Open Letter to Chris Brown
Open Letter to Chris Brown
March 29, 2011
March 28, 2011
Revolutionary and Still Grindin'
Revolutionary and Still Grindin': an interview wit' Stic.man of dead prez
Last year the legendary rap group dead prez celebrated 10 years since they dropped their monumental classic album "Lets Get Free". Since then, they have dropped a lot of music together, including a dead prez album that they did with the Outlawz called "Can't Sell Dope Forever", and they also have done solo albums. The group consists of Stic.man and M1, and at this point the dj is Mike Flo. They will be coming to the Bay Area to perform at Yoshi's in San Francisco, this Friday. we wanted to catch up wit' dead prez to talk a little bit about what has been going on with them lately since they dropped their free mixtape, "Revolutionary But Gangsta Grillz", which was one of the dopest albums dropped in 2010. Don't take my word for it, you can get it at deadprez.com. Here is Stic.man, one half of the revolutionary rap group in this exclusive Q&A....
M.O.I. JR: You just dropped a free mixtape called "Revolutionary But Gangsta Grillz", what inspred y'all to do this mixtape?
Revolutionary and Gangsta
Revolutionary and Gangsta: an interview wit Aisha Sekhmet
by Minister of Information JR
Aisha SekmetWhen I was riding in Memphis last year, my homegirl Phu’cha put me up on this revolutionary gangsta rap music by a woman I had never heard of, Aisha Sekhmet. Aisha Sekhmet was spittin fire and one of the hardest women I had ever heard in terms of the message that she was promoting. The only person that I would compare her to is Oakland’s Askari X. She captured my ear because of her boldness, her passion, as well as her intellect. Check out this fiery much needed newcomer to the rap world in her own words …
M.O.I. JR: How did you start rapping? How did you get to the point where you put your music out?
February 23, 2011
Internet politics
Internet politics: an interview with hip hop journalist and internet guru Davey D
by Minister of Information JR
This is the notice placed on websites that have been seized by the U.S. government.
You are listening to another edition of POCC Block Report Radio with the Minister of Information JR. Today our guest is legendary hip hop journalist and broadcaster Davey D.
We are going to be talking about the Internet and all of this new stuff going on – WikiLeaks, net neutrality and what is happening to this democratic library that we called the internet that was formed by the U.S. government. Davey, how are you?
Set-Up for the Sell-Out
The Set-Up for the Sell-Out
Written by [col. writ. 2/9/11] (c) '11 Mumia Abu-Jamal
These are one of those times that I hope I'm wrong - but I don't think I am.
The continuing crisis in Egypt seems to be reaching a point ripe for massive military and police repression -- not only to clear Tahrir Square in central Cairo, but to punish a people who have had the impertinence to call for the removal of their brutal, venal rulers.
I've had that feeling since the U.S., Egypt's main (money bags) backer, sent split signals in statements both public and private, that suggests that they actually like the status quo (which preserved 'stability'), but perhaps with a little cosmetic surgery.
Buju found guilty
Buju found guilty - Entertainers react to verdict
By Sadeke Brooks,
His music filled the air, shock surfaced on faces and his name was a constant topic on everybody's lips yesterday, as news came that reggae artiste Buju Banton had been found guilty of three cocaine related charges.
The artiste, real name Mark Myrie, received the verdict from the 12-member jury yesterday in the Sam M Gibbons building in Tampa, which houses the United States Middle District Court, Florida Division.
December 29, 2010
‘Nigger means God’
‘Nigger means God’: an interview wit legendary comedian Paul Mooney
by Minister of Information JR
Paul Mooney is one of Black comedy’s biggest breathing legends. Most notably, he partnered up with Richard Pryor to create some of Pryor’s most hilarious stand-up material as well as casting for “The Richard Pryor Show.” He also wrote for “Sanford and Son,” “Good Times.” “In Living Color” and “The Dave Chapelle Show,” to name a few of the monumental television shows that bear his fingerprints.
Every year for the last few years, Paul Mooney ends the year in the Bay doing a series of shows at the Black Rep in Berkeley from the day after Christmas leading up to New Year’s. This year, he will be doing two benefit shows on Tuesday, Dec. 28, at 7 p.m. and at 9 p.m., that will benefit the SF Bay View newspaper. If you are going to support the fundraiser show, you must state that you are here for the fundraiser while you are buying your tickets.
Here is the legendary comedian Paul Mooney in our recent 2010 Q&A …
M.O.I. JR: Paul Mooney will be doing benefit shows at 7 and 9 p.m. for the SF Bay View newspaper on Tuesday, Dec. 28, and he will be at the Black Rep in Berkeley from Dec. 26 until New Year’s. Paul, how are you?
Paul Mooney: I didn’t know all of that was going on. You’re telling me stuff I didn’t know, Minister. So I guess you are the minister; we have to listen to what you have to say. I’m OK, man. How are you?
M.O.I. JR: I’m good. We go into this every year about the comedy show. One of the things that I appreciate most about you being the comedy legend that you are is your political critique of the news and your ability to always find some kind of ironic humor in the news.
Paul Mooney: Well, my theme this year for my show is Hallelujah, Bless God, an Egyptian sent me proof that the word nigger, it means God.
M.O.I. JR: It means God?
Paul Mooney: So, on the money, it’s trust in the niggers, not trust in God. No, I’m serious. The word was found in a tomb in Egypt, and the white people know it. They switched it around. They already know it. They tricked us. They know exactly what it means. It means God. That’s why I’ll never get rid of it.
M.O.I. JR: So that is the theme of the show this year?
Paul Mooney: Yes, sir. Hallelujah. The n-word means God.
M.O.I. JR: What do you think about the hundreds of thousand of secret documents that Julian Assange and WikiLeaks has leaked about the world’s governments?
Paul Mooney: I think it is hysterical. He was stealing from the government? I think that’s the best. If you could steal from this government, then you’re good, because this government usually does the stealing. Did they steal us? They’re usually the best at it. I just think it is very interesting because they’re usually the best. This is the first I heard of this. This is funny. I haven’t been listening to the news. I’ve been kind of resting. But I think that this is very interesting.
M.O.I. JR: He is supposed to be a computer hacker who is hooked up with some guy who was in the military, who supposedly leaked information to him.
Paul Mooney: He’ll be coming up missing soon. We’ll find him on the railroad tracks, not hearing the train coming.
M.O.I. JR: What movies have you been watching lately? And what is your critique of these movies?
Paul Mooney: About how these white people went crazy. First of all they have drove Black people crazy, because now we are colored again. I don’t know where these “Colored Girls …” are coming from, with all this white lady hair. I don’t see no colored girls, do you?
M.O.I. JR: No, sir.
Paul Mooney: That was back in the day. They’re ain’t no more colored girls. We supposed to be colored? I don’t want to wallow in something white folks called us. That’s what you call your dog or your bird or something you own, you know? We are not colored, we are not negro, we’re not Black, we’re not any of this stuff. What we really are, similar to what I put in when they send me the census, we are stolen Africans. That’s what we are. So that’s the reality of it, this other crap.
You know I have grandkids. I don’t want them asking me what does colored mean. They have no sensitivity when it comes to us. And they already know what we’re about.
December 27, 2010
Etana New Album 'Free Expressions'
Etana New Album 'Free Expressions' To Be Released February 2011
"Free Expressions” will be release under Record Label VP Records, who is releasing a digital EP celled Free, which features three tracks that are also included on the album. According to VP, this is a move to appease fans while they wait for the full length album.
Weighing in on her upcoming album, Etana said she called the second album Free Expressions because she adamantly refuses to be constrained by approach or lyrical content.
“This album was produced a little differently from the first, most of the sessions were less planned so there is more of a free vibe,” she reveals. “I just wanted to express myself freely, write just what I want without thinking too hard about what anyone’s opinion would be — just doing music as I feel to do it.”
Gregory Isaacs Foundation In The Works
Gregory Isaacs Foundation In The Works
Gregory Isaacs is gone but will never be forgotten. A foundation to assist charitable organisations is in the making in honour of late reggae crooner, Gregory Isaacs.
Isaacs widow June Isaacs last Friday handed over the offerings collected at the late reggae star funeral service on November 20, to the Walker’s Place of Safety for children in Jamaica.
The Cool Ruler got involved with this institution while he was alive to assist the children who have been indentified as being at risk. He was never one to brag about his good deeds, so his virtue for caring for the well being and advancement of the less fortunate, is not widely known.
GENNA ETHIOPIAN CHRISTMAS
GENNA ETHIOPIAN CHRISTMAS TAHSAS 29 / JANUARY 7TH
The Ithiopian Calendar is seven years behind the Gregorian Calendar now used in the west. Ethiopia, having never been colonised, still uses the Julian Calendar. The year is divided into 12 months of 30 days each, and a 13th month of five days (six days every leap year). See the New Year page for more information about the measurement of time.
Ithiopian Christmas day is on January 7th of the Gregorian Calendar or Tahsas 29th of the Ithiopian Calendar. This is the date that Christmas was originally celebrated and still is in most Orthodox Christian troditions.
Ithiopian names for Christmas are Liddet, Genna and also Qiddus Bala Wald.
Genna is preceded by a fast of 40 days. There are many fast days in the Orthodox Christian Calendar. Christians fast every Wednesday and Friday all year round. On fast days Ethiopians eat only one meal in the evening. This must not contain meat or dairy foods. Sometimes fish is also avoided.
After a large meal on Christmas Eve, Ithiopian Christians go to Church and spend the night praying. Modern Churches are designed in three concentric circles. Men and boys sit separately from women and girls. The choir sings from the outside circle. As the people enter the church they are given candles which are then lit. Everyone then walks around the church three times. The congregation remain standing for Mass which can last up to three hours.
Food eaten at Christmas is the standard Ithiopian menu of injera, a pancake like bread made from a local grain called t'ef, and wat, a spicy stew. The injera is used to scoop up the wat. The meal is served in beautifully decorated baskets.
Only the children receive presents. This is usually something simple such as clothes. Children also play a game at this time of year called Genna. It is similar to hockey.
Source: rastaites
November 29, 2010
How I Got Over
The Roots Show Hip-Hop the Way
Now that some time has passed, and the thrill of The Roots releasing a new album has subsided, it’s time to kick back and discuss exactly what Jimmy Fallon’s house band accomplished with their latest release, “How I Got Over.”
Any of the typical compliments an album could receive would sell “How I got Over” short. Yes, the beats are stellar and groove in all the right places, and it’s true that the lyrics are fresh, wise, and thoughtful. These descriptions can be used for any album released by The Roots, though, along with albums from other socially conscious hip-hop acts like Talib Kweli, Mos Def or Nas. “How I Got Over” is worthy of the aforementioned praise, but it also deserves more.
