associated Press the proposed 10-year deal was worth about $150 million and would cover three albums. The person requested anonymity because of the confidential nature of the ongoing talks. An e-mail seeking comment from representative of Jay-Z, whose real name is Shawn Carter, at William Morris Agency was not returned. Under the proposed deal, Jay-Z would be paid about $25 million upfront, another $25 million toward concert tours and advances of $10 million for each of at least three albums, the person said. Live Nation would pay Jay-Z about $20 million for publishing, licensing and other rights, and put up $50 million toward a joint venture dubbed Roc Nation through which Jay-Z would sign artists and engage in other entertainment projects, the person said.Live Nation is currently producing a tour with Jay-Z and Mary J. Blige.

Jay-Z still owes his current label, Def Jam, one studio album.He was president of Def Jam for three years but stepped down in December because he and the label's corporate parent, Universal Music Group, could not agree on a new contract. Los Angeles-based Live Nation also struck recent deals with Madonna and U2.

Sporce: http://canadianpress.google.com/article/ALeqM5idAHLBTJfk2DDjHVfOgpkK2vEjHg

Posted by impoetryious at 09:01 PM | | TrackBacks (0)

Reggae rocked for Mandela & is now boosting Barak Obama. by Joseph Cuningham

The name Barack Obama is a name familiar to all and sundry across the globe and it's no surprise that a song, titled, "Barack Obama," composed by legendary Jamaican singer, Cocoa Tea is receiving critical acclaim worldwide.

Cocoa Tea has been the mastermind behind many of Reggae’s greatest cultural hits that include the current hit about the United States Presidential Contender. "I'm in support of Obama because of the ideas for change I hear him articulating. I would really love to see a man like him hold the high seat in the White House," Cocoa Tea asserted.

He revealed that he recently received a call from the Associated Press based in the US about the song and further revealed that, "since then there has been a media craze including the Miami Herald." A few weeks ago the song became the first Reggae track to be played on CNN. Work is now being done to complete Cocoa Tea's new album titled, Barack Obama. It will be a double CD... 18 tracks each.

Commenting on heightened support for Obama, he said, "I actually would like to be a part of Obama's campaign for the presidency. I want to get in touch with the right persons on his team since the song is creating this kind of buzz."

There are unconfirmed reports that the song was recently aired on FOX as well.

Source: http://www.yardflex.com/archives/2008_04.html

Posted by impoetryious at 08:57 PM | | TrackBacks (0)

Bill Crosby Goes Hip Hop with Album to be released in May; Rhymes Provided by guest rappers

LOS ANGELES (AP) — Bill Cosby's path has taken him from pudding pops to hip hop.

 The 70-year-old has recorded a hip-hop album set for release next month. "Cosby Narratives Vol. 1: State of Emergency" blends the comedian's concepts and stories with a hip-hop, pop and jazz soundtrack. "I do not rap on any of these things," Cosby told The Associated Press on Monday. "I wouldn't know how to fix my mouth to say some of the words."

Cosby said the hip-hop music he hears is profane and degrading. His album is "the opposite of what I think is the profanity for no particular reason, the misogyny for no particular reason," he said. "It really looks at the frustration and the anger that a young man may have."  The album, assembled by Cosby's longtime musical collaborator Bill "Spaceman" Patterson, contains rhymes provided by guest rappers. The subject matter? "The value of an education. The value of respecting one's self and ... giving (listeners) a chance to raise their self-esteem and confidence," Cosby said. Patterson said he was surprised when Cosby first inquired about making a rap record — until the comedian revealed he wouldn't be the one doing the rapping. "People started speculating, is he going to rap about Jell-O Pudding Pops or what?" Patterson said. "But he's always been involved in music and he was there for the first generation of spoken word. ... He has always understood rap's potential, but he was appalled by the foul language and the misogyny — the way people used a medium that could be used to elevate people, to open their eyes and provoke thought."

Cosby made the album as a companion to his 2007 best-selling book, "Come on, People: On the Path from Victims to Victors." And though he doesn't expect the CD to be a huge hit, it won't be his last hip-hop venture. "We can do even better," he said. "The next one will be even more cheerleading."

Posted by impoetryious at 08:51 PM | | TrackBacks (0)

Music Video Available Aexclusively on Smirnoffsignaturemixtapes.com

KRS One & DJ Premier's "Criminal Minded '08 (Smirnoff Signature Mix)" video is now available exclusively on www.SmirnoffSignatureMixSeries.com. The video is directed by Rik Cordero and Nancy Mitchell of Three/21 Media.

The Smirnoff Signature Mix Series is a campaign pairing three acclaimed rappers with some serious beatmakers to create new versions of iconic hip-hop songs. Internationally renowned artists Common, Q-Tip, and KRS One joined musical forces with Just Blaze, Cool & Dre, and DJ Premier to re-imagine Common's "The Light," A Tribe Called Quest's "Midnight," and Boogie Down Productions' seminal "Criminal Minded."

If you haven't heard the much buzzed about mixes yet, be sure to download KRS One and DJ Premier's "Criminal Minded '08 (Smirnoff Signature Mix)," Common and Just Blaze's "The Light '08 (It's Love) (Smirnoff Signature Mix)" featuring vocals by Marsha Ambrosius and Bilal, and Q-Tip and Cool & Dre's "Midnight '08 (Smirnoff Signature Mix Series)." All three tracks are available for FREE download at http://www.SmirnoffSignatureMixSeries.com Press: Roberto Santos / roberto@cornerstonepromotion.com 

Posted by impoetryious at 08:48 PM | | TrackBacks (0)

The Daily Telegraph talks about an "English Story" Reggae compilation on Soul Jazz Records that attempts to document dancehall's lasting influence on popular British music.

An England Story: how Jamaica changed the voice of teenage Britain

In the US, Jamaican-style MCs created hip hop. In the UK, says Peter Lyle, their influence has been subtler but just as strong Listen to Tippa Irie's hit 'Complain Neighbour' It is one of the mysteries of modern life.  'Maddest comedian is Kenny Everett': Papa Levi, who took British MCing to number one in Jamaica How on earth did a peculiar kind of mockney patois become the default spoken English of a generation of British kids - white, black, Asian; rural, urban; posh, poor (and Ali G)? A new CD offers one solution. An England Story, a musical anthology that charts the impact of Jamaican reggae on British pop culture, is a fascinating survey of the musical scene in which that patois first took hold on these shores.Jamaican MCing - also known as toasting, chatting, and, confusingly, deejaying - has been around since the late Sixties. As Jamaica's DJs invested in ever grander and louder equipment, the sound systems sought to outdo each other with both raw power and exclusive material. This led not only to the invention of the modern remix, but also the rise of the live MC, whose job was to enliven the crowd and insult rivals.

Jamaican expats in New York took these elements and turned them into something new: hip-hop. In Britain, though, their localisation was slower, more subtle, and truer to their roots.An England Story started life as a mix by the DJ duo the Heatwave (Gabriel Myddelton and Gervase de Wilde) who wanted to make an aural history of the British reggae MC. Over the 25 years that the compilation covers, the consistent thread, Myddelton says, is "a feeling that you're the underdog and up against it. It is to some extent anti-authority, kicking out at being poor and living in some s*** place." From Tippa Irie's Complain Neighbour ("Turn that noise down!") to Things Change, a new track by Warrior Queen ("London no bed o' rose…me have to wipe me runny nose"), the lyrics contain a lingering resentment of the law, the lifestyle and the weather that greeted Jamaican immigrants to this country. Crucially, there is always humour, too - this was Saturday night music; even when they wanted to moan, MCs had to make their listeners want to party. British dialects, particularly cockney, are a frequent source of comedy in the music, as are the delights of belonging to two cultures. "Sweetest singer is Sugar Minott/Maddest comedian is Kenny Everett," rhymes Papa Levi on My God My King, the 1984 single that put British MCs on the map. With its new, super-speedy style of MCing, it topped the British reggae charts, became the first Jamaican number one by a British MC, and had an audible influence on Jamaican stars. Soon after, Irie made the top 10, and fellow funnyman Smiley Culture won a cameo in Absolute Beginners.That was probably the scene's pop peak. Soon, American rap would muscle in and present music-making Britons of Caribbean descent with an alternative, angrier sound to aspire to, and a harder one to make their own. Rodney P - an MC who toured with Big Audio Dynamite when he was 15, and has since worked with Roots Manuva and Björk - found a way. In 1988, his London Posse released Money Mad, a record that crudely but brilliantly spliced rap, reggae and local observation into a gleefully noisy new sound that finally gave British rap an identity of its own.  "We had been to New York by then," he recalls. "In New York, I became very nationalistic: I'm English, I'm not American. I was speaking more cockney." It's remarkably similar to the way Damon Albarn was later to define Blur's invention of Britpop as a response to US grunge.

Britpop is long gone, but the comic, kitchen-sink vernacular of British MCs still has echoes in the storytelling style of Lily Allen and Mike Skinner. "You kind of forget, in England, that though reggae isn't really mainstream, it is all around," says Myddelton. "The places where reggae was really important - Southampton, Birmingham, London - are the places where things like garage and dubstep took off later." It's no coincidence: grime, jungle, and other dance scenes also owe the bulk of their DNA to the conventions of the reggae sound system.

An England Story is released by Soul Jazz, an independent label that, since the mid-1990s, has put out a series of compilations focused around specific strands of rap, reggae, soul, Latin and gospel music that have been otherwise neglected. "The reason we're still going," says its founder, Stuart Baker, "is that there are still areas of music that we want to go on to." Tippa Irie's neighbour probably has some ideas for where they might look for their next release. "This reggy they play," he declares on Complain Neighbour as An England Story approaches its end, "is worser than opera."