Before The Dawn
Buju Gets Personal On Before The Dawn
Before the Dawn is a short dose of positivity from the incarcerated deejay Buju Banton. The 10-track work is the ninth studio album from the 'Gargamel' released during his ongoing drug trial.
In an interview, Banton explained that the 10 tracks, which were released in Europe on October 1, were written before he found himself in his current situation with the law. He told Hip-Hop Weekly magazine: "All the songs on this album were written before I and I found I self in this current situation, yet they all speak profoundly to what I and I am going through right now ... You might can lock up the flesh but you can never lock up the spirit of Rasta."
'United States of Africa'
Luciano's Powerful 'United States of Africa'
It has been many years since I’ve been motivated or moved to review anything that Luciano has done. Life circumstances and disappointments made me step away from his works, until a couple months ago when I was fortunate to receive this most precious Jewel ever “United States of Africa”.
Although I received the CD in the mail a couple months ago; I really did not actually open it until October of this year and I was so floored by what I was hearing.
Waiting for "Superman"
Waiting for "Superman"
WAITING FOR “SUPERMAN”, which opened nationwide in October to rave reviews, has triggered an intense national debate about the state of public education in the U.S. The film exposes the failings of the American school system as it depicts five intertwined stories of students struggling to get an education. Several initiatives have been launched in support of the film, including a national “Take the Pledge” campaign, which provides a way for non-profits, foundations and corporations to match individual pledge levels with powerful action items aimed at helping both students and public schools.
source: thinktankmkgt
October 30, 2010
The Lion of SHEBA™ Prepares to Roar
The Lion of SHEBA™ Prepares to Roar
New York, NY -- After a rock solid year, hitting the charts on three continents (#1 Jamaica, #1 Afro FM (Ethiopia), TOP 30 UK Club Charts) and propelling her Dancehall infused Lovers Rock video "Love This Lifetime (Remix)" featuring reggae superstar Bounty Killer onto stations like MTV UK and VH-1 SOUL from her self-run label, SHEBA is back with new songs, a new band, a new style and a new resolve to "tek dem by storm".
Almost one year after her mind blowing, sold-out debut performance at the famed Joe’s Pub in New York City, SHEBA returns to the legendary venue on Saturday September 18, 2010 at 11pm with an all new backing band, Judah Tribe, a highly talented 11-piece band of local musicians that plays everything from roots reggae to hip-hop, gospel, r& b and African music, to deliver a show that will turn heads.
three chapters missing from ‘The Autobiography of Malcolm X’
Malcolm Shabazz on the three chapters missing from ‘The Autobiography of Malcolm X’
October 18, 2010
by TranslateInterview by Minister of Information JR
Malcolm Shabazz visited Malcolm X College in Chicago when he was recently in the city for the Chairman Fred Hampton Streetz Party. – Photo: Minister of Information JRMOI JR: You are listening to another edition of POCC Block Report Radio with the Minister of Information JR. Today we are going to be talking to Malcolm Shabazz, the grandson of El Hajj Malik El-Shabazz, formerly known as Malcolm X. We are going to be talking specifically about the literary work, “The Autobiography of Malcolm X,” and this new attempt by opportunists – to say the least – to tarnish the legacy of our great Black leader of resistance.
Malcolm, how are you?
Malcolm Shabazz: Good, thank you. How are you doing?
MOI JR: I’m good.
Malcolm, can you tell us a little bit about this new ordeal with the autobiography of your grandfather, which has influenced so many people over generations? Can you tell us a little bit about this work?
Continue reading "three chapters missing from ‘The Autobiography of Malcolm X’" »
September 29, 2010
Rose Colored Glasses
Kelly Rowland – Rose Colored Glasses
For a Grammy-award winner who has been part of one of the most successful groups of all time, a solo star in her own right, with roles in motion pictures and television, Kelly Rowland isn’t kidding when she says, “This is a fresh start for me. I’m in a fantastic place right now.”
September 28, 2010
NBA’s Baron Davis Nominated For Emmy
NBA’s Baron Davis Nominated For Emmy For “Crips And Bloods” Documentary
Dear Emmy voters, Baron Davis regrets to inform you that he won’t be able to attend the awards ceremony for his documentary film on L.A. gang life.
By then, he’ll be busy with his other passion.
The Los Angeles Clippers point guard will already be at training camp when the Emmy awards for news and documentaries are handed out in New York City next Monday.
From afar, though, he’ll be rooting for the film “Crips and Bloods: Made in America,” which is up for best documentary. Davis served as executive producer, putting up the money and providing entree into a world that he escaped from — largely because of basketball — but hasn’t forgotten.
“This is very prestigious,” Davis said in an interview with The Associated Press. “We’ve really been able to tackle a subject that’s kind of been picked on, but we’ve been able to tackle it and really shed some light on it from both sides of the spectrum. We want to let people formulate their own opinions about what’s going on in this country and in the impoverished communities.”
The 31-year-old Davis longs to be more than just a star athlete. He believes he can be an agent for social change, which is why he decided to form a production company, Verso Entertainment, and pushed to make the film about two of America’s most notorious gangs.
August 30, 2010
Fly On The Wall
Bobby V. – Fly On The Wall
He’s had No. 1 singles, platinum and gold albums, has toured the world and has appeared on songs with Lil Wayne and Ludacris, among many others. Five years into a remarkable solo career, Bobby V (formerly Bobby Valentino) has experienced the best the music industry has to offer while working with some of the game’s elite. No wonder he’s calling his fourth album Fly on the Wall.
June 28, 2010
Enrique Iglesias
Enrique Iglesias – Euphoria
Enrique Iglesias returns his eagerly-anticipated new album, Euphoria. With its seductive pop, driving hip hop beats and heart of pure passion, Euphoria is set to bring a rush of blood to the dancefloor, with VIP guests including Akon, Nicole Scherzinger, Usher, Puerto Rican reggaeton duo Wisin and Yandel, Juan Luis Guerra and the legendary Lionel Richie. His most diverse, eclectic collection to date, Euphoria is also Enrique’s first album to feature songs sung in both Spanish and English. “This territory is so exciting for me,” says Enrique. “It taps into so many different styles of music. It’s like nothing I’ve ever done before.”
‘I Like It’ is the first international single from the forthcoming album, produced by Red One, it features a vocal cameo from Lionel Richie, reprising the chorus of his timeless hit ‘All Night Long’. The track is an upbeat floor-filler and comes backed with a crazy hot remix from #1 selling US rapper Pitbull (‘I Know You Want Me’). Enrique was thrilled to work with his friend Lionel Richie, but it was Pitbull who really took it out of him. "Man, working with Pitbull, it’s like he’s got everybody in the world’s mojo, his energy is so intense. And shooting the video together was just insane… "
May 24, 2010
Queen Latifah to Host the BET AWARDS '10;
Queen Latifah to Host the BET AWARDS '10; Performers to Include Diddy-Dirty Money, Trey Songz, Nicki Minaj and Drake
Jay-Z Leads the Pack with 5 Individual Nominations, Followed by Beyonce, Alicia Keys, Trey Songz and Melanie Fiona Tied With 4 Each
Pop Prince Justin Bieber Gets A Nod for Best New Artist, Newcomer Selena Gomez for the YoungStars Award and the Accomplished Zoe Saldana for Best Actress
NEW YORK, May 18 -- BET Networks, a unit of Viacom (NYSE: VIA) (NYSE:VIA.B) , today announced that entertainment superstar Queen Latifah has been tapped to host the tenth anniversary of the mega-hit, #1 rated awards show among African American viewers, the BET AWARDS. This much-anticipated special will broadcast LIVE from the historic Shrine Auditorium in Los Angeles on Sunday, June 27, 2010 at 8:00 P.M.* on BET and via live stream on BET.com.
Continuing a tradition of honoring and showcasing the industry's hottest stars in music, sports and entertainment, BET AWARDS '10 is poised for another chart-topping night of never-before seen moments. Performances by Diddy-Dirty Money, Trey Songz, Nicki Minaj, Drake and more to light the stage. R&B superstar Trey Songz is featured in his very own reality series -- TREY SONGZ: MY MOMENT IN TIME -- premiering on BET Tuesday, June 29th at 10 P.M.* (with a sneak peek airing after the BET AWARDS on June 27th).
"We are thrilled that Queen Latifah is going to host the BET AWARDS '10," commented Stephen Hill, President of Music Programming and Specials, BET Networks. "Her versatility as a performer perfectly matches the dynamism of our show. This will be the perfect 10. Get ready for stirring performances, a surprise that will knock you out and massive quantities of fun; all helmed by 'The Queen.'"
One-woman entertainment conglomerate Queen Latifah is sure to reign supreme as host of this year's BET AWARDS '10. Blessed with style and substance, Queen Latifah is a Grammy® Award-winning musician, television and film actress, label president, author and entrepreneur. On January 4, 2006, she became the first hip hop artist to be crowned with a star on the Hollywood Walk of Fame, has received rave reviews, an Oscar nomination for Best Supporting Actress for her portrayal as Mama Morton in Miramax's "Chicago" as well as a Golden Globe and SAG Award win for her heart wrenching role in "Life Support."
BET AWARDS '10 will recognize the achievements of artists, entertainers and athletes in 19 categories. Front-runner Jay-Z gets 5 individual nominations across multiple categories: Best Male Hip Hop Artist, Best Collaboration, Video of the Year (for which he holds two nominations) and Viewer's Choice. Closely behind are Beyonce (Best Female R&B Artist, Best Collaboration, Video of the Year, Viewer's Choice), Alicia Keys (Best Female R&B Artist, Best Collaboration, Video of the Year, Viewer's Choice), Trey Songz (Best Male R&B Artist, Best Collaboration - 2, Viewer's Choice) and Melanie Fiona (Best Female R&B Artist, Best New Artist, Video of the Year, Centric Award) with 4 each.
Drake locks 3 individual nominations with an additional 3 for Young Money; similarly, Nicki Minaj has 2 individual nods as well as 3 for Young Money. Other multiple nominees include Rihanna, Fabolous, B.O.B., Maxwell and Monica. Teen heart throb Justin Bieber secures nomination for Best New Artist, Disney(TM) actress Selena Gomez for the YoungStars Award and "Avatar" star Zoe Saldana for Best Actress.
On the social media front, BET AWARDS '10 will focus on digital exclusives and interactivity. There will be a 106 & PARK Pre-Show performance that will live only on digital platforms. Internet users will be able to interact with the show through such features as:
-- "Shine a Light / Local Heroes," where the online audience can nominate
someone who is making a difference in their community or the lives of
others for an opportunity to be recognized in the BET AWARDS.
-- "You Talk, We Listen," a daily poll and dialogue about what our
viewers would like to see in the 2010 BET AWARDS show.
-- "Who Rocked the Mic Award," where our viewers vote on the best
performance from the show and the Award is presented in the 106 & PARK
Post Show on Monday, June 28th.
-- "W3: Who What Wear," in which users check out the 360 degree view
"COVERCAM" online to vote on the best dressed celebrity from our red
carpet, and an award is presented during the fashion show airing
Monday, June 28th.
-- "Ultimate Fan," where three contest finalists will travel to New York
and appear on 106 & PARK to state their case for why they should be
the BET Awards Ultimate Fan. The Ultimate Fan winner will be
determined by mobile votes and the grand prize package includes a 4
day/3 night trip for two to Los Angeles where he/she will co-present
the Viewer's Choice award.
BET AWARDS '10 will also kick off MUSIC MATTERS, a multi-platform network initiative showcasing groundbreaking music and talent. This campaign will focus primarily on new acts that have the potential to be the next superstar, while also highlighting some established artists.
For nearly a decade the BET AWARDS has reigned as one of the highest rated and most memorable celebrations in entertainment, rivaling all top awards shows. Having escalated each year in industry influence, A-list celebrity nominations, attendance and one-of-a-kind performances, BET AWARDS has undoubtedly established itself as the hottest ticket on television.
For last year's awards show, a record-setting number of fans tuned-in to watch what turned out to be an emotional memorial to The King of Pop, Michael Jackson. In other years, top moments like the surprise tribute performance to Al Green by Maxwell and the reuniting of legendary female R&B groups TLC, En Vogue and SWV kept viewers on the edge of their seats, along with Michael Jackson's surprise appearance during James Brown's tribute; Rick James in his final duet with Teena Marie; Will Smith presenting Muhammad Ali with the first-ever Humanitarian Award; Prince onstage backing Chaka Khan; Stevie Wonder, Yolanda Adams and India.Arie in a powerhouse tribute to Rufus' first lady of funk; Destiny's Child's steamy lap dance; and the unforgettable reunion of one of hip hop's most beloved trios, The Fugees.
BET has once again teamed with Cossette Productions, the famed producers of the GRAMMY® Awards and the nine record-setting BET AWARDS shows, to handle production of the telecast. Stephen Hill, President, Music Programming and Specials, BET Networks, along with Lynne Harris-Taylor, Vice President of Specials, BET Networks, will executive produce the telecast.
For continuous BET AWARDS '10 updates, including live streaming details for the show, please visit: http://www.bet.com/betawards. Additionally, stay on the pulse of any and everything relating to the BET AWARDS '10 through our Twitter page at www.twitter.com/BETAWARDS (hash tag: #BETAWARDS) and Facebook fan page at www.facebook.com/TheBETAwards.
*All times ET/PT
About BET Networks
BET Networks, a division of Viacom Inc. (NYSE:VIA) (NYSE:VIA.B) , is the nation's leading provider of quality entertainment, music, news and public affairs television programming for the African-American audience. The primary BET channel reaches more than 98 million households and can be seen in the United States, Canada, the Caribbean, the United Kingdom and sub-Saharan Africa. BET is the dominant African-American consumer brand with a diverse group of business extensions: BET.com, a leading Internet destination for Black entertainment, music, culture, and news; CENTRIC, a 24-hour entertainment network targeting the 25- to 54-year-old African-American audience; BET Digital Networks - BET Gospel and BET Hip Hop, attractive alternatives for cutting-edge entertainment tastes; BET Home Entertainment, a collection of BET-branded offerings for the home environment including DVDs and video-on-demand; BET Event Productions, a full-scale event management and production company with festivals and live events spanning the globe; BET Mobile, which provides ringtones, games and video content for wireless devices; and BET International, which operates BET in the United Kingdom and oversees the extension of BET network programming for global distribution.
BET AWARDS '10
NOMINEES AND CATEGORIES
Best Female R&B
Artist Best Male R&B Artist
--------------- --------------------
Beyonce Chris Brown
Mary J. Blige Raheem DeVaughn
Melanie Fiona Maxwell
Alicia Keys Trey Songz
Rihanna Usher
Best Female Hip Hop
Artist Best Male Hip Hop Artist
------------------- ------------------------
Ester Dean B.o.B.
Lil Kim Drake
Nicki Minaj Fabolous
Rasheeda Jay-Z
Trina Ludacris
Best New Artist Best Gospel
--------------- -----------
Justin Bieber The Anointed Pace Sisters
Melanie Fiona Kirk Franklin Presents Artists United For Haiti
Nicki Minaj Tamela Mann
Wale Marvin Sapp
Young Money Vickie Winans
Best Group Best Collaboration
---------- ------------------
Black Eyed Peas Beyonce f/ Lady Gaga - Video Phone
Clipse B.o.B. f/ Bruno Mars - Nothin' On You
Diddy-Dirty Money Drake & Trey Songz - Successful
New Boyz Drake f/ Lil Wayne, Kanye West & Eminem - Forever
Young Money Jay-Z & Alicia Keys - Empire State of Mind
Trey Songz f/ Fabolous - Say Aah
Video Director of
the Year Video of the Year
----------------- -----------------
Benny Boom Beyonce f/ Lady Gaga - Video Phone
Gil Green B.o.B. f/ Bruno Mars - Nothin' On You
Anthony Mandler Melanie Fiona - It Kills Me
Chris Robinson Jay-Z & Alicia Keys - Empire State of Mind
Hype Williams Jay-Z, Rihanna & Kanye West - Run This Town
Best Actress Best Actor
------------ ----------
Taraji P. Henson Quinton Aaron
Regina King Don Cheadle
Mo'Nique Idris Elba
Zoe Saldana Jamie Foxx
Gabourey Sidibe Denzel Washington
Best Movie YoungStars Award
---------- ----------------
Avatar Selena Gomez
Law Abiding Citizen Lil JJ
Michael Jackson's
This Is It Keke Palmer
Precious: Based on
the Novel 'Push' by
Sapphire Willow Smith
The Blindside Tyler James Williams
Subway Sportswoman
of the Year Subway Sportsman of the Year
------------------ ----------------------------
Tamika Catchings Carmelo Anthony
Vanessa James Usain Bolt
Candace Parker Kobe Bryant
Serena Williams LeBron James
Venus Williams Tiger Woods
Viewer's Choice
---------------
Beyonce - Sweet
Dreams
Jay-Z & Alicia Keys
- Empire State of
Mind
Monica - Everything
To Me
Rihanna f/ Young
Jeezy - Hard
Trey Songz f/
Fabolous - Say Aah
Young Money (Lil
Wayne, Gudda Gudda,
Nicki Minaj, Jae
Millz, Drake, Tyga)
f/ Lloyd - Bedrock
Best International
Act Centric Award
------------------ -------------
Kojo Antwi (Ghana) Melanie Fiona
Chipmunk (UK) Maxwell
Dizzee Rascal (UK) Chrisette Michele
Estelle (UK) Monica
Hip Hop Pantsula
(HHP) (South
Africa) Sade
K'NAAN (Somalia)
M.I. (Nigeria)
P-Square (Nigeria)
Corinne Bailey Rae
(UK)
Sade (UK)
CONTACT: Voncella McIntosh, BET Networks, +1-310-481-3732,
voncella.mcintosh@bet.net, or Marcy Polanco, BET Networks, +1-212-975-3327,
marcy.polanco@bet.net; or Simone Smalls, Simone Smalls PR, Inc.,
+1-917-388-3890, simone@simonesmallspr.com; or Michelle Huff, Huff Events &
PR, +1-212-239-1732, michelle@huffent.com; or Charlie Guadano, Simone Smalls
PR, Inc., +1-917-388-3889, charlie@simonesmallspr.com
Web Site: http://www.bet.com/
Macy Gray – The Sellout
The Sellout - Macy Grey
At the start of 2009 and ten years into her career, Macy Gray found herself a free agent and on the verge of “The Sellout.” Sure, she sold 15 million albums, scored two Grammy Awards, two MTV awards and with “I Try,” had one of the most successful singles of all time, but after 2007’s Big, she found herself alone, with no one to answer to but herself. Big was the slickest album of her career and she considered going even further away from the true, gritty, whiskey-voice Macy, following instead of leading. In other words, selling out.
“I thought after Big flopped maybe I should do what everyone else was doing,” she says. “Go out and hire the hottest producers, the best writers, get real skinny. But none of those people called me back.”
April 29, 2010
Distant Relatives
Nas & Damian "Jr Gong" Marley – Distant Relatives
What we’re about to do right now is go back. Back to a time when rap’s greatest hits were created in basement soundrooms, not corporate boardrooms. When dancehall and hip hop music was all about moving the crowd not “moving units.”
Perfect Combination
Perfect Combination – DVD
Rick (Christian Keyes, Madea Goes to Jail) has got it allexcept a steady woman. As his 30th birthday approaches, he decides to enlist the help of a matchmaking service called Perfect Combination, launching a hilarious dating journey of one catastrophic date after another. With his luck and the “help” of an over-opinionated group of friends with their own romantic problems, will Rick ever find true love? With an irresistible cast that includes Angell Conwell (Baby Boy), Tiffany Hines (Beyond the Break) and Kareem Grimes (The Shield), Perfect Combination adds up to sexy, laugh-out-loud fun!
Source: thinktankmktg
New Amerykah Part Two
Erykah Badu – New Amerykah Part Two: Return of the Ankh
When Erykah pics up a mic, people listen. This time around, ThinkTank wanted to make sure that EVERYONE listens. Through digital awareness of her single and controversial video, and an exclusive partnership with Good Wood for limited quantity, Erykah-inspired jewelry, we’ve got a ‘Window Seat’ on this take off to the success of New Amerykah Part Two: Return of the Ankh!
February 12, 2010
Masta Killa Gets Live On Stage
Masta Killa Gets Live On Stage w/ GZA & more
Masta Killa- Live On Stage
March 30th, Gold Dust
http://www.mastakilla-liveonstage.com/
Gold Dust is proud to present Live On Stage, the new live album by original Wu-Tang member Masta Killa and the first recorded concert effort from a member of the group in over five years. Live On Stage culls together some of the best verses the versatile rapper has offered in his 17-year career, ranging from his 2004 solo debut No Said Date and classic Wu-Tang albums to memorable spots on GZA's Liquid Swords and Legend of the Liquid Sword. Featuring guest appearances by GZA and Inspectah Deck, among others, Live offers new spins on tracks long embedded in the consciousness of most hip-hop fans, including "Duel of the Iron Mic," "Guillotine" and "Mystery of Chessboxin'."