An England Story is available now from www.souljazz.co.uk 
 

Posted by impoetryious at 08:42 PM | | TrackBacks (0)

WuChes.com: RZA & ChessPark.com Join Foces

RZA announced on Saturday at the Mind Over Matter HHCF Chess and Grappling Exhibition that he's teaming with www.ChessPark.com to create www.WuChess.com.

No official launch date but you can sign up now on the site. 

Posted by impoetryious at 08:38 PM | | TrackBacks (0)

BET/MTV STUDY: the galring truth on Bet & MTV daytime Programming.


 BET/MTV STUDY:The glaring truth on BET and MTV daytime programming is transparent.The limited selection of misogynistic, sex and violence themes label them as corporate predators. Almost half the audience are under age… Leaving your child watching BET is like trusting a klansmen to teach black

history.The facts speak for themselves!-Paul  Porter http://www.parentstv.org/PTC/publications/reports/RapStudy/STUDYBET-MTV080410.pdf
 

Posted by impoetryious at 08:33 PM | | TrackBacks (0)

The Spahetti Junction Urban Film Festival: Delivering cinima in true color, Hip Hop inspired sreenings to debute, inspire, and emotionally impact audiences.

Discounted pre-show ticket deadline: April 15, 2008

March 22, 2008 (Decatur, GA): As one of the fastest growing American urban film festivals in Southeast US, nationally acclaimed filmmakers are expected in Decatur, Georgia Wednesday, April 16 - Sunday, April 20 for the 6th Annual Spaghetti Junction Urban Film Festival (SJUFF). Hip-hop inspired films are a part of this year's must see film list and include Craig 'muMs' Grant (Oz) in Rhyme Animal a hip-hop/psychological horror tale of a Brooklyn DJ and a rapper/potential cannibalistic serial killer. Next there is Comedian/Actor Faizon Love (Who's Your Caddy, Idlewild) in his directorial debut, Tao of The Golden Mask. Hip-hop youth's influence on politics in Dakar Senegal is documented in the groundbreaking film, Democracy in Dakar, after the controversial 2007 presidential election in Senegal Africa, and audiences will experience the Southeastern Premiere of Tupac Assassination: Conspiracy or Revenge, the new documentary film that lays out the entire murder conspiracy plot surrounding the tragic murder of Tupac Shakur, written/directed/executive produced by RJ Bond and co-produced by Frank "Big Frank" Alexander, Tupac's former bodyguard.Hosted at Galaxy FunPlex Center (Formally Screenworks) 2801 Candler Road (on premises of The Gallery at South DeKalb), and under the festival's theme Delivering Cinema in True Color, the festival opens with Red Carpet screenings, film shorts, feature premieres, indie film workshops, the IMPACT Awards Black & White Ball announcing the 6th Annual film festival winners, and film industry celebrity guests including Rob Hardy and Will Packer (The Gospel, Stomp The Yard and This Christmas), actor/producer Rockmond Dunbar (Soul Food, Prison Break) and actor/singer Jason Weaver for their World Premiere of the drama film Jada, Gary Dourdan (CSI: Crime Scene Investigation), premiering Black August, about the explosive life and times of civil rights activist George Lester Jackson, this year's 2008 SJUFF IMPACT Award presentation to Ralph Scott Executive Producer for 'The Best Shorts' (BET-J) and Atlanta's own radio personality/actress Rashan Ali (Hot 107.9FM) in her feature presentation of Three Can Play That Game, starring Vivica Fox, Tony Rock, Terry Vaughn, Kellita Smith, Jason George.

Tickets available through TICKET ANNEX for the screenings price as low as $6.99 Discounted tickets are pre-sold until April 15.

For more information contact:

Jen Farris | PR Manager | ZDennis Media Group (404) 921-5921 | jenfarris@zdennismarketing.com / Spaghetti Junction Urban Film Festival www.sjuff.com

 

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Baby Loves Hip Hop presents The Dino Five' jurasic Beats for tiny feet. by Barbra Danza

Epoch Times New York Staff Apr 14, 2008

Andy Blackman Hurwitz (pictured with his sons) is the founder of the Baby Loves music series, which produces albums and concerts of contemporary music styles with a developmental education twist for children. (BabyLoves.com)

Children's music is one of the fastest growing segments of the music business at a time when the industry overall is in a slump. On April 1, the selection available to the toddler crowd became even more diverse with the release of Baby Loves Hip Hop Presents The Dino Five.

The company that brought the popular Baby Loves Jazz has this time convened legendary hip-hop producer Prince Paul along with famous MCs Chali Tuna of Jurassic 5, Lady Bug Mecca of Digable Planets, Scratch of The Roots, and Wordsworth of eMC to teach simple life lessons to preschoolers through rap and hip hop music.

The album runs about 40 minutes and features fun-loving tracks framed by a colorful story that will keep the tots interested throughout. Poet Ursula Rucker narrates the tale of The Dino 5 —a prehistoric band of friends, each with his or her own qualities. They enter a talent show and learn a thing or two along the way. Baby Loves Hip Hop Presents 'The Dino Five' (BabyLoves.com)For parents interested in exposing their children to the genre of hip hop, this album provides a nice introduction. For those more concerned with the values and lessons instilled in the content, this one may fall short. Overall, there are positive messages about friendship and kindness. The overriding lesson is the ever popular "don't judge a book by its cover." On a more subtle level, however, 

there exist some grammatical errors in the narrative and songs that may not be appropriate for a group in the throes of language development.

A more glaring problem is track 9, That's Funny. In this song, as a way to break the ice with the newest member of the group, the dinos engage in playful banter in which they one-up each other by mocking different qualities in one another. For example, the lyric "Your tail is so long, in every race your last." The jokes are not overly offensive and are meant to be in good fun, but they do seem to glorify making fun of others. The target audience is a bit too impressionable for this one.

That said, some of the tracks are very entertaining for kids and adults alike. The Dino Five Theme is great; and track 3, I May Be Big and Scary (But I'm Really Pretty Nice), in which MC T-Rex reveals he's just a guy who loves his stuffed bunny, is hilarious. Perhaps Baby Loves Hip Hop will appeal most to those parents who just can't bear to listen to another rendition of The Wheels on The Bus.

Source:  http://en.epochtimes.com/news/8-4-14/69087.htm

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New Civil Rights Film Opening in LA April 25, Documents Obama's Gap Between teh Promise of our Ideals and the Reality of their time."

 New Civil Rights Film Opening in Los Angeles April 25, Documents Obama's "Gap Between the Promise of Our Ideals and the Reality of Their Time"

 BROOKLYN, NY--(Marketwire - April 3, 2008) - The independent feature film "Dare Not Walk Alone" (www.darenotwalkalone.com) opens April 25 at the Laemmle Grande 4-Plex in Los Angeles. Acclaimed as  "brave filmmaking" by the San Jose Mercury News, this award-winning documentary delivers a new generation's take on civil rights, set to a soundtrack that flows from gospel to hip-hop.

"Dare Not Walk Alone" vividly portrays the heroism of campaigners for equality, led by Dr. Martin Luther King Jr., alongside grim realities of life today on streets where those campaigns were fought, in a place that symbolizes what Sen. Barack Obama has called "the gap between the promise of our ideals and the reality of their time."

Hailed by critics as "a powerhouse of a picture... a triumph of outrage and empathy" (Aaron Mesh, Willamette Weekly); "a powerful and important film" (Orlando Weekly); "the grittiest version of civil rights history I've ever seen" (Peter Miller, Co-producer of Ken Burns' Jazz).

The film's young writer and director, Jeremy Dean, used rarely seen archive footage, like Dr. King's arrest in Saint Augustine, Florida, during a campaign of non-violent protest against segregation. Says Dean, "A lot of people who visit Florida don't know about the courageous campaign of civil disobedience coordinated here by Dr. King, the SCLC and the NAACP. Tourists of all races now vacation on beaches where blacks once braved club-wielding whites to swim."

The 1964 campaign culminated in passage of the first civil rights act after the world witnessed a motel owner pouring acid into a swimming pool of black and white bathers. The film illuminates these moving images from the past with present day interviews of the participants, including Ambassador Andrew Young, who was beaten up in Saint Augustine. In the only interview such ever filmed, motel owner James Brock describes his encounter with Dr. King.

To this mix Dean adds the perspective of African Americans living in Saint Augustine today, teenagers who see hip-hop as "the only way out" and kids to whom Dr. King's dream of a "Beloved Country" still seems like only a dream.

The film shows signs of hope, like a 2004 service of reconciliation at a church that banned blacks in 1964, but the film lets viewers draw their own conclusions about how far we've come and where we must go from here.

About "Dare Not Walk Alone" Picked for non-theatrical distribution by THINKFilm after a strong showing at Cinequest in 2006, the film was signed for theatrical distribution by Indican Pictures after winning Audience Award for Best Film at the 2007 Deep Focus Film Festival. Written and directed by Jeremy Dean; produced by Stephen Cobb, Jeremy Dean, and Richard Mergener; executive producers are Stephen Cobb and Chey Cobb.
 
Contact:

Dare Not Walk Alone Productions, LLC

http://www2.marketwire.com/mw/emailprcntct?id=3CE98B87EFF05018

 Stephen Cobb - 904-377-5528 Email

http://www2.marketwire.com/mw/emailprcntct?id=2BBA621958A6FC71

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Log on & Vote for the Soca Queen

Allison Hinds continues her reign as an undisputed Queen of Soca with recent nominations for two separate prestigious Caribbean music awards.