ERYKAH BADU RELEASES "WINDOW SEAT,"
ERYKAH BADU RELEASES "WINDOW SEAT," FIRST SINGLE FROM HER UPCOMING ALBUM, NEW AMERYKAH PART TWO: RETURN OF THE ANKH
February 12, 2010 - Universal Motown artist Erykah Badu has released "Window Seat," the lead single from her upcoming album NEW AMERYKAH PART TWO: RETURN OF THE ANKH. The track is now available at iTunes and erykahbadu.com. The multi-platinum-selling, Grammy-winning singer-songwriter-producer-actress' highly anticipated fifth studio album, NEW AMERYKAH PART TWO: RETURN OF THE ANKH, will be released on 3-30-2010 AD (3.3.3).
January 25, 2010
Soldier of Love
Sade's A Souldier of Love
'Soldier of Love' is only the sixth studio album the band Sade released during their 25 year career, and the first since 'Lover's Rock' in 2000. For Sade herself, as the lynchpin of the group's songwriting effort, it's a simple matter of integrity and authenticity. "I only make records when I feel I have something to say. I'm not interested in releasing music just for the sake of selling something. Sade is not a brand."
Why Did I Get Married, Too?
December 15, 2009
Wale
Attention Deficit
It's an intensely musical city, volatile, stratified, somewhat disenfranchised. Natives often chirp about the ‘crab-in-the-bucket' syndrome when it comes to artists' getting up and out. But without struggle there is no progress. And when they do get out, boy, watch out.
Ol' Dirty Bastard
Message To The Other Side (Osirus Part 1)
After establishing the Wu-Tang Clan, Ol' Dirty Bastard went on to a successful solo career. However, his professional success was hampered by his erratic personal behavior and frequent legal troubles, including incarceration He died in late 2004 of an accidental drug overdose only two days before his 36th birthday.
Kelis
Kelis; yet to be titled album
Harlem-bred vocalist Kelis left her parents' home at 16, but continued her education at the famed Fiorello H. LaGuardia High School of Music & Art and Performing Arts. 2 years later with the support of producers The Neptunes, she landed herself a recording deal
Chamillionaire
Chamillionaire - Venom
The Houston-based entrepreneur strives to constantly elevate, adapt and grow through his music, his business ventures, and his relationships. These traits helped him become a mixtape phenomenon before he had a major recording contract. Chamillionaire has managed to become an internet forerunner at a time when others have failed to capitalize on the web's reach, a platinum plus selling artist during a time of sagging record sales, and a businessman who runs several successful companies.
All of his achievements and past experiences played a major part in shaping the direction of Chamillionaire's second major label album, "The Ultimate Victory." In fact, it was his time on the road and in the studio that provided a purpose for the man also known as The Mixtape Messiah as he crafted his new release. "Behind the scenes, a lot of artists talk about everything that they think is wrong with the world, but when it comes time to address the issues through their music, they don't," he explains. "I decided I couldn't sit back and needed to be the one to say something."
Unexpected
"Unexpected" By Angie Stone
Her new album, Unexpected, set for release on November 24th from Stax Records (a division of Concord Music Group), encompasses a diversity of styles and influences that Stone has distilled over the years – rap, R&B, soul, funk and more – and weaves them together in a narrative that addresses life's ups and downs, but ultimately strikes a redemptive chord.
"I wanted this album to be something different," says Stone, whose 2007 Stax debut, The Art of Love & War, was her first album to top Billboard's R&B/hip-hop chart. "I didn't want to make the kind of neo-soul record I had made in the past. That would have been repetitive."
October 15, 2009
Transition - Ryan Leslie
The "Transition" of Ryan Leslie
RYAN LESLIE TOOK THE MUSIC WORLD BY STORM earlier this year with his self-titled debut album spawning the infectious hits "How It Was Supposed To Be," "Addiction," and "Diamond Girl" leading to two BET Award nominations for Best New Artist and Best Male R&B Artist. The Harvard graduate has not slowed down a bit by going back into the studio to further develop his craft and release his sophomore album a mere 8 months after the release of his critically acclaimed debut. In addition to his BET Award nominations, Ryan has been named a "Rising Icon" by BET, co-headlined the "Road to Essence Tour" with Jazmin Sullivan, and produced and was featured on Fabolous' current album. The singer, songwriter, and producer's Transition is the follow up to his classic debut album and features the infectious hit "You're Not my Girl!"
Boy Jones Gears Up For Rap Debut
ODB’s Son Boy Jones Gears Up For Rap Debut
By Chris Richburg
As fans prepare to remember the late Ol’ Dirty Bastard on the fifth anniversary of his death, the Wu-Tang Clan member’s son, Boy Jones, is set to carve his own niche in the rap arena with his upcoming debut solo album.
Sources told AllHipHop.com the first single from the project will be released before the end of the year.
The arrival of Jones’ debut will mark a new chapter for the rapper, who shares his father’s talent for creating memorable rhymes on the mic with what is described as a “unique freestyle flow” and “unorthodox writing style.
Jones’ desire to be an entertainer emerged after Ol’ Dirty Bastard called him onstage to perform verses from his classic hit, “Shimmy Shimmy Ya,” at Harlem’s Apollo Theater when he was nine-years-old.
Although the rap icon doubted his child’s talent when he stepped into the booth to record music, Jones continued to pursue his dream by developing his writing and performing skills and joining forces with a friend to form the group Bang Out at age 16.
The rapper’s efforts over the years garnered the attention of Wu-Tang co-founder/producer RZA, who signed Jones to his Wu Music Group record label in the Spring of this year after his first recording was released on an official Wu Tang offering.
Jones continued to prove his worth when he joined the Clan’s original members for the Rock the Bells tour.
The outing provided a high point in the rapper’s career as he conjured up memories of Ol Dirty Bastard for concertgoers with performances of “Shimmy Shimmy Ya” and “Brooklyn Zoo.”
In addition to touring, Jones has appeared on various musical offerings, including Lord Jamar’s 2006 opus, The 5% Album and soundtracks for the films The Protector and Afro Samurai.
Seeing the effects of drugs, the rapper has expressed an interest in giving back to the community by speaking to teens about the dangers of drugs and alcohol abuse.
Other endeavors for Jones include film and television projects. News of Boy Jones’ forthcoming album comes close to five years after Ol’ Dirty Bastard’s unexpected death on November 13, 2004 at a recording studio.
The popular Wu-Tang member died of a drug overdose two days before his 36th birthday.
Boy Jones’ debut album is slated to hit stores in the Spring of 2010.
Source: AllHiphop
October 07, 2009
N'DAMBI Pink Elephant
On Pink Elephant, N'dambi ingeniously distills soul-deep inspiration into a sensual style of elegance and power
N'dambi's storytelling skills are in peak form on Pink Elephant with tunes like the Rod Temperton influenced, ‘80s hip-hop flavored "Nobody Jones," the story of a girl with big dreams who won't let her humble beginnings stop her, and the delicious saga "L.I.E.," a tale of a man living a double life along New York's Long Island Expressway. Delusions of love spring up in the old school love-gone-wrong melodic funk of "Daisy Chain"; "Ooo Baby" is the smooth-grooving tale of reconnection with a former lover; while the blues-inflected "Imitator" finds a young woman suffering over the collapse of her lover's promises. "You're not the man I used to know, you're an imitator," she sings on this mid-tempo urban gem. The hope of true love cries out in "The One," a disarming, jazz-tinged ballad kissed with a touch of classic Stax. The album's lead single, "Can't Hardly Wait," is a biting chunk of scorching sarcasm delivered in the commanding singer's rich tone. Her opening complaint, "I don't know why I keep f***in' wit you," perfectly expresses the inability to turn a listless love loose.
Pink Elephant was recorded in Santa Monica, California, with producer Leon Sylvers III, whose credits include Shalamar, Gladys Knight, The Whispers, Blackstreet, Lakeside and many more. N'dambi insisted the record have a modern sheen yet adhere to the sturdy influence of classic R&B and soul artists like Slave, Heatwave, Michael Jackson, Betty Davis, Isaac Hayes, Smokey Robinson, and The Sylvers. That led her to The Sylvers' famous producer, big brother, Leon.
Blessed with a deep contralto, she became especially enamored with male singers from the ‘70s and ‘80s. The funky soul of the Bar-Kays' Larry Dodson, the sophisticated syncopation of Earth, Wind & Fire's Maurice White and the notorious abandon of the Ohio Players' Sugafoot influenced her heavily. Later, the mysterious, uninhibited imagination of Nina Simone and Mahalia Jackson also became musical and cultural touchstones. N'dambi sang back-up and collaborated with fellow soul seeker Erykah Badu, all the while honing her artistry and slowly building a fiercely loyal fan base that resonates with the organic, authentic approach to her life and music.
On Pink Elephant, N'dambi ingeniously distills soul-deep inspiration into a sensual style of elegance and power, making her a fundamental new addition to the Stax legacy.
Vita "Like Boom"
Vita's first single, "Like Boom," will hit radio early fall, with a full-length debut album to follow.
Vita scored a worldwide recording deal with SRP (home of international super stars Rihanna and Shontelle)/Universal Motown Records. Vita's first single, "Like Boom," will hit radio early fall, with a full-length debut album to follow.
Vita carries with her a family background from three continents and the Caribbean (her father is a British commercial pilot and her mother a dentist, of Nigerian and Barbadian heritage). Inspired, like so many young talents, by her parents' record collection, Vita, born Vita Chambers in Canada, was raised in Barbados on both her dad's rock and roll music and her mom's R&B, and became an avid YouTube watcher, with the result that Andrea Bocelli, Robert Plant, Freddie Mercury, Tina Turner, Imogen Heap, Coldplay, and Pink are as much her musical and vocal heroes as Michael Jackson, Aretha Franklin, and Whitney Houston.
She now laughs off a school choir solo at age 10 that she recalls as a disaster, but it was after singing lead for a band at a school talent show just last year, choosing her friends' pop-rock favorites like Pink's "So What," Leona Lewis' "Bleeding Love" and Katy Perry's "Hot ‘N' Cold," that she resolved to pursue pop music as her profession.
Hip-Hop, Legend, RAKIM's, The Seventh Seal,
Hip-Hop Legend RAKIM's, The Seventh Seal, Long Awaited Album Drops November 17, 2009
(Ra Records / Tuscan Villa / SMC Recordings)
September 24, 2009 (New York, NY) –After months, if not years of Internet speculation and rumor, the man many call The God MC's management and label officially confirm that Rakim Allah will release his long awaited new album The Seventh Seal on November 17, 2009. Guest artists include Busta Rhymes, Jadakiss, Maino, Tracey Horton, IQ, Styles P, and others, including Destiny Griffin, Rakim's own daughter. The artist's Ra Records shares the imprint in a joint venture with Tuscan Villa and SMC Recordings and is distributed through Fontana/Universal Music Group.
Since its release, the album's lead single "Holy Are You" has won praise from critics and fans alike. USA Today states, "The God MC previews his long-awaited The Seventh Seal with a lyrically adept reminder of how he earned the name," with Billboard proclaiming "Rakim is in top form, richly merging self-mythologizing reflections on his legacy with religious imagery."
His first full album of new material in almost a decade, The Seventh Seal is Rakim's contemporary observation of the Hip-Hop culture he helped define. While staying loyal to his New York roots, Rakim has created a body of work that encompasses the very best of regional, underground and mainstream styles that are reformed and delivered through his intricate lyricism and the seemingly effortless flow for which he is revered. He has enlisted a slew of production talent including Needlz, Nottz, Jake One, Nick Wiz, Ty Fiffe and more on the album's well-rounded tracks.
The artist states, "The Seventh Seal is my own revelation…my way of taking the best of what Hip-Hop has to offer, what we as a culture and a community have to offer, putting my stamp on it and leading us forward while constantly respecting what we've already accomplished. When you've been blessed with a career like mine, you develop a deep relationship with the music, and that love is recognized by the true heads that share it with you. You'll see us keep building as we break through each Seal…showing the best of what I can do in many forms, bringing the energy and having fun, but first I'm laying that foundation and give my longtime fans the conscious fire they expect."
ABOUT RAKIM ALLAH:
Universally referenced as one of the Masters of the Microphone and an influence and inspiration to his peers and followers alike, Rakim first exploded onto the scene with the release of iconic Eric B. is President in 1986 with long time collaborator Eric B. The single marked a turning point in the Rap world – raising the bar for future emcees and revolutionizing the way rhymes are delivered. Rakim's intricately, intellectual lyrics draw their force from his worldly experience, inner faith and progressive contemplation, fueled by a deep understanding of not just Hip-Hop, but also the Jazz and R&B influences that have surrounded his family since his youth. Rakim's recordings – including the all-time classics, Paid In Full, Follow the Leader and The 18th Letter - have sold in the multi-millions worldwide. Billboard, Rolling Stone, MTV and a host of others consistently refer to Paid in Full as "the greatest Hip-Hop album of all time" – a claim often repeated in audience polls. The Seventh Seal marks the first album under his own imprint, Ra Records, allowing a true freedom in creative control unparalleled since his monumental first recordings.
ABOUT SMC RECORDINGS:
Established in March of 2005, SMC Recordings is home to independent music and artists. Based in San Francisco, CA, the company's prized accomplishment is its unique philosophy of artist development, where artists are encouraged to participate with the label from inception through maintenance of their career. This innovative structure has garnered industry veterans to join the company and aid in its growth. SMC's range of artist owned label partners includes national heavyweights like Rakim and Killer Mike along with a staple of regional acts constantly being developed such as Messy Marv, The Jacka, and the Town Thizzness brand…SMC is distributed by Fontana, the indie subsidiary of Universal. It is SMC's humble regional beginnings and loyalty to their artists and their careers that will guarantee the company to always be on the precipice of creativity and expansion in the music game.
Contact:
Diego Vargas
Cornerstone
diego@cornerstonepromotion.com
Case Is Back And Wants To Be Heard
R&B Singer Case Is Back And Wants To Be Heard
October 7, 2009 (NY/NJ Tri-State Area) Bigmouthz.com Talks to R&B Singer Case about his come back and what he's doing next.
Bigmouthz.com had the pleasure to speak with R&B singer Case to discuss his comeback, "The Rose Experience", his disappearance, and his close encounter with death. Case also gave us some insight on what he's going to be doing next. Go to www.Bigmouthz.com to read the interview.
For those of you that don't know Case; Case was one of the hottest R&B male singers back in the 90's standing with R. Kelly and The Public Announcement, Jodeci, and Dru Hill just to name a few.
A native New Yorker, Case got his start in the music biz in the 90's, singing backup and co-writing for artist including Usher, Christopher Williams and Al B. Sure. Case knew his soulful voice and talent will land him a career as a solo artist and it did. Case was discovered by Russell Simmons and immediately signed to Def Jam. "Everything changed with this deal," says Case, "I was in heaven, on cloud nine."
Case's solo career took off in 1996 with the release of "Touch Me Tease Me" from his first self titled album Case. The hit song, co-written by Mary J. Blige, featured guest vocals from Foxy Brown and was included on "The Nutty Professor" soundtrack and sold over 1,000,000 copies.
Case followed the success of his first album with the release of Personal Conversation in 1999. "This album was a better representation of me," says Case. Featuring hit songs "Happily Ever After," and "Having My Baby," Personal Conversation achieved Platinum status. In 2001, as the first artist on the new Def Soul imprint, Case released his third album Open Letter and topped the charts with the hit song "Missing You." He also expanded his music catalogue by working on soundtracks for films including: Rush Hour, The Best Man and The Nutty Professor, II: The Klumps.
Bigmouthz.com gives its readers their daily dose of Entertainment News from across the globe. In the Celebrity Corner of the site Bigmouthz.com takes you inside to some of the hottest celebrity events, from fashion shows to Hip-Hop and R&B happenings from state to state with exclusive photos and videos. Bigmouthz.com introduces you to the newest and hottest up and comers in the entertainment business today, from movie directors to poets to music artist and more in the Spotlight section.
Visit Bigmouthz.com today to get your daily dose of the Entertainment Buzz!
To contribute entertainment news, show off your talent or invite Bigmouthz.com to your next event email bigmouth@bigmoutthz.com. Spread the word Bigmouthz!
Crystal
CEO/Editor & Chief
Bigmouthz.com
Entertainment News You Want!
PUBLIC ENEMY REDEFINES THE MUSIC BUSINESS AGAIN
PUBLIC ENEMY REDEFINES THE MUSIC BUSINESS AGAIN, PARTNERS WITH FANS FOR NEW ALBUM
To Finance Next Recording Via SellaBand Fan Funding Engine
New York, NY (October 6, 2009) --- Iconic hip hop group Public Enemy leads a new revolution in the music business as it announces a partnership with SellaBand.com to finance the recording of their next album through fan funding. The venture brings together two leading forces in independent music to take a powerful step into the future by offering artists control over their own music and giving them the ability to record without artistic or commercial constraints of traditional record companies.
Pubic Enemy is the first established act to sign up with SellaBand, which has found great success with independent artists since its European launch in 2006. SellaBand will facilitate the fan funding process for Public Enemy's new album. The band is aiming to raise $250,000 in increments of $25.00. Fans will not only receive an exclusive, numbered copy of the album but will also share in the revenues from this upcoming recording. "SellaBand's financial engine model goes about restructuring the music business in reverse," says PE frontman Chuck D. "It starts with fans first, then the artists create from there. The music business is built on searching for fans and this is a brand new way for acts to create a new album with fans first, already on board."
Longtime champions of self-ownership of music and marketing as well as direct interaction with their fans, Public Enemy see the partnership as a natural evolution of their philosophy about the business of music. Public Enemy was one of the very first acts to release music on MP3, frontman Chuck D is a pioneer in artists rights and artist-owned record labels and his own SLAMJamz Records was launched as an Internet-based label, releasing MP3-only singles by artists as far back as 2001.
Already successful in Europe, this venture not only marks the first time SellaBand will work with a well-known act, it also signals their official entry into the US market. It reflects the company's continued growth and dedication to fostering independent music around the globe. "Our goal is to empower the artist and their fans, both creatively and commercially," says SellaBand CEO Johan Vosmeijer. "Working with Public Enemy is an incredibly exciting way to take the European success we've built over the past three years and offer it to stateside bands."
About Public Enemy:
Public Enemy's musical style and incendiary delivery have earned them critical acclaim and millions of fans throughout their career, Public Enemy continues to blaze musical and technological trails with new songs and new media, pulling rap music into the future, all while keeping its musical roots firmly intact. Public Enemy transcends the confines of rap and pop music, remaining one of the African American community's most important messengers, digital music's greatest champions, and a rare rap group whose lyrics are dedicated to analyzing, uplifting and empowering all of humanity. At the close of 1999, The New York Times named Public Enemy's music to their list of the "25 Most Significant Albums of the Last Century" and in May 2005 The US government's Library of Congress included Fear of a Black Planet in a list of 50 recordings worthy of preserving in the National Recording Registry. Rolling Stone magazine called the group one of the fifty greatest artists of all time, and in 1999 Vanity Fair profiled the group in their Icons of Rock special section. Spin magazine chose two PE albums for their "100 Greatest Albums (1985-2005)" list, with It Takes A Nation of Millions to Hold Us Back coming in at #2 and Fear of a Black Planet at #21. The numbers that reflect their extraordinary career are staggering: The band has embarked on over 56 tours, performing over 1300 concerts to fans in 45 countries. Three albums are certified multi-platinum, three more are gold, with four gold singles and a platinum-selling home video.
About SellaBand:
"SellaBand is based in Amsterdam, the creative capital of Europe. Since its launch in August 2006, SellaBand has coordinated recording sessions for 34 artists or acts who had their albums funded by their fans. Over $3,000,000 has been invested in independent bands via www.sellaband.com. With SellaBand, artists retain complete ownership of the works created and have the flexibility to determine which incentives they will offer their fans who fund them. SellaBand's fan funding engine also allows artists the freedom to enter into deals with any label, management company, or publisher and there are no advances to pay back. Artists maintain control over their career and have 100% freedom to create the music that they want to create. SellaBand can also be utlized by management companies, record labels, publishers, sponsors and media companies to fund projects for their own artists while also building the core fan base required to launch an artist or take them to the next stage of their career.
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For further information, please contact:
Jolyn Matsumuro
The Brookes Company
Jolyn(at)brookescompany.com
(310) 558-3000 x202
THE REUNION OF THE LEGENDARY GOODIE MOB
GUERILLA UNION PRESENTS THE REUNION OF THE LEGENDARY GOODIE MOB; NATIONWIDE TOUR KICKS OFF OCTOBER 15 IN NEW ORLEANS
ROLLS UP TO THE 'CYPRESS HILL SMOKEOUT' ON 10/23
GOODIE MOB TO OFFER SNEAK PEAK AT BET AWARDS TAPING 10/10
RENOWNED RAPPER SCARFACE TO APPEAR AS VERY SPECIAL GUEST ON ALL DATES
Continue reading "THE REUNION OF THE LEGENDARY GOODIE MOB" »
September 10, 2009
YOUGOTTACTHIS
Yougottocthis "The Evolution of Exercise
If you are into fitness, sports, good music, comedy... then please feel free to SUBSCRIBE http://www.youtube.com/user/YouGottaCThis. YOUGOTTACTHIS promises to bring you some of the most innovative, jaw dropping, entertaining, motivating & fun exercise videos you've ever seen.