Following the November, 2007 release of her Salaam Remi produced debut solo album, "Soca Queen," Alison picked up four nominations in the categories: 'Best Soca Artist' and 'Best Calypso Act' for the first annual Caribbean Urban Music Awards 2008; and 'Best Music Video (Roll It Gal)' and 'Best Calypso/Soca Entertainer' for the International Reggae and World Music Awards (IRAWMA). Both ceremonies are uniquely positioned to glean the people's choice; with voting opportunities for the Urban Music Awards and IRAWMA currently open at www.urbanmusicawards.net and www.martinsinterculture.com respective Fans of Allison Hinds are urged to log on, register and make your vote count.On April 26, the Caribbean Urban Music Awards will hold its inaugural Caribbean ceremony at James Bond Beach in Ocho Rios. Allison and other nominees were short listed from an impressive 1.5 million hopefuls, spanning the globe.

IRAWMA gets underway on May 4 at the world famous Apollo Theatre in Harlem, New York. Caribbean and World Beat music lovers have for years flocked this one of a kind award show that is the longest running of its sort in the world. Voting for IRAWMA ends online by April 20.

Source: www.YardFlex.com/archives/2008_04.ht

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Dr. Rolland Rose is a category sponsor the prestigious 27th Int'l Reggae & world music awards(IRAWMA) at Apollo Theater in NYC on May4, 2008

(Chicago, IL/New York, NY) – April, 2008 – Dr. Roland Rose, who has served the Jamaica, New York area for several years, is the Best Female Vocalist category sponsor of the prestigious 27th Annual International Reggae and World Music Awards (IRAWMA), produced by Martin's International & Associates, LLC. The Caribbean-oriented event, which is dedicated to health awareness, returns to Harlem at the world famous Apollo Theater, located at 253 West 125th Street, NYC, on Sunday, May 4, 2008. A VIP reception begins at 6:00 pm and general admission is at 7:00 pm.

Dr. Roland Rose located at 108-25 Merrick Boulevard; Jamaica, NY 11433 has been practicing medicine in the Jamaica, New York area for many years and servicing quite a few patients with great success. Today, Dr. Roland Rose and ACE Medical Rehabilitation, PC continues the same great services as the previous Rose Chiropractic Health & Wellness, PC to many more patients locally as well as throughout the world. "IRAWMA executives and its media partners warmly welcome Dr. Roland Rose on board with great anticipation of a partnership that will last for years to come servicing the chiropractic needs of national and international patrons of the 27th IRAWMA," said Ephraim Martin, founder of IRAWMA.The official announcements of the nominees were made recently to a packed house in the Jonkanoo Lounge at the Hilton Hotel in New Kingston, Jamaica. Special guest artists, celebrities and media personalities such as Miss Jamaica World 2007, Yendi Phillips, Ce'cile, D'Angel, Norma Brown Bell - RJR, Lovindeer, Copeland Forbes, Claudette Kenlock - Hilton Kingston, Winford Williams, Candice Bucannan, and Milk of CVM-TV were on hand to announce the 2007 nominees.

Leading with IRAWMA's most nominations for 2007 is Tarrus Riley, with a mega seven (7) nods, including Best Male Vocalist and Best Song, for the female anthem "She's Royal." Gangster DJ Mavado has five (5) nods from IRAWMA for Best Male DJ, Best Album, Best Recording Artist(s), Songwriter of the Year, and Community Service.Beenie Man, Buju Banton, Steven Marley, Shaggy, and Sean Kingston all received four (4) nominations, while Kymani Marley, Junior Reid and Soca star Machel Montano each received three (3) nominations. Reid, competing against himself, is nominated twice in the same category...Best Crossover for his hits with Alicia Keys and rapper MIMS. Other nominees include: Ziggy Marley, Marcia Griffiths, Rihanna, Jay Z, Kanye West, Wyclef Jean, King Sunny Ade, Sly and Robbie, Youssou N'Dour, Toots & the Maytals, Beres Hammond, Daddy Yankee, Marc Anthony, Shakira, Angela Kidjo, Femi Kuti, and Jah Cure.Ephraim Martin announced that the preliminary list of performers are Beenie Man, Kymani Marley, Shaggy, Doug E. Fresh, Macka Diamond, Tarrus Riley, Etana, Junior Reid, Queen Ifrika, Dean Fraser and Friends, D'Angel, Cecile, Mutabaruka, Freddie McGregor, Dwight, Shelia Hylton, Duane Stephenson, and Winsome Benjamin. Machel Mantano, Buju Banton will be among the presenters for the star studded event. The full list of performers and presenters will be announced soon.

Other IRAWMA representatives at the press conference were Directors Clifton Edwards and Austin McBean, Randy Connor, as well as Jamaica representatives Karlene Levy and Teddy Laidley.Music lovers traveling from overseas or outside the state of New York are advised to secure their tickets now as seats are limited. EARLY BIRD TICKETS are available at the following prices: VIP PLATINUM $125, VIP GOLD $99 and GENERAL ADMISSION $53. TICKETS CAN BE ORDERED AT WWW.TICKETMASTER.COM, 212-307-7171, OR AT THE APOLLO BOX OFFICE, 212-531-5305.

Sponsors and prospective partners for this highly anticipated event include: Dr. Roland Rose, American Airlines,  Carib News, JAMROCK Magazine/LinkUp Media, Carib News, Sam's Caribbean Market Place/Sams24-7.com, Dennis Shipping, Atlas Vacations, Transcontinental Shippers, CVM-TV, Keeling Records, J & L Tax Consultant, NY Liberty Star Newspaper, Street Hype Newspaper, African Spectrum Newspaper, Ideal Health - Toni Haynes, Uptown Juice Bar, Baba Roots-USA, Eye Collection Clothing, SARFMRADIO.COM, Bennett Bridal/World Class Limousine, D. Wilshire Tux and Limo.

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Ras Emanuel Emancipating minds with his reggae vibe. by Joseph Cunningham

Reggae music is not just about a feel-good vibe, it is a genre of music, which is accompanied by deep spirituality that emancipates the mind. Young reggae musicians, most often are those who have been exposed to the negative challenges life presents.

                 Ras Emanuel was born in Kingston, Jamaica, relatively close to gangs, political struggle, armed police and poverty. He earned money by working as a construction labourer and as a fisherman. He also made money by digging and pushing through garbage dumps to find salvaged metal and plastics.

As a way of escape, he kept music in his soul, performing and making radio dubs for local disc jockeys and local radio stations. He described himself as a very diligent youngster who was serious about his career, spending countless nights in the studio and performing on subway platforms, clubs, and in parks.

As a young teen he was selected to compete at a talent contest in Jamaica. During the contest he was discovered by legendary Jamaican veteran deejay, U Roy.
Today, he resides mainly in the United States, where he has developed a sound that ranges from roots, dancehall, hip hop and R&B. He has been privileged to share stages with the likes of Bounty Killer, Beenie Man, Elephant Man and Johnny Osbourne.
Hailed as a true storyteller through his music, Ras Emanuel speaks strongly against violence, family separation, and advocates just as strongly for love as well as national and international unity.

His upcoming album is called, "Loving Enemies." a title which symbolizes his life long message.

Source: http://www.yardflex.com/archives/2008_03.html

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Grandsonn is getting ready to release His Debut Album.

Talented Rastafarian Chanter Gransonn is currently working on his debut album, which is scheduled to be released this summer. The album is being produced by his management company Hedge Sounds Production. Gransonn says the main emphasis of the album is to bring a positive message to the world. “As a Rasta man I have to encourage love and harmony throughout Mother Earth, therefore my message is always one of love and upliftment. Even though I blaze a musical fire I always encourage love and harmony amongst one and all”.

The album which not yet named will feature only original tracks and will also sport a rich Roots Reggae sound. It will be the first such project for Hedge Sounds Production, which is owned and operated by Paul Hedge. Mr. Hedge says that he and his team is working hard with Gransonn to make this project a very special and successful one. Therefore he is doing everything possible to make sure that the album will be of the best possible quality. Most of the tracks were done live by topflight European based musical arrangers Lee Holness a Jamaican musician, producer & arranger who plies his trade in Austria.The album will feature several songs such as “Fear No Evil”, Rivers To Cross”, “Pain In My Heart”, “Strive”, “Sunshine”, “No More War” and “Bye Bye Love” (HighLight Jamaica label) which is receiving a lot of air-play locally and in countries abroad such as Austria, Germany, Spain among other places. 

 

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DuprI, Def Jam Launche New Hip Hop Lable: TAG Body Spray also on board New York based Venture.

(April 11, 2008)     

*Jermaine Dupri and Island Def Jam are teaming with the people behind TAG Body Spray  - yes, the deodorant brand – to launch a new hip hop label called Tag Records.                   Dupri will serve as president of the New York-based venture, which involves setting the label's creative vision as well as developing its musical talent. Acts signed to the label are expected to be announced next month."Today, we make history in the music industry with TAG Records," said Dupri. "This label is going to provide new artists with a chance of a lifetime. New artists will receive ten times the typical marketing support - a first in the industry. I'm hand selecting and molding these artists to make history in hip hop." he launch of TAG Records is part of the TAG brand's initiative to get a stronghold in the urban community through the development of programs that provide opportunities for aspiring hip-hop talent. The partnership will also call on TAG Record's artists and Dupri to appear in various TAG brand advertising and marketing initiatives throughout 2008. 