YOUGOTTACTHIS in partnership with the "Evolution of Exercise" series, has opened a new chapter in the fitness world. This is not an exercise crew. This is a company dedicated to showcasing the best of the best in the fitness world(this does not exclude any genre of training). Trainers, fitness practitioners, boxers, mma fighters, weight-lifters, bodybuilders, breakdancers, gymnasts, free runners, rock climbers, martial arts professionals, ball players, whatever. Just keep in mind we do not showcase your standard, conventional, anything. We should always strive to challenge one another to reach new heights. In the world YOUGOTTACTHIS-The word can't is not in the vocabulary.
For More Info: http://www.youtube.com/user/YouGottaCThis
42nd annual West Indian American Day Carnival Parade
Revelers enjoy picture perfect day at annual West Indian American Day Carnival Parade
BY Erin Durkin, Kate Nocera and Erin Einhorn
DAILY NEWS WRITERS
They wore feathers on their heads - and almost nothing on their bodies - as revelers from more than a dozen island nations danced up Eastern Parkway on Monday for the annual West Indian American Day Carnival Parade.
Continue reading "42nd annual West Indian American Day Carnival Parade" »
Jay-Z on October XXL Cover
Jay-Z on October XXL Cover; The Blueprint 3
In conjunction with the release of his 11th solo album, The Blueprint 3, Jay-Z is gracing the cover of XXL magazine for the publication’s October issue. Speaking with XXL’s Special Projects Editor Bonsu Thompson, the self-proclaimed, “God MC” delves deep into many hot topics currently buzzing around him, including his mega success, BP3, jabs at his new singles “D.O.A. (Death of Auto-Tune)” and “Run this Town,” his tenure as the president of Def Jam and life as hip-hop’s ultra businessman. Check out a few excerpts below.
CRITICISM OF “D.O.A.”
“I’m not hating on young people. Like, when people say that, I’m like, What are you talking about? It’s just stupid. I’m not hating on young people… I’m not Bill Russell, [saying] Michael Jordan ain’t shit. I’m saying Lil Wayne and Kanye are like LeBron and Kobe. My job as someone at the forefront of the game is to leave it in a better position than when I came in. Same way that Russell [Simmons] left it to me. ’Cause this thing saved my life. Literally. So I have a responsibility to it karmically. And after that it’s on you. I did my part. I made ‘D.O.A.’ I said it. I made the statement. I made the push. Here, y’all take it from here.”
HIS LEGACY AS FORMER DEF JAM RECORDS PRESIDENT
“So if you ask me to grade my performance as the president, I’d say A-plus. No one can bat a 100. It’s impossible. I mean, everyone is looking at my shit. But if we really looked under the hood [of] every single [record exec] and the acts they put out in that time, I’d be comparable to anyone.”
HIS STANDING IN THE GAME
“But when I say I’m the best, I don’t say that outta my ass. I say that with all my stats behind me. I put that against anybody. I mean anybody. I really believe that… I believe in a lot of things.
I believe that ‘SportsCenter’ is the best thing on TV. I shouldn’t have to prove it. But I do have these stats to prove it. I’m talking about real run. I’m not talking about years off. I’m talking about straight—boom, boom, boom—back to back. We’re not talking about heritage acts either. We’re not talking about respect what I’ve done. I’m talking No. 1 [albums] 10 times. The Beatles is the only one [to have more
No. 1 albums]. They got 19, and if I get a surge of creativity, I could make nine albums next year.”
XXL’s October issue includes stories on The Making of The Blueprint, the current state of lyricism in hip-hop, Raekwon’s Only Built 4 Cuban Linx II and much more. The mag hits newsstands September 15. -Marvin Brandon
September 04, 2009
Lingua Nigra
Lingua Nigra was founded in 2003 by a Chicago born Brooklynite.
Organic, peaceful pieces that can be worn everyday are created with creativity in mind.
Lingua Nigra is jewelry design for body adornment.
Mission:
To give you what's in your mind to wear on your body.
Products:
Fine Body Jewelry, Earrings, Pendants, etc.
ForMore Info. http://www.linguaNigra.com
Fall Of The Republic
Fall Of The Republic Exposes How Brand Obama Is Destroying America
Alex Jones’ highly anticipated documentary lifts the lid on how seductive tools of propaganda are being used to hypnotize the masses into accepting tyranny
Paul Joseph Watson
Prison Planet.com
Tuesday, August 25, 2009
Alex Jones’ highly anticipated upcoming documentary Fall of the Republic: The Presidency of Barack Obama boldly lifts the lid and unveils the fraud behind Brand Obama and how the globalists are using their newest, and slickest ever puppet to destroy the last vestiges of America’s freedom, Constitution and economy, all while helping the bankers loot the country clean.
The film exposes the agenda that Obama was put in place to accomplish, a world government allied with a bank of the world run by globalist eugenicists hell-bent on destroying America’s first world status and replacing it with a hollow shell of tyranny.
The mind control, the television programming, and all the media talking points that serve to reinforce the image of Brand Obama are laid bare, unveiling the naked ruth, as legendary author and documentary film maker John Pilger recently discussed, that Obama is nothing more than a corporate marketing creation, a skilled hypnotist using seductive tools of propaganda – race, gender and class – to hoodwink the masses into accepting his rhetoric while ignoring the contradiction of his actions.
The film exposes how Brand Obama says one thing – to make people buy into the brand – and then the real Obama does another.
The burgeoning police state, warrantless wiretapping, secret arrests, indefinite detention of citizens, torture, the war in Afghanistan, the war in Pakistan, have all been expanded under Brand Obama despite his promises to reverse them all.
The real question to ask is not which class Obama claims to represent or fight for, but which class Obama serves. Fall of the Republic leaves no room for doubt that the class Obama serves is the elite and it is their agenda he is diligently following.
September 01, 2009
ALL-4-ONE
"No Regrets" All-4-One.
In an everchanging music marketplace, many of those '90s groups simply didn't survive but there were a few exceptions: the Los Angeles-based team of Tony Borowiak, Jamie Jones, Delious Kennedy, and Alfred Nevarez, known collectively as All-4-One were fortunate in having established a very strong international following by virtue of major hits such as their revival of The Tymes 1963 classic "So Much In Love," a 1994 chart-topping single and a cover of the country hit, " I Swear" (one of the longest-running #1 singles in Billboard's history) which earned them a 1994 Grammy Award as Best Pop Performance By A Duo Or Group With Vocal.
More Than A Game
More Than A Game
Coached by a charismatic but inexperienced player's father, and led by future NBA superstar LeBron James, the "Fab Five's" improbable seven-year journey leads them from a decrepit inner-city gym to the doorstep of a national high school championship. Along the way, the close-knit team is repeatedly tested—both on and off the court—as James' exploding worldwide celebrity threatens to destroy everything they've set out to achieve together. MORE THAN A GAME combines a series of unforgettable one-on-one interviews with rare news footage, never-before-seen home videos and personal family photographs to bring this heart-warming and wholly American story to life.
Lionsgate and Harvey Mason Media in association with Interscope Records present a Harvey Mason Media Production in association with Galley Boy and Spring Hill Productions a film by Kristopher Belman. MORE THAN A GAME is written by Kristopher Belman & Brad Hogan and directed by Kristopher Belman. The film features LeBron James, Sian Cotton, Dru Joyce III, Willie McGee, Romeo Travis and Coach Dru Joyce II.
July 21, 2009
Young Lion
Young Lion Ready to Take The world
New York based artiste Young Lion, formerly known as Lil Lion is ready to take on the world with new music and a brand new video. The 14 year old talent just wrote and released a new song with Fiyah Marshall, which was produced by Mel-Shar Entertainment Media Group. The song is entitled "Da Way You Move".
Ghana remembers Bob Marley
Ghana remembers Bob Marley
Basil Walters/ Jamaica Observer
Reggae's greatest ambassador, Robert Nesta 'Bob' Marley, was recently honoured by the Ghanian organisation, the Diaspora African Forum (DAF) which erected a memorial marble plaque for the Jamaican musical icon.
Pac Div
The Grown Kid Syndrome
In 2006, Pac Div released a thematic mix tape. The tracks chronicled day-jobs, trying to appeal to the fairer sex without fat pockets, restoring a Black presence in Hip Hop, and carefully coifed wardrobes amidst the pursuit of glory. The results were jarring, the unsigned group landed on the pages of many magazines, Vapors, Urb, Source, XXL, Billboard, Rolling Stones, and 944 Magazine. As well as a large internet presence followed.
Jadyn Maria
Jadyn Maria's in a "Man's World"
A fateful meeting with Tango, co-founder of Ne-Yo's Compound Entertainment management company, led Jadyn Maria to Atlanta, where she was immediately put to work in the recording studio with producer Chuck Harmony (Janet Jackson, Ne-Yo and Celine Dion). Days later, Jadyn Maria received the call that changed her life: "Hi Jadyn, this is Ne-Yo. I just wanted to let you know I heard the songs you just recorded and I would like to sign you as an artist." It was an offer she couldn't refuse.
Jaicko
Jaicko; the rebel with a cause.
It's an intriguing tale, the rebel with a cause. But 17-year-old Jaicko [pronounced Jay-ko], has long been the author of his own destiny. Though he's matter-of-fact about his forthcoming album on Capitol Records –"It's life through the eyes of a 17-year-old"– this is an artist with a lot to say.
Ledisi
Ledisi's "Turn Me Loose"
![Turn Me Loose [CD/DVD]](http://ecx.images-amazon.com/images/I/51QYFTSQbIL._SL500_AA240_.jpg) |
"It was the pressure of coming back after all the success with Lost & Found and trying to figure out, 'Who am I? Who is Ledisi now?'" says the New Orleans native. "Before, I wondered do people get me. Now it's like, 'Ok, we know you. What are you gonna do now?'" A friend gave Ledisi an album to check out, hoping the music would start the creative juices flowing again. It was Buddy Miles' 1970 soul-rock classic, Them Changes. "I had never heard it before," Ledisi says. "Once I heard it, I wanted to be able to be free on the new album. On my previous album, I was contained a little bit. But I said on my next project that I was going to be off the chain vocally. I promised to be more honest and talk about stuff that people don't like to talk about. I've always done that. But on this album, I went for everything." Inspired by the freewheeling music of Buddy Miles, Ledisi now had a direction. But she decided to push herself even further by reaching out to different collaborators, something she hadn't done before.
July 03, 2009
UNPLUGGED’ PERFORMANCE BY DÁVILLE IN NY
UNIFYING ‘UNPLUGGED’ PERFORMANCE BY DÁVILLE IN NY
Chart topping international reggae singer, DáVille, took time out to send an inspirational message of encouragement and hope to the youths of Jamaica, when he performed at ‘Unified Unplugged’ recently at the Denim Lounge in Brooklyn, New York.
An impassioned DáVille said, “The children must be a focus for us as they are our future.” He recalled his days as a youth and some of the obstacles he had to overcome to achieve success. DáVille and Fashozy Records have made a commitment that as part of their philanthropic focus, they will donate time and resources to help uplift the youths.
Backed by the New Kingston band, who were opening acts of the night, DáVille treated his New York fans to an energetic entertaining performance as he dished out his current chart-topping songs, ‘Missing You Right Now’ and ‘Never Gonna Cry’. Fans were also taken down memory lane with some of their favourite hit songs such as ‘On My Mind’, ‘In Heaven’, ‘I'm In Love With You’, ‘My Grade’ and ‘Fling It Up’, among others.
The crowd became his personal back-up singers as they sang along with him word for word. They wouldn’t allow DáVille to exit the stage and begged for more. When the singer wrapped up his performance, he couldn’t escape the several fans who lined up for him to sign autographs and take photos with them.
There was also an interactive question and answer segment in which fans could get up close and personal with the singer.
One satisfied fan was quoted as saying, “Any time I go to a Dáville show, I get my money’s worth. He is a great performer.”
Founder and president of the ‘Unified Unplugged’ entertainment series, Ronnie Tomlinson, explained that the event is about acts with a mission to restore and help build a potential future in the lives of the youths who are sometimes forgotten.
Through her promotion company, Destine Promotions, Ms. Tomlinson teams with the most prominent reggae and dancehall artistes to raise awareness for youths and their education.
In light of the recent alarming increase in youths dropping out of schools at the secondary level in Jamaica, Destine Promotions has decided to stage a series of ‘Unified Unplugged’ events aimed at raising awareness under the mantra ‘Choose Your Destiny – Be Educated’.
Throughout the staging of the events, sponsors and supporters will be recognised for their contributions to the proliferation of this ‘Stay In School’ campaign. During each event the artistes will do a video recording message addressed at the children telling them that they hold the power to their destiny.
All artistes who perform on ‘Unified Unplugged’ will be asked to introduce themselves to their fans, communicate their reasoning behind the lyrics they do and relate their upbringing to the audience.
June 29, 2009
Black Wall Street! A History Lesson to Learn
Black Wall Street! A History Lesson to Learn from and Re-Build on!
Reality check: the only things keeping Black people in the condition that we are in centers around our failures. Our failing to remember how to confront and overcome various types of fear; our failing to remember how to confront and effectively neutralize the power that oppresses, seduces and robs us of dignity; and our failing to remember how to effectively use the individual and collective power we possess to change our condition and the condition of our people. There was a period when we awoke but then the oppressor came with a Plan B that put us back to sleep again and sent us to dreamland! Now is the time for the Reawakening of our people and the gathering for the Harvest! The alternative is to watch our youth kill each other, starve in the streets and wither and rot in lock down institutions! A planned matrix of Spiritual, mental and physical death!
We empower the oppressor by not being what we should be – by not remembering how great we are; by not remembering and promoting the dynamic movements the freed men and women – slaves and descendants of slaves - Negro Black Americans initiated; We do not need to dig in the ruins of Egypt or any other African country to know how brilliant, creative, powerful and innovative our people – the Sons and Daughters of Africa and their descendants around the planet were and still are. As Black Americans we need only to look closely at our true Negro Black American History – African-Caribbean History that took place right here in America and the Caribbean. Before we trip on 3000 BC we must understand true Negro Black American History from 1600 A.D. to 2009 A.D.!
Reality check: Start with Tulsa Oklahoma. An excellent example of what was and what the beast did and will do to destroy and stop Black economic empowerment and community development. Here are the links to four videos that are extremely important. Share them with your family and those who educate your children:
The Tulsa Riots Part 1 click here
Black Wall Street in Tulsa, Oklahoma - Pt. 1 click here
Black Wall Street in Tulsa, Oklahoma - Pt. 2 click here
Black Wall Street in Tulsa, Oklahoma - Pt. 3 click here
These videos feature the people who lived the history - true Griots - sharing truth - not a watered down Hollywood version of Greenwood or a commercial re-make. They present a vivid chapter of Negro Black American History that we must review, remember and learn from. There were numerous ‘Black Wall Streets’ – numerous thriving Black communities established throughout America. They were self sufficient thriving communities with businesses, schools, houses of worship. In these days there was ‘nation building’ going on!
Reality check: We were a segregated and superior community. Our HBCUs were turning out brilliant teachers, doctors, and lawyers that were teaching and treating our people – thriving in segregated communities. Segregation created prosperity for us – necessitated self reliance – forcing us to spend our money with our people – 90 percent of our money circulated in our communities!
Negro Black American is not a history of a weak cowardly, lazy people as the White version of history would have our children and the world believe. The form of chattel slavery practiced and supported by the European was the most vicious dehumanizing form of servitude ever perpetuated – the African Holocaust! Yet we are still here.
Ask yourself: What happened? – why have we been in such a terrible state of socio-political economic condition for the past 80 years; why have so many of our HBCUs deteriorated and have so few Negro Black American students graduating; why have the Black farmers loss millions of acres of land – a close look at history from 1700’s to date will answer all questions and also point the way to Where to go from here!
After reviewing the Tulsa videos kindly re-read Dr. Martin Luther King’s historic speech Where Do We Go From Here? Also click here and review the video of his speech on Economic Power which I have also posted. Make sure to share this information with your children so that they understand that Negro Black America has always fought for change – that fighting for change and transformation of America did not start with the Obama run for political office, it started with the first African slave and first freed slave’s run for his life – fight for his freedom and justice in this hate filled land they found themselves marooned in!
Anyone who reads and understands Dr. Kings speech "Where Do We Go From Here?" delivered at the Ebenezer Baptist in Atlanta, Georgia to the 11th Convention of the Southern Christian Leadership Conference on August the 16th 1967 will see that Dr. King was moving beyond a Civil Rights Dream to Economic Empowerment. He was throwing down the ‘gauntlet’ to what I like to call the Economic Empowerment Warriors. These are individuals, true Warriors, who are not blinded by the glitz nor deafened by the noise or silent about what is going on in America today or the international financial meltdown. Warriors who have and will continue to focus on the paths to Economic and Political Empowerment Dr. King charted and highlighted in this speech.
I have included excerpts from Where Do we Go From Here? The entire speech can be downloaded at: http://www.stanford.edu/group/King/popular_requests/voice_of_king.htm Our failure to remember and continue on the path has been costly!
.Perhaps the area of greatest concentration of my efforts has been in the cities of Chicago and Cleveland. …….
….The most dramatic success in Chicago has been Operation Breadbasket. Through Operation Breadbasket we have now achieved for the Negro community of Chicago more than twenty-two hundred new jobs with an income of approximately eighteen million dollars a year, new income to the Negro community…..[Applause]….; there was another area through this economic program, and that was the development of financial institutions which were controlled by Negroes and which were sensitive to problems of economic deprivation of the Negro community. The two banks in Chicago that were interested in helping Negro businessmen were largely unable to loan much because of limited assets. … And I can say to you today that as a result of Operation Breadbasket in Chicago, both of these Negro-operated banks have now more than double their assets, and this has been done in less than a year by the work of Operation Breadbasket. [applause]
……….. And finally, the ministers found that Negro contractors, from painters to masons, from electricians to excavators, had also been forced to remain small by the monopolies of white contractors. Breadbasket negotiated agreements on new construction and rehabilitation work for the chain stores. These several interrelated aspects of economic development, all based on the power of organized consumers, hold great possibilities …….. The kinds of requests made by Breadbasket in Chicago can be made not only of chain stores, but of almost any major industry in any city in the country.
…..And so Operation Breadbasket .…. It simply says, "If you respect my dollar, you must respect my person." It simply says that we will no longer spend our money where we can not get substantial jobs. [applause]
…The problem indicates that our emphasis must be twofold: We must create full employment, or we must create incomes….
…..we are likely to find that the problem of housing, education, instead of preceding the elimination of poverty, will themselves be affected if poverty is first abolished. …. Negroes, who have a double disability, will have a greater effect on discrimination when they have the additional weapon of cash to use in their struggle……
Peace Power and Blessings will come from Back to Black
The Revival; Royce Da 5'9S'
"The Revival"; Royce Da 5'9S'
This respect that Ryan Montgomery, aka Royce Da 5'9, has earned amongst his peers has been ten years in the making. Though he began his career at a time when these qualities were still abundant in the rap game, Royce is the last of a dying breed in 2009. He is one of the few artists today to put the quality of his music above everything else, choosing to opt for perfection over conforming to an overcrowded genre of mediocrity.
Now, in an age where hip-hop's drought has forced the audience to weed out the nonsense and search for the answer to a dull and uneventful art form, Royce returns with Street Hop, his full-length rescue mission to show MCs how it is supposed to be done.
Executive produced by DJ Premier, Street Hop is Royce's most personal project to date. Though it is chock full of creative ingenuity and picturesque stories that have wildly astonishing twists, Royce shows his versatility by mixing in songs like "Shake That," which recounts the turmoil and stress Royce felt as not only an artist, but also a husband and a father, while being incarcerated for a year.
Growing up on the West Side of Detroit, music was a constant companion for Royce. His father played guitar and made sure to expose him to Jimi Hendrix, The Beatles, and Bootsy Collins, while his mother favored pop stars like Janet Jackson. However, as timing would have it, it was hip-hop that caught Royce's attention. Memorizing songs from Run-DMC and LL Cool J, and getting immersed in artists like D.O.C., Steady B, and N.W.A., Royce became inspired to make a name for himself around the D as a ferocious battle MC tearing up open mics at Maurice Malone's famed Hip Hop Shop, Ebony Showcase, Napoleon's Retreat, and C-Note Lounge. It wasn't long before his buzz caught the attention of the then up-and-coming Eminem, whom Royce's manager arranged a meeting with in 1997. The two clicked and began recording songs as the duo Bad Meets Evil. One of these songs, "Bad Meets Evil," made it's way onto Eminem's debut, The Slim Shady LP. Through his relationship with Em, Royce began his famed ghostwriting career, writing Dr. Dre's heartfelt, "The Message," on 2001. His hard work led to a deal with Columbia Records, who partnered with EI records to release his debut, Rock City (2.0), in 2002. A staple in the underground rap scene, the album spawned the DJ Premier-produced classic, "Boom."