       In other J.D. news, the record exec tells People magazine that his girlfriend, Janet Jackson, has fully recovered from the illness that caused her to cancel an appearance on "Saturday Night Live" last month.               "She's 100-percent better now," says Dupri. "She was really sick. She had bronchitis." But the singer is back on track: "She's in Japan right now. She's better and doing all the promotion that she didn't get to do because she was sick when the album launched."

Source: eurweb: http://www.eurweb.com/story/eur42525.cfm

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Yo - Yo Looking for a hit 'Miss': Rapper co - hosts new reality show on VH1. By Kenya M Yarbrough

(April 14, 2008)

*One of the originators of girls gone rap, Yolanda "Yo-Yo" Whitaker, is premiering on her own show, VH1's "Ego Trip's Miss Rap Supreme."

The show adds to the roster of reality elimination programming with rap legend Yo-Yo teaming with MC Serch, one half of the 90s rap duo 3rd Bass, looking for the next big raptress.

The series begins tonight at 10pm/9c on the music channel.

     "It's the inside look at what women go through - the challenges - and trying to find truth within it all," Whitaker described. "You have 25 women that compete, and 10 women make it in the house and they go through these different challenges."

       Though the premise seems the same, Whitaker promises a lot more excitement than other reality talent competitions, including a lot of drama from one-hit rapper Khia, whose hit "My Neck, My Back (Lick It)" was released in the spring of 2002.

      "She has that energy; she's the excitement of the show," Whitaker said hinting at some serious drama from the artists.

      "It's good," she continued of the excitement on the show. "Reality shows do a lot for people's careers. Because it's female, and all the cattiness, as a host it's fun to be a part of and as a female entrepreneur who's been in the game a long time, it's really good to see because you're looking at it from the outside."

      Looking at "Miss Rap Supreme" from the outside might be entertaining, but when asked about the redeeming value of the show, Whitaker promised that there is advice, development, and even a little female bonding.

      "Oh you're going to see some bonding, oooh are you going to see some bonding," she said. "Bonding like you've never seen females do."

      But she continued that as a co-host, she stays out of the drama, except on the few occasions that there is a lesson she can teach.

      "I do get caught up in one girl ready to quit," she said reflecting on the eight episodes, already filmed. "I do get into talking about quitting and women staying on top of their game and all that women have gone through in this industry, so I do get emotional in one episode. But other than that, we really just try to give the challenges, stand 

back, critique, and send one packing each week."

In helping to find the next big female rap star, Whitaker had a few things to say about the status of female rap star.

"We've always lacked leadership," she surmised as the biggest issue. "Me, always being a sponge for knowledge and always wanting to do more than just hip hop, I've always thought there would be more leadership. I've always grown up around a lot of very successful, extraordinary, beautiful black women who I thought would guide me, show me the way, and teach me about networking, and none of that happened. Bonding was rare."

Whitaker shared that anyone looking for a career as a musical artist should make sure they should take advantage of every meeting and connect professionally with every person they meet and prepare for life after the fame
"Being in it since I was 17, I remember making my transition from what I call the old Yo-Yo to the woman I am today; it was very hard for me. That was very challenging for me. Do you give up? What do you do at this point when you're ready to do something else in life?" she asked. "I wasn't prepared. Now I understand how so many women that came before me - where are they now? They're still struggling to do something and to find that niche."
      When Whitaker hit that wall, she decided to go back to school. She left her home in Los Angeles and moved to New Jersey just as she was about to turn 30.
      "It was the first time I'd been Yolanda as a young adult. Since I've been Yo-Yo, professionally, since I was 17."
      Now, she has her own company called Fearless Entertainment, Yo-Yo Music and has aspirations to be a US Congresswoman by the age of 40.
      "I'm scouting for talent. I've been teaching at my old high school, Washington Prep High School for three years with the magnet program. I've been teaching a lyrics class at the Thelonious Monk Institute. I've started an organization with MC Lyte; the Let Your Light Shine youth organization. I'm always still in the community and I do radio, and now I've got this new gig."
      Whitaker also told EUR's Lee Bailey that she has no plans to return to rap as an artist, considering that it would be "like going back down hill."

      "Rap is going to always be me," she said. "I'm going to always be an entertainer, but I realized that every time I would go back to find it, it was like falling back into my fear that that's all I have to give. I'm starting something new; creating a new energy; paving a new road or continuing this road to bigger and better things."

Her new something; her bigger and better begins tonight at 10pm/9c on VH1. For more, check the VH1 website at www.vh1.com and click through to "Miss Rap Supreme" TV show.

Source, Eurweb: http://www.eurweb.com/story/eur42602.cfm

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RAZAH

"I sing emotional songs, but my name is Razah," says the 24-year-old Jamaican-born soulman. "It's like a balance."

On his self-titled debut album, Razah hopes to tip the scales overwhelmingly in his favor. Enlisting new beatmaking talent such as Rykeyz (who contributed four songs) as well as a few known producers including EZ LP, Green Lantern and Norwegian-born production duo, Stargate, Razah assures that the CD still will be his opportunity to shine.

"I don't want people to pick my album up for the producers," he admits. "I want them to genuinely like Razah."

Razah's warm, achy tone resonates with genuine passion. Songs such as "Rain" and "Where Do We Go From Here" are more likely to strike an emotional chord, tug on a couple heartstrings and even swell a few tear ducts. "That's what this game is missing—no one wants to cry on a record anymore," he explains. "I'm not sure if everybody's scared or no one wants to be vulnerable. But everybody's vulnerable at the end of the day."

Honesty and raw emotion are at the center of the bulk of Razah's self-penned songs. "I'm so confused, girl/ I'm lost without ya/ I can't go to sleep because I toss without ya," he sings over the breezy, lilting melody of "Where Do We Go From Here." And Razah's not afraid to tackle some tough issues that many young women face—sexual abuse and drug use. On the uptempo synth-pop of "Runaway," he sings in a breathy, near-falsetto: "She just wants to runaway from this town/ Don't know what way she's going," 

Elsewhere, on a track called "Dear Dad," he sings bittersweetly about the father he never knew. Then on "Fight," the topic returns to love, with Razah addressing the type of relationship that's worth fighting to save. But he's quick to counter that he's not all about being Mr. Sensitivity. "It's not all about heartache, but it's about real life situations," he says. "Rappers say they talk about true life situations, singers can do that too."

Exasperated, he adds: "I don't write about no crazy, fake stuff, like about my big cars. That's corny." Besides, Razah knows better than to make music that he'd be embarrassed to play for the single mother who raised him and his older brother and sister. When Razah was four years old his mother packed up the family. They moved from St. Andrews—a small town about three hours from Kingston in Jamaica's lush countryside—to the ("Never ran, never will") Brownsville section of Brooklyn. She worked hard, saved money, studied, and fulfilled her dream of becoming a nurse.

"She's such a strong woman it's amazing," Razah says. "When the bad happens she just says, 'Keep on going. God put you here for this.' "

Divine intervention can be a way to describe Razah's rise in the music game. In 2004, a routine recording session turned into a professional and personal bond with his managers, Sekou ("Hood") Reaves and Gerald ("Man") Holman of ManHood Entertainment.

"You don't really hear many singers who can send a chill up your spin," Hood says. "I felt something real about him. I'm a family dude, and he's a family guy. He loves his mom, and I love my mom…so we clicked."

Clocking loads of radio play for the independently released single "Feels So Good," a remake of Teddy Pendergrass's "When Somebody Loves You Back," Razah proved his talent couldn't be overlooked. Then through sheer determination and Hood's industry know-how, Razah teamed with Houston veteran MC Bun B on "Keep your head up". And his hot streak continued when DJ Enuff and Funkmaster Flex of New York's Hot97 showed even more radio love to Razah's track, "Where Do We Go From Here." Those spins proved to be the difference. The song caught the attention of Rihanna, who approached the singer to add her own verse to the remix. Still, at the subsequent recording session in Roc The Mic studios, Razah had little clue the two Caribbean born singers would be labelmates.

"Rihanna was in the booth doing what she do, I was there chilling and then Jay-Z walks in, and was like what's up," Razah explains. "I was like, 'Damn, here's my idol walking in the studio.' I gave him a dap and he walked out the room."  But when the Def Jam CEO pays a visit to your recording session, serious business is about to go down. Hood and Jay worked out a verbal agreement in the studio hallway. Days later, Razah signed a record contract with Def Jam, and only two weeks after that he played the finished album for Island Def Jam chairman LA Reid.

Now, Razah's definitely in great company, poised to share his Caribbean-inflected soul music with the globe. "I try to do make big records so it's not just like it's an [average] R&B song or pop song," he concludes, "but so that everybody can love it."

Source:  http://www.thinktankmktg.com

 

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Sean Garrett

Dubbed "The Pen" by none other than Jay-Z, for his uncanny ability to write hit after hit. Sean Garrett has penned countless chart topping songs such as "Yeah" by Usher, "London Bridges" by Fergie and "Soldier" by Destiny's Child just to name a few. Check out his new single, "Grippin' On The Bed Featuring Ludacris." For more info on Sean Garrett b.k.a, " The Pen", peep his biography below.

Sean Garrett Bio:

Sean Garrett wants more! Your favorite artist's favorite songwriter-producer--behind #1 hits such as Beyoncé's "Check On It," Fergie's "London Bridge," Nelly's "Grillz," Chris Brown's "Run It!," Ciara's "Goodies," and Usher's "Yeah!"--takes center stage with his debut album, Turbo 919 (Bet I Penned It/Interscope Records).
"I love when people hear a hit and know I wrote and produced it but I love being on stage too," says Garrett. "Performing my songs, what's in my heart, that's been my dream since I was a kid. Creating that excitement in people with music is a remarkable high, and nothing replaces it, not drugs or sex. I've been planning for this my entire life."
Led by the first single, the sexy, hook-filled "Grippin'" featuring Ludacris, the electrifying and groundbreaking Turbo 919 also boasts contributions from Pharrell, Akon, Lil Wayne, Stargate, Rodney Jerkins, Bloodshy, and others. But it is the four-time Grammy Award nominated Garrett, nicknamed "The Pen" by Jay-Z, who is the star.

From the ‘laid-back-summer-vibe of "Girlfriend Ringtone," to the romantically-inspired "Lay Up Under Me," Garrett manages to capture a wide range of emotions and eclectic pop and R&B sounds from track to track. Whether it's the electronic fuzz of "What You Doin'" or the dance-driven "Pretty Girls," Garrett's Turbo 919 is a fast and smooth, old school, yet cool ride that crosses musical genres that many artists dare to intertwine.

The can't-get-the-chorus-out-of-my-head "Why Am I In Love With You," and the techno-influenced title track, "Turbo 919" are both supercharged with heart-thumping baselines and synthesized harmonies that listeners across the globe can jam to. Turbo 919 is definitely an album for the world; with songs like the heart-felt ballad "People," a modern-day "We Are The World," the message captured is one that the all walks of life can relate to. Throughout Turbo 919, Garrett consistently delivers music that resonates the soul while shaking up the dance floor.

"I don't sound like anyone else," says the soulful, velvet-voiced artist. "These songs feel and sound like me. I don't hold onto the past; keeping songs meant for other artists. I don't fit their molds, and I don't want to redo what's already been done. I love what's new and fresh and exciting. I'm a trendsetter, not a follower. I want people to say, ‘That shit is crazy!' I like to lead and I lead by being me."

Who Garrett is explains why he has become that rare songwriter who has changed the music scene, garnered both commercial and critical acclaim, and earned the respect of a Who's Who list of music artists. He epitomizes bringing together the urban and pop worlds, the edgy and the smooth.

Born in Atlanta, South Side, Garrett moved with his family to Europe when he was four years old. His father was in the U.S. military and they never stayed long in one place, transferring between Army bases across Germany and England. "American urban life flows in my veins," he says, "but living in Europe gave me an opportunity to see things from a different point of view, including when it comes to pop and dance music."
Performing in talent shows ("I thought I was Michael Jackson," he says with a smile) led to a recording contract with Ariola/BMG at age 17. A few years later, having returned to the States, he was about to sign with Warner Bros. but its black music department was axed, killing the deal. Frustrated, Garrett stepped off the roller coaster, graduated from college (an A.A. degree in business from the University of Maryland's program in Germany), and took a lucrative job as a mortgage broker in South Carolina.

He soon realized, however, that the uncreative environment wasn't for him. He began writing songs again, recorded a few, and friendly radio program directors played them. Impressed, music industry folks said he should write for other performers. But Garrett insisted he was an artist, not a songwriter.

After moving back to Atlanta, his mother Rita, who had encouraged his music career, passed away. "Deep inside, I found the strength that I always knew I had but never used. I had a choice: I could give up, or keep moving and make something of myself." He started shopping for a publishing deal.
In 2003, L.A. Reid signed him as a songwriter and Garrett's ballad "I Don't Want To Hurt You" was placed with Motown crooner Latif. Then came "Yeah!" from Usher featuring Lil Jon and Ludacris. "Yeah!" hit #1 R&B/Hip- 

Hop, remained at the top spot on the Billboard Hot 100 for 12 consecutive weeks, and was named BMI's 2005 Urban Song Of The Year.

An avalanche of other #1s has followed, among them "Goodies" from Ciara featuring Petey Pablo (#1 Pop and R&B/Hip-Hop), "Ring The Alarm" from Beyoncé (#1 Dance), "Like This" from Kelly Rowland featuring Eve (#1 Dance), "Buttons" from The Pussycat Dolls featuring Snoop Dogg (#1 Dance), "Dimelo" from Enrique Iglesias (#1 Latin), "London Bridge" from Fergie (#1 Pop), and the Dance #1s "Lose My Breath" and "Soldier" from Destiny's Child.
In early 2006, Garrett notched a phenomenal feat when for two straight weeks his name was on each of the top three songs on the Billboard Hot 100: "Grillz" by Nelly featuring Paul Wall, Ali and Gipp (also #1 Rap); "Check On It" by Beyoncé featuring Slim Thug (also #1 Dance), and "Run It!" by Chris Brown featuring Juelz Santana (also #1 R&B/Hip-Hop), respectively. Not surprisingly, Garrett was ranked the #1 Pop and #2 R&B Songwriter Of The Year by Billboard, and honored as co-Songwriter Of The Year by BMI.
"I'm so fortunate and blessed, and I appreciate my success," he says. "I had to earn my stripes. If you're not legit, you don't stay around for long. I still learn from people who were in this business before me, people like Lionel Richie. I don't negate them because they're Old School. I take notes, put them in my back pocket, and use them to understand what's going on. The bottom line is that you can have the finest chicks and a billion dollars but what matters most is what's in your heart."
Garrett has had tracks recorded by artists as varied as Richie and Gwen Stefani, Janet Jackson and Santana, DMX and Jennifer Holliday, Britney Spears and Jay–Z, Puffy and The Pussycat Dolls' Nicole Scherzinger, plus LL Cool J, Keyshia Cole, Joe, Monica, Fantasia, and many others. He has also collaborated on Top 10s for Mary J. Blige, Ricky Martin, Jamie Foxx, and 112. In 2008 alone, he has been linked to current or forthcoming projects from Whitney Houston, Raven-Symoné, Madonna, Michael Jackson, Ashlee Simpson, Michelle Williams, and Vanessa Hudgens.
Musically innovative and unpredictable, Garrett often is asked about any new record that hits, "Did you do that?" "That's great even if I didn't," he says. "It means they know I'm liable to do anything. ‘Yeah!' was out of the box for Usher, ‘Ring The Alarm' was very risky for Beyoncé, and at the same time I did Nelly's ‘Grillz.' Now I'm doing for myself what I do for other artists. Turbo 919 is just as diverse: ‘Grippin'' is street Atlanta but the title track is mainstream American pop. I want people to say, ‘I don't know where he's taking me but I want to get in that car.'"
Garrett is firmly at the wheel. Like any artist worth listening to, he has a definite point of view. "I love life and I love people; I don't like dark spirits or negative vibes. I'm all positive, all love, all happiness, because that's what is in my heart. When someone hears my songs, whether they're in a club or getting up in the morning to go to work, I want them to feel good about life. To me, songs are messages; they are energy, feelings, and emotions."
Unafraid of stretching the musical boundaries of pop and urban, Garrett is equally fearless of lyrical limits, as he proves on the album's "Come On In." "I can get away with saying almost anything because with my voice it still comes off sweet. The point is that you can be a real man and still be passionate and sensitive. You may look like an action figure but sometimes you should talk to a woman like she wants. My point is that a man can be romantic and emotional and still be tough as nails."

With Turbo 919 as his vehicle, the famously prolific and hard-working Garrett is a man on the go.

"I have this saying: ‘While your guns are raising, my guns are blazing.' Some people think I'm too focused, too serious. But I know that in the blink of an eye it can all be taken away. I don't want to be 10 years down the road saying, ‘Damn, I should have done an album.' You only go through life once; you might as well do it the best you can."
For Sean Garrett, the song is everything--and life is about finally having an album to call

 Source: http://www.thinktankmktg.com

Posted by impoetryious at 07:15 PM | | TrackBacks (0)

The Evolution Of Life Jennings

The evolution of Lyfe Jennings was bound to happen. With his authentic, soulful voice, innovative, creative style and undeniable talent, Lyfe is ready for a Lyfe Change. He's ready to establish an even deeper connection with his fans and garner new ones. He has grown and his latest album proves it.

"The album is called Lyfe Change because I'm changing it up a bit," explains Lyfe. "In the past I didn't work with different producers, I produced and wrote most of my albums by myself. But on this project I actually worked with different producers and a few writers."

 The 11-track album, slated to be released late this year, features Snoop Dogg, Lil Wayne, Wyclef Jean (who wrote "Wild, Wild, Wild"), and two of Lyfe's protégés, rapper Doc Black and singer Gritz. Producers include The Underdogs, Rich "Killa" Keller and Jean. He decided to work with more people on this album to add a diverse, eclectic spin to Lyfe Change. "Everybody has their own genre of music and their own audience," he expresses. "By working with different people, naturally I am able to tap into those different genres and audiences."

Lyfe, a native of Toledo, Ohio, entered the music world in 2004 after the release of his critically acclaimed, platinum debut Lyfe 268-192. Hailed as gritty and raw, the album created devoted fans from everywhere. With its brutally honest lyrics, Lyfe walked listeners down his rough, turbulent road, brilliantly giving them an edgy autobiographical history lesson that made many able to relate to him. He captured an even broader audience last year with his sophomore effort, The Phoenix, which expanded on his story, taking listeners through different phases of a man with new fame and money. The Phoenix featured the smash hit and cautionary tale, "S-E-X," and made him a household name.

But what makes this album different from Lyfe 268-192 or The Phoenix is that Lyfe has matured and he's ready to take his life and music career in a different direction. He also opted not to include his signature story interludes. "I wanted people to just flow from song to song," explains Jennings. On this album, he's looking forward to showing how he's evolved. "People have become accustomed to me singing about sad stuff. When they listen to my albums, usually they're in their car or they're at home doing something," he says. "But I added some up tempo songs to this album, so some of them can be played in the clubs, some of them are happy and funny, but there are some serious songs as well." Lyfe admits that he didn't do a lot of planning for the album, which is definitely hard to tell from its exquisitely written ballads, melodic beats and the remarkable vibe of the entire album. "I wanted Lyfe Change to be a fly album. I just went in the studio and just liked kicked it and came up with the songs." The first single "Cops Up," is a fast-paced love tale that'll move any crowd. "My heart is definitely with the ballads," Lyfe confesses. "But you have to mix and match. With ‘Cops Up' the hook is great, the beat is great, and I think it's a song that these kids could get into. And I think it will allow me to expand my young audience even more."

"She's The Ish," is a fast-paced celebration of special confident women. It's a story told with a spirit of fun and reality delivered with sincerity. "My heart is definitely with the ballads," Lyfe confesses. "But you have to mix and match. With ‘She's The Ish' the hook is great, the beat is great, and I think it's a song that's ageless And I think it will allow me to expand my young audience more."

On "It's Real," and "Wild, Wild, Wild," Lyfe masterfully discusses touchy subjects affecting the community such as AIDS, with his classic straightforward style and message-filled, reality-based lyrics. On "Midnight Train" and "Never, Never Land," Lyfe does what he does best—deliver rich, euphonic ballads, guaranteed to tug at anyone's heart strings. In the midst of it all, Lyfe is enjoying his successful career, but handling it smartly and professionally. He has added businessman to his singer/songwriter/producer resume, becoming CEO of his own label, Jesus Swings, with a deal through Universal and Motown Records. The musical virtuoso is looking forward to wearing many hats. "I don't really do the celebrity thing, you know, hanging at industry parties. I got two sons and during my free time I try to be with those boys," says the devoted father of sons, Phoenix and Elijah. But if Lyfe could change one thing, it would be the way some people still react to him. "Sometimes people know about my background and about the trouble I was in, so they're intimidated by me," he points out. "When I have a conversation with them, they're trying to match the persona of who they think I'm supposed to be—this tough guy who did all this time in prison," he says. "They say things like, ‘Yeah, I'm a hood dude too.' And that immediately kills the mood and alters the relationships that I could have had with these people. I'm a regular person who likes to play basketball, go to clubs with my guys, play with my kids and work. I'm not an institutionalized thug."

 Lyfe is ready to move on and focus on the future. The world is about to meet the grown, fun, sexy Lyfe. He's anxious to expand internationally with his new album, new label and artists, as well as upcoming movies and soundtracks on the horizon, maybe even a rap career ("Before being a singer or anything else, I'm a lyricist and rapping is a lyrical game"), Lyfe is cleverly reinventing himself.

"I'm just trying to do something classic," he says, "something that can be remade in 20 years." And so the evolution of Lyfe begins.

Source: http://www.thinktankmktg.com

Posted by impoetryious at 07:07 PM | | TrackBacks (0)

LiL' Haze

With the release of his debut CD, Doin da Most (Birmingham Records), the 22-year-old Birmingham native is determined to put the "Magic City" on hip-hop's map and he's vowed to do it without verbal misogyny or profanity. "I don't really use profanity in my lyrics," says Haze. "I'm trying to bring a whole new flavor." The father of a young daughter, Haze stresses that his commitment to making vulgarity-free music has nothing to do with recent movements to clean up hip-hop. "Now that it's all coming to the light I'm comfortable with it but it's always been in me to be that way," he says.

And so far it looks like earthlings are getting his message loud and clear. His lead single, "Whut It Iz," featuring Ying Yang Twins, has been a favorite among local fans and has begun to spread quickly across the southeast. And there's more where that came from.

Doin da Most is a musical constellation of non-threatening, feel-good beats and rhymes that hearken back to the early days of hip-hop when having fun was the primary focus of music.

One of Haze's favorites, "Git to da Flo," rekindles that old party spirit and is the song that Haze says best describes who he is and what he's about. "'Git to da Flo' sends a positive messages to the kids," he explains. "If you go out and listen to some of these rappers – I'm not knocking everybody but there's a few – they're disrespecting women, but this song says you don't have to disrespect women to have a good time, so let's have fun cause that's what I'm  all about – having a good time."

"Haze Cares" is a joint that truly gives listeners a peek inside the rapper's heart and soul. "It just puts you in the zone when you listen to it. It's talking about all the kids out there who don't have a father or mother figure in their lives right now. I'm sayin' ‘I know life ain't easy so I'm trying to do it for my folks that really need it.' I'm letting them know that if nobody else cares, Haze cares."

"Snap Shawty" is a double-edge lyrical sword, serving both as a party-starting chant as well as an admonition to would-be trouble makers. Of all the CD's songs, Haze says it is by far the edgiest. "This song talks about all the ways shawty can snap: it can be a girl in the club, on the dance floor or a guy hitting somebody over the head with a bottle."

On the ultra melodic "Grants and Abes," Haze proves that even a clear-cut strip club joint can be tasteful. "We're not disrespecting women," he lends. "We're doing it in a nice professional manner that even the ladies will like and respect and accept it for what it's worth and not take it the wrong way." Rounding out Doin da Most is "Dubs," a riding song spiked by a naughty, slithering track, "Bounce," notable for its dramatic bass line and Haze's brash vocal delivery and "What I'm About," which boasts the rapper's non-stop flow sweetened by the crooning of a female vocalist in the background.

Lil Haze says he is ready to show the world that hip-hop life does indeed exist in Birmingham, Alabama. "We doin' big things down here in the ham" says Lil Haze and he's set to show the world just how he's livin' the good life; having a good time doing it the only way he knows how, by Doin' da Most.

Source: www.thinktankmktg.com

Posted by impoetryious at 07:04 PM | | TrackBacks (0)

Tennessee, Keantthony

Raised in Nashville, Tennessee, KeAnthony was exposed to a rich variety of music. At age five, he joined his family's nine-member gospel ensemble, The Gospel True Notes, solidifying a dream for a future in music.

In fifth grade, KeAnthony made a friend that would influence his life in a way he never imagined. The two were inseparable. Childhood innocence would soon melt away, and as teens, they found themselves engaging in a life on the streets. When faced with the possibility of an aggravated robbery charge, his best friend turned KeAnthony in to the police, leading him to live the next eight years of his life behind bars.

Now with a lifetime of experiences behind him, KeAnthony is ready to share his story, A Hustla'z Story. This album is a self-written lyrical lullaby tenderly narrated with the strength of KeAnthony's character. "It's all reality to me," he states. "I can't sit down and write 'I love you' and not mean it. I write songs that deal with love and life." He addresses one's need to escape the day to day in "Everytime I'm High," a soulful plea for solitude, peace, and freedom. With passionate sincerity, he reminds listeners, particularly single mothers, to put the past in the past, "don't let things get in the way of your happy days," with "It's Okay."

The power of attraction, support and love is explored in the slow jam, "My Song." Here he tells listeners of a powerful union, the kind he simply cannot live without. On the flip side, KeAnthony stays true to life and illustrates the flames of jealousy in "Medlin," a song about someone content on destroying his reputation with the woman he loved, which unfortunately led to the break up of the relationship.

The highlight of the album is the lyrical portrayal of the story that led KeAnthony to his stint in prison. The track "Forever My Homie" cries out to his long lost friend, enlightening listeners on the creation and demise of their friendship. "A ni**a done snitched on me/ and I thought he's supposed to be/ forever my homie," KeAnthony croons. He goes on, "never saw it coming/ now I'm sitting in this jail cell wondering why/ I'm the only one doing time." Definitely one to take the high road, KeAnthony served his time and never sabotaged or sought revenge on his friend. With beats and production provided by The Underdogs, Tank, and Scott Storch, a narrative true to life and a mastery of soul stylistics, A Hustla'z Story is sure to catch the attention of listeners worldwide. "I don't give a damn where you from," KeAnthony states proudly. "You will feel this album."

Source: www.thinktankmktg.com

Posted by impoetryious at 07:01 PM | | TrackBacks (0)

Karina Pasian

"I've been singing and playing piano since I was three," says Karina. "My babysitter had a piano, and she started teaching me how to play. It wasn't until a year later that I began getting professional lessons." While some have been quick to compare Karina Pasian to other performers including Aaliyah, Alicia Keys and Mariah Carey, one listen to her self-assured debut disc is evidence enough that she is destined for success.

Karina remembers the first time she sang in front of an audience. "I sang Céline Dion's ‘My Heart Will Go On' at a talent show. I was kind of nervous, but the audience loved it."

From that point, there was no denying that music would be her life. A few years later, after using the Prince-penned ballad "How Come U Don't Call" for an audition, Karina Pasian was cast on a revamped version of Star Search. "That was such a wonderful experience," says Karina, who won the first round of the competition with a rousing version of the Jackson Five classic "I'll Be There."

Working with an array of songwriters, producers and artists that include The Dream, Tricky Stewart, Gordon Chambers, Chris Brown, Carlos McKinnney, Lil Mama and others, Karina proves to be a breath of fresh soul. "I've recorded over 70 songs in the last two years," Karina says. "It was a period of real growth for me as I learned to focus and stay consistent."

Karina Pasian's godfather, famed producer and businessman Quincy Jones, has also been a guardian angel for the young singer. In addition to giving her advice, the maestro included her in the "We Are the Future" charity concert in 2006. Considering the talents Jones has worked with, from Frank Sinatra and Sarah Vaughan to Michael Jackson and Tamia, she is in good company. "I know I'm blessed to have someone like Quincy in my corner," she says.

A fan who embraces all forms of music, from the stylish Black pop of Brandy to old school jazz greats, Karina performed the standard "Misty" when she was at the White House last year. "Emilio Estefan, who has been a friend of my family for years, helped to put the show together, and invited me to be a part of it," says Karina. "Later, my brother told me that I was the first Dominican to play at the White House, and that made me very proud."

Studying music and voice at High School for the Professional Performing Arts, the Washington Heights native was more than prepared for any challenges that arose in the studio. "I was blessed to have some pretty amazing teachers who prepared me well," she says sweetly. Refusing to fall into any cliché, Karina Pasian has recorded an album that is a reflection of her age and independent point of view.

Karina Pasian's song "Sixteen" is a song of independence and admiration. "Ain't no daddy's where I'm from, its just mad mothers…why am I disrespected by someone I should call brother," she sings in a pristine voice. "I wanted to do a song about what teenager girls go through in urban areas. It's not cool that boys think they're being cute when they say nasty stuff to us on the street." Written and produced by The Dream and Tricky Stewart, best known for their work with Rihanna's "Umbrella" and Madonna's "Me Against the Music," the song "Sixteen" reminds one of vintage Brill Building girls like the Crystals or Little Eva with an electro-groove.
Another The Dream and Tricky Stewart track that will leave fans breathless is "Baby Baby," an uptempo song that is destined to be a dancefloor scorcher. "Though this is a fun song, it's not just a party song," says Karina "It's about guys who simply see young women as sex objects, but I refuse to be that girl." Indeed, like Aretha Franklin, she simply wants some respect. Sharing the mic with rapper Lil Mama ("Lip Gloss" & "Shawty Get Loose"), the two young stars connected in the studio. "Lil Mama was so cool, but it was her confidence in the booth that was really exciting."

Produced and written by Carlos McKinney, the sing-songy "Can't Find the Words" embraces elements of jazz and pop while simultaneously creating a whimsical track that sounds like nothing else of the radio. Additionally, Karina's favorite song "Winner," which highlights her elegant piano (her light touch on the keyboard reminds one of Erroll Garner) playing, is laidback and uplifting.

A beautiful young woman with more musical moxy than most sixteen year olds, Karina Pasian has constructed one of the finest debut discs in years. Melancholic and truthful, funky and real, blissful and bold, Karina's album is the sound of a better tomorrow. 

Source: http://www.thinktankmktg.com

Posted by impoetryious at 06:53 PM | | TrackBacks (0)

"Divine Intervention"

Coincidentally, Reverend Gibbs eventually stumbles upon a young lady who sparks his interest but presents a challenge to him. The young, lovely, and witty schoolteacher Divine, initially unbeknownst to Reverend Gibbs, is the daughter of Reverend Matthews and she has lost her faith in God due to losing her mother several years back to cancer. Reverend Gibbs tries to win her over while restoring her faith in God and steering clear of her dry humored and overly protective father in the process.

Reverend Matthews' prospects of returning to the church eventually lessen and Reverend Gibbs moves closer to assuming a permanent role as pastor of the church. That is until he meets even stronger opposition in the jealous and scandalous Deacon Wells, who attempts to uncover some elements of Reverend Gibbs' past which may prevent him from winning the seat of permanent pastor of the church and more importantly, a place in the heart of Divine. Divine Intervention is a funny, upbeat spiritual journey about romance, religion, and scandal that will succeed with the ever popular and abundant, urban churchgoing audience and general viewers will embrace it for its warmth, humor and controversy.

Posted by impoetryious at 06:46 PM | | TrackBacks (0)

CHERISH

Their sophomore project introduces young women who have found their unique place in a field full of duplicates and manufactured stars.

The potent first single "Killa"—about not being able to resist the man you know is no good—produced by Don Vito and featuring rapper Yung Joc, is rhythmically robust and vocally arresting. "The initial perception of Cherish was that we were this little girl group with catchy records," says Farrah, 24, seemingly the most laidback sister of the clan. "We put a lot of time, energy and effort into The Truth and it's a testament to our growth."

Cherish is hardly new to the game. In fact, both of their parents are musicians and their father, who doubles as their manager, was a part of Pop (Professions of Sounds) who once toured with the legendary Earth, Wind & Fire. ‘'We have all been singing professionally since we were little kids,'' says Felisha, the gregarious element of the group. ‘'Everyone in the industry has seen us grow up. Albeit young, they grasp that all experience-good or bad-generate growth. "It was definitely a struggle, growing up in the music industry, but, we don't regret it, says Fallon. "These struggles have only made us stronger," injects Neosha, 22. ‘'And that's what The Truth is all about."

These ladies are now ready for the world to experience their progression as singers and even more as songwriters. "We want people to know about our writing abilities, "says Neosha. "We wrote our entire first album and this one, with the exception of a few tracks written with The Dream (who penned Rihanna's global smash "Umbrella.")." The Truth offers songs relating to real situations that all of the group's fans—old and new, male and female—can relate to.

"We have the ultimate break up song, ‘Lovesick' (produced by Adonis and K-Fam). It's our ‘Cry Me a River', says Felisha. "You find pleasure in the fact that your ex-boyfriend, who dogged you out, wants to get back with you. It's a little mean, but it's all about karma," laughs Neosha. The Jazze Pha produced "Like A Drum" also drops a breakup bomb, but from another perspective. "Your man comes home, you have candles lit and then he tells you he can't be with you anymore. And it's like, ‘What do I do now?' explains Felisha.
 "Before You Were My Man", produced by Eric Hudson, delivers a story that flips tradition and puts the fellas on the receiving end for a change. "Basically, you are telling your boyfriend that you were with his best friend before 

you two were together. But, you waited awhile to tell him because you did not know how. We thought it was a way to give guys a taste of their own medicine," says Fallon, who admits the song is autobiographical.

In whole, The Truth is the Cherish experience.

Replacing the sugary pop confections of the past are confessional R&B jams with scorching lyrics and equally blistering music. "There is not one song on this album where we are not singing our hearts out," says Felisha without hesitation. "We are focused on delivering real R&B," says an equally confident Farrah. "We want to be taken as seriously as En Vogue, Sister Sledge, TLC and Destiny's Child. We are here to stay."

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Posted by impoetryious at 06:42 PM | | TrackBacks (0)

FlashPoint

The official cinema of the world seems to have run out of breath. With recent advances in the digital diaspora and the advent of affordable hi-definition camcorders, it is only natural that the independent films in the years to come will reflect the rich cultural legacy of our distinguished citizens and the tremendous social and cultural upheaval of the digital age.

The time has come for the same audiences that embrace the status quo to start to demand movies that incorporate forms of expression that parallel the physical and spiritual world that surrounds them; films exploring the connections between the real and the conceptual in the constantly unwinding coil of modern mythology.

CONCEPT / MISSION

The Flashpoint Film Festival is a pioneering effort based on the long-term vision and mission to create a catalyst and forum for a dynamic and internationally appealing digital film industry in the Caribbean. It provides an annual platform for feature films, short films, documentaries, animated feature/short films, music videos and video art created by our region’s emerging artists. It also features a series of workshops, seminars and panels hosted by seasoned professionals from the local and international film industries. Although our focus is to showcase the works of Caribbean filmmakers or those with Caribbean-flavoured films, international films are also welcome. Cast in this critical role of film exhibitor, Flashpoint will spark the impending visual revolution in the Caribbean and become the region’s preeminent festival for independent films.

FOUNDERS    

Paul Bucknor / Greer-Ann Saulter / Bertram Saulter

FLASHPOINT HISTORY

In August 2004, at the enchanting Island Outpost resort The Caves in Negril, Jamaica, Paul Bucknor sat down with The Caves proprietors, Greer-Ann and Bertram Saulter, and together they hatched the concept for the Flashpoint Film + Music Festival. With the subsequent blessing of resort co-owner Chris Blackwell, the founders started to plan for an Easter 2005 festival.

From September 10-12, 2004, Hurricane Ivan roared over Jamaica, leaving a trail of damage across the island and heavily pounded The Caves. After extensive repairs to The Caves were completed, the Flashpoint concept was revived and the date was pushed back to Emancipation Weekend, July 30-31.

Greer-Ann set about bringing together the logistics, Bertram designed and prepared the location, Flashpoint Village, and Paul sought the film and music content. With additional support from Roderick Gordon’s company, Kindling, Inc., a raft of respected Jamaican sponsors quickly signed on. The team was complete.

In 2006, the Flashpoint team incorporated some exciting new elements: we extended it into a three-day festival, we 

also changed our name to Flashpoint Film Festival, in order to maintain a focus on developing our film industry that is far more of a fledging than our internationally revered music industry. Thirdly, we broadened the Flashpoint concept, officially declaring it a Caribbean film festival that also welcomes international film submissions. And last but certainly not least, we decided to form an official film screening panel, bringing together seasoned film industry professionals with diverse perspectives to select content for 2006 as well as future programmes.

"We are now a few months away from our exciting third festival, which promises to mesmerize! Film, music and culture lovers…this is a DON’T MISS EVENT! "
Contact : 
Paul Bucknor - Creative Director - paul@flashpointfestival.com This e-mail address is being protected from spam bots, you need JavaScript enabled to view it 

Sharlene Williams - Fesitval Coordinator sharlene@flashpointfestival .com This e-mail address is being protected from spam bots, you need JavaScript enabled to view it 

Storm Saulter - Co-Creative Director - storm@flashpointfestival.com This e-mail address is being protected from spam bots, you need JavaScript enabled to view it

Joel Burke - Technical Director - joel@flashpointfestival.com

 Source: http://www.flashpointfestival.com/about/index.html


  

Posted by impoetryious at 06:32 PM | | TrackBacks (0)

BOlivia Alternitative For teh Americas (ALBA) - Key to Caribbean Self- Determination, By SC Admin

Bolivarian Alternative for the Americas (ALBA) - a Viable Replacement to Globalization

Raleigh, NC – April 29th, 2007 – In his intellectual and timely re-examination of the scholarly works of two well-known Afro-Caribbeans in his dynamic book “In-Dependence from Bondage: Claude McKay and Michael Manley: Defying the Ideological Clash and Policy Gaps in African Diaspora Relations”(ISBN 978-1592214655, Africa World Press, 2007), author and former Jamaican public servant, Lloyd D. McCarthy makes the case that the Bolivarian Alternative for the Americas (ALBA) was a vision of these two men and, if successful, could well be the kind of initiative that shows the masses of the South, the African Diaspora and the world’s poor how to cooperate to achieve self-determination and deeper democracy.
 According to McCarthy, globalization - the spread of American Capitalism—is being discredited around the world as ordinary working people and those representing them become aware, that although the “Cold War” has ended, the return of militarism is being used to advance the interest of big corporations and global elites, while human development and wealth distribution is more acutely skewed now than ever.  
 “In-Dependence” From Bondage pairs novelist/poet, Claude McKay (1890 - 1948), whose innovative works ignited the Harlem Literary Renaissance, and Michael N. Manley (1924 – 1997), the Jamaican politician whose ideas, and revolutionary political activites lifted the political awareness of the people of the Caribbean, as well as internationally in the form global relations.
 McCarthy illustrates that both men were  committed Internationalists who advocated greater economic, cultural and political cooperation among peoples and nations worldwide—for everyone’s benefit; not just for the profit of a few multinational corporations.

 “McKay and Manley, through their art and politics demonstrated a firm belief in the inter-connections of the world, as well as preserving equality and justice for all people irrespective of race, color, or class,” says McCarthy. “They viewed international politics from a historical perspective; they shared a common vision of ordinary people asserting their democratic rights for liberty and equality; and they both expressed deep concerns with how power was distributed in society and between societies."

As such, McCarthy surmises that both Claude McKay and Michael Manley would have supported the political and economic initiative called the Bolivarian Alternative for the Americas (ALBA) with its plans for education scholarships for Latin America and the Caribbean, a Social Emergency Fund, Development Bank for the South, a Regional Petroleum Company and shipping, airlines and telecommunications plans. The ALBA is being led by Venezuela with first members being Bolivia, Cuba and Nicaragua. Through “In-Dependence” From Bondage”, McCarthy examines the impact of globalization (capitalism) on human development in the African Diaspora, as led by corporations, imperialism and the global elites. He differentiates the dominating political ideology of the developed nations of the North, with the oppressed and developing nations of the South, and the policy gaps that continue to undermine the struggle for self-determination of people in the African Diaspora.

McCarthy successfully illustrates the historic crossroads of social change facing the entire global community and the corrective tactics currently being considered. He provides deep explorations into the writing of McKay and Manley and their well-documented common awareness despite differing historic periods, professional backgrounds and intellectual traditions.  McKay and Manley’s strident call for an adherence to the continued struggle for self-determination echoes through the pages of “In- Dependence” from Bondage.” McCarthy has produced a significant contribution to broad studies  

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"Jamaica would have been better served to protect its environment"

Lakeland, Fla., June 26, 2007 - A transplanted Jamaican journalist, who has spent half a century in Caribbean and North American newspapers, has written a book that is expected to trigger political controversy in his native island.

A founding editor of The Jamaica Daily News, George Graham evoked furore - and even threats on his life - with a 1970s column deploring the political and cultural path that the "barefoot island" was taking.  "A plague on both your houses," the column stated. "I am voting with my feet." True to this promise to emigrate, Graham left for Toronto within weeks. He has since held various editorial positions in Ontario and Florida, retiring from The tampa Tribune in 2006.More than 30 years after Graham's Daily News column, Jamaican journalist Jean-Lowrie Chin recently recalled his comments, and declared that the island's "sufferer mentality" still had not improved. In his book, Graham describes the development of an unnamed Caribbean island similar to Jamaica. He makes fun of the "Good Ol' Boy" style of politics inherited from the island's Colonial government, but shows the island blossoming into independence under caring leadership.One of the book's startling claims is that the island is able to achieve economic success and political stability without taking advantage of such get-rich-quick initiatives as bauxite mining and petroleum-fueled electrical generation.

"I honestly believe Jamaica would have been better served to protect its environment and concentrate on earth-friendly  development,"  said Graham,  who worked for the Jamaica Industrial development Corporation during the 1960s. The book is titled "Hill-an'-Gully Rider" and is published by Lulu.com. It is available on the web in both hard cover and paperback versions.Contact: George Graham / (863) 816-1535 / gwgraeme@yahoo.com
 

 

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Brooklyn's Own Torae

 Brooklyn’s own Torae has gone from “Tor-who?” to one of New York’s top prospects in just a matter of months. Simply put, if you don’t know about Da Young Veteran by now you need a late pass. With affiliations as random as The Justus League and Cam’s (or is it Jim’s?) Dip Set, the Coney Island representer has earned a rep for bodyin’ beats by the likes of DJ Premier and Marco Polo and kickin’ jaw-dropping freestyles in his radio appearances. Daily Conversation, Tor’s debut mixtape/street album with DJ Vega Bennetton was recently released to rave reviews, with songs like “Switch” and “Callin’ Me” legitimizing his buzz. OS got with Torae to talk about his come up, his crews and his upcoming projects.

Source: http://content.onsmash.com/archives/501

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April 17, 2008

Reggae Music Achievement Awards 2008, June 8, 2008, Toronto

 Toronto, ca , April 9, 2008: In recognition of Black Music Month, The 2nd Annual Reggae Achievement Awards will be held Sunday, June 8, 2008 in the Trillium Ballroom of the Holiday Inn Select Hotel located at 970 Dixon Rd , in Toronto , Ontario , Canada . The Awards show will begin promptly at 7:00PM and will feature well known reggae artists ’Jr, Jazz, Sadiki and Steele as well as performances by international guests and artists, and of course the presentation of the actual RMAA awards. Cocktails will begin at 5:30PM. The purpose of the Reggae Music Achievement Awards is to publicly recognize and highlight the outstanding contributors to the reggae music industry in Canada . This special awards event also gives the Caribbean community in Canada an opportunity to showcase the talent and culture of Canadian reggae artists and the hardworking people behind the scenes in the music industry in Canada and abroad.
Sponsors, The West Indian Fine Foods, Kaladel Designed, 89.5 ciut, Senvia, Patty World , vibesent.com, Club Epiphany, Caribbean Camera, Pride, Vibes, CHRY 105.5, CkLN 88.1 FM, and many others to be announced.

“We are grateful and proud to be aligned with such a stellar roster of partner brands, which support many different aspects of the events surrounding the 2nd Annual Reggae Achievement Awards” said Delroy Sterling, Producer, Organizer/Facilitator of the 2nd Annual Reggae Achievement Awards Show. “ With their generous and creative support, we look forward to making this year’s RMA Awards show another huge success”.

Last year’s Awards show was a smashing success, with attendees and nominees from all over Canada and the Caribbean, as well as the United States . Some of the highlights of last year’s awards show, hosted by top radio personality, Bro GEE 89.5 & Luther Brown 105.5 fm ,Radio, included performances, by Norris Wear, Steele, The Mystics, Kay Morris, Jimmy Reid and many, many more talented artists. This year’s show will include performances by Steele, Norris Weir & The Jamaicans, Larry Marshall & Jackie Robinson all backed by the Mountain Edge Band. There will also be performances by other reggae music artists, as well as international guests, which will be announced, in upcoming press releases to follow shortly.The RMAA’s are now accepting nominations in the following categories:1. Best New Artist (Male & Female)2. Artist of the Year (Male & Female)
3. Producer Of The Year
4. Songwriter Of The Year
5. Best Reggae Band
6. Album Of The Year (Gospel)
7. Best Reggae DJ (Female)
8. Best Reggae DJ (Male)
9. A Special Media Award
10. Community Recognition Award
11. International Artist Of The Year (Male & Female)
12. Promoter Of The Year
13. Lifetime Achievement Award
14. Best Reggae Single
15. Best Reggae Album
16. Outstanding Reggae Award
17. Top Reggae Dub Poet
18. The Dennis Brown Award
19. Appreciation Contribution to the Reggae Industry ( Canada )
20. Best Promising Reggae Artist
21. Reggae Dance Promoter
22. International Radio DJ Award
23. Song Writer Awards
24. Outstanding Community Recognition Award
 Please mail your submissions to:

 RMAA Reggae Music Achievement Awards

500 Rexdale Blvd. - PO Box 27097 – Toronto , M9W 6K5
 Submission in person can be made at:
Club Epiphany @ 4000 Steele’S Ave west
Irie Music Records Store (Inside The Albion Mall)
Treajah Isle Records& Gifts 1514 Eglinton ave west
 
Information: (416) 669-1577
www.reggaemusicachievementawards.com
reggaemusicachievementawards@yahoo.com
directors@reggaemusicachievementawards.com ( for more information)

www.myspace.com/reggaemusicachievementawards  

rmaawards@yahoo.com
 
Nominations must be received by May 25, 2008 in order to be considered for an award. Nomination criteria: Decisions should be based on materials that were
  

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