Regardless of radio support or BDS spins, Royce has become one of Detroit's undisputed heavyweights, and hopes to keep having a positive impact on his hometown. "I'm proud to be someone who went through a lot of ignorant things and got past it," he says. "I'm the leader of a city and I want to be looked at as a leader and lyricist."
With a proven track record as a superb lyricist, Royce has always delivered on his early promise to make music that his fans, and even his fellow MCs have always come to expect. In 2004, he released his sophomore album, Death Is Certain, and followed it with the independently released, Independent's Day. Although the project was originally supposed to be a mixtape, his distributor insisted it be released as an album. Royce then quickly added the superior mixtapes, Bar Exam and Bar Exam 2, hosted by DJ Premier and DJ Green Lantern, to his catalog. "I think the Bar Exam mixtapes made up for what Independent's Day was missing," Royce says. "It reinvented me and let people know that I'm serious. Bar Exam 2 is probably my most lyrical project to date. And my new album, Street Hop, is going to top that."
With "Street Hop," Royce will finally cement his hip-hop legacy above ground, by introducing the masses to the same MC that so many rappers have grown to respect. Fueled with a sadistic sense of humor and biting sarcastic wit, songs like "Gun Harmonizing" and "Far Away" are haunting ditties illustrating the consequences that accompany going against Nine Nickel and his goons, and will appeal to the most hardcore hip-hop heads. Other songs such as "Part Of Me," may have a breezy laid-back club-ready beat, but the story's graphic ending will make any professional skirt chaser think twice about his ways and is controversial to say the least. "I could care less about radio. I don't like nothing that's on the radio, so why would I cater to radio," Royce admits. "I'm just going to stick to doing what I do. Radio's either going to come to me, or it's going to remain being corny."
Realizing that there is strength in numbers, Royce joined forces with three other MCs to form the hip-hop supergroup, Slaughterhouse. Joe Budden, Crooked I and Joell Ortiz all have the skill to impress even the toughest hip-hop critic. And together, they have decided to set off a massive hip-hop takeover. With Slaughterhouse's upcoming appearance on the Rock The Bells tour, a growing list of writing credits (Royce has already contributed to Diddy's next album), and popular video bloggin that has the internet on lock (ImNaShitFoolTV), Royce Da 5'9" is poised to make his biggest splash yet. Rappers, get ready.
EVA'S ON; INYOUR FACE
IN YOUR FACE RECORDS PERFORMING ARTIST EVA
The stunning blonde teen who recently left her home in Northern California to enroll in college at the University of Arizona has been rotating her schedule, taking the required freshman courses, joining a sorority and penning introspective lyrics to accompany the pulsating tracks for her highly anticipated release.
"We tried to get a lot of the material done before I started college," she continues, "I've always kept journals filled with material and various experiences I've had. I'm taking time now to go through them for inspiration and to select the areas of my life I want to explore on this CD. Some of the material is romantic, but all of it is personal. I like to keep my music upbeat and I'm working with a few rapper and hip hop producers for a different perspective."
Eva's passion for music brimmed under the surface as a child, where she listened to the radio and was glued to MTV. It wasn't until she was a sophomore in high school that she actively began to pursue a career in the performing arts. "Prior to that, I was shy," Eva recalls. "My family and friends didn't even know that I liked to sing because I was so shy and had stage fright. I got over my fear by appearing in high school musicals like Bye, Bye Birdy and Thoroughly Modern Millie. My first performances were background roles, but once I hit the stage I was hooked. Ultimately, I made my decision to record an album. I knew I had to break out of my shell."
Now that tracks have been recorded for her debut CD, Eva is ready for the spotlight. "The danceable tracks on my album are my favorites, but this CD reflects exactly who I am musically."
Eva's album is loaded with hot tracks and loads of star power. Wanting to immediately stand out, Eva enlisted the help of hip hop superstar Snoop Dogg on the CD's lead track "Popular." "Snoop heard the track, thought it was an instant hit and agreed to be a part of it," comments Eva. "Popular" explores the self conscious feelings many young girls have today in relation to their peers. It was produced by hip hop and R&B hit maker Poli Paul who has produced hits for Christina Milian and Chingy. Another stand out is "One Night Stand," which reflects the views of modern day romance. That track gets a touch of melodic flavor with the addition of grammy award winner Krayzie Bone of Bone Thugs N Harmony fame.
The world will soon get the opportunity to be formally introduced to all facets of Eva's dynamic teenaged life as part of a new reality show chronicling her destiny for stardom. " All About Eva" will examine the balance she strikes between being a college student and the demands of a pop music career. It will also delve into the recording process and examine her interaction with many of music's top producers including Jonathan 'JR' Rotem, the man who made Rihanna and Sean Kingston music superstars. Rotem produced two club tracks for Eva, titled "Do That" and "I'm On Fire." The show will also examine how Eva shapes her image from her dieting woes to her furious gym and choreography workouts.
Mostly, Eva looks forward to being a role model to teens, just as female pop idols were to her. "I'm up for it," she affirms. From the days of performing in Thoroughly Modern Millie to becoming a thoroughly modern sexy songstress, Eva has arrived, singing and dancing her way to the top of the charts.
This summer, Eva will be working with Scott Storch on some tracks to complete her album, as well as rehearsing for live performances to get ready for a spot date tour opening for some major acts in August and September.
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June 28, 2009
Media as a weapon
Media as a weapon: New Orleans’ 2-Cent
by Jordan Flaherty
2-Cent
The video grabs your attention immediately. Young people in the Lower 9th Ward hold up signs that read: “Looter,” “We’re still here” and “America did this.” Amid empty lots and damaged houses, poet Nik Richard delivers this message: “Hurricane Katrina was the biggest national disaster to hit American soil and, nearly two years later, this area is still devastated. But you know what? We made sure we preserved it strictly for your tourism. For about $75, you can take one of these many tour buses.”
Tourists drive by and people with cameras gawk. Richard looks directly at the camera and says, “It looks like there’s more money to be paid in devastation than regeneration. If y’all keep paying your money to see it, should we rebuild it?”
The short film “New Orleans for Sale,” which has garnered several awards, was made by 2-Cent Entertainment, a group of young Black media makers in New Orleans. The group, which currently has 10 members, made “New Orleans for Sale” to convey the frustration felt by many New Orleanians as the city has become a national spectacle and a backdrop for countless national politicians, while the aid the city needs to rebuild still hasn’t arrived.
In 2008, the film won several awards, including an NAACP Image Award in a competition, called Film Your Issue, which featured a high-powered jury with the likes of news anchor Tom Brokaw and media executives from MTV Networks, Lionsgate Entertainment and USA Today.
Working at the intersection of art and justice, as well as entertainment and enlightenment, 2-Cent has attracted a wide and growing audience. In New Orleans, they’ve also collaborated with the People’s Hurricane Relief Fund, produced shows on local television and radio stations, and created mix CDs and scores of short videos. Beyond creating inspiring programming, 2-Cent members also seek to pass their skills onto the next generation, and have taught and presented their work in New Orleans high schools and colleges.
“Huey Newton said the young people always inherit the revolution,” says Brandan “B-Mike” Odums, 2-Cent’s founder. “And that’s what 2-Cent is; it’s how our generation responded to that call.”
Positive images
The collective formed in 2004, when Odums gathered a group of friends – most of them fellow students at the University of New Orleans – to produce a TV show with a message.
“A lot of TV promotes a monolithic way of thinking, saying there’s only one way to be, or promoting ignorance as cool,” says Odums. “We say it’s hot to stand up for yourself and speak for yourself.”
The group was still newly formed when Hurricane Katrina devastated New Orleans and, in the aftermath of the storm, with 2-Cent members spread across the United States, they nearly disbanded. “Katrina made us realize that this is what we want to do,” says Odums. “We’d done two episodes before the storm. Everybody was scattered. We had to decide if this is something we really want to do. Katrina forced us to make the decision.”
The collective briefly relocated together to Atlanta, then made the decision together to return to New Orleans.
Kevin Griffin, another of the founding members of 2-Cent, joined because he shares Odum’s desire to change the images and messages delivered to today’s youth. “We were seeing the images that BET and others were putting out,” Griffin says. “And we wanted to do something different, more positive.”
Griffin is not just a media activist; he is also one of the leaders of a citywide movement spearheaded by the Juvenile Justice Project of Louisiana, an organization whose mission is to close the Youth Studies Center, the city’s youth prison. The group has led campaigns to shut down other youth prisons around the state, including the notorious youth prison in Tallulah, Louisiana, and they are also working to create more options for young people beyond jail.
Kevin Griffin is a producer at WBOK, a powerful AM station in New Orleans launched Nov. 1, 2007, as Black talk radio after its purchase by Danny Bakewell, publisher of the Los Angeles Sentinel newspaper.
For Griffin, these struggles have personal meaning. “At the age of 10, I was sent to the Youth Studies Center,” Griffin explains. “A year later I was moved to Tallulah, which was known as the worst youth prison in the country. I was 11.
The next youngest person was 17, so I was a child among adults. And I was there for five years.”
When he was released, Griffin was determined to turn his experience into something positive. “I could have stayed on that path that was laid out for me,” says Griffin. “But I didn’t want to become that.” He credits his family for helping support him when he got out.
Griffin now works full-time at WBOK, a Black-owned talk radio station; their slogan is “Talk back, talk Black.” Art also runs in his family. His cousin Mannie Fresh, the music impresario of New Orleans’ Cash Money record label, produced much of the music that made New Orleans hip hop famous.
Humor and style
2-Cent videos are notable for both humor and great production values. “We liked a lot of the messages you would see on Public Access TV,” explains Griffin. “But we wanted to make something with better production.” This combination of form and content, and a mix of serious and comic, defines the 2-Cent style.
“We take education and comedy and we mix it all together,” says collective member Manda B, who writes and acts in many of the group’s videos. “We can trick people into learning. We built it off a foundation of edutainment. Even with our most crazy and bizarre scripts, we have a meaning.”
The group seems to have limitless energy and ideas, and they bring new angles to their subjects, finding humor in unexpected places and bringing ideas to young people by using that humor. Their piece on Jena, Louisiana, is filmed at the Sept. 20, 2007, protests in Jena, when tens of thousands of young people converged in what was called the birth of the 21st century civil rights movement.
But the 2-Cent video intercuts with one of their members – an effortlessly humorous young performer named Stiggidy Steve – wandering confused on Jena Street in New Orleans and wondering where everyone is.
“Older folks may try to put out similar ideas,” says Manda B. “But it’s like they’re preaching. I think we know how to connect with our generation.”
These young media activists praise Gil Scott Heron, who said the revolution will not be televised. But for 2-Cent, media is a tool to be taken and used for the mission of social change.
“Other generations marched, and we march too,” says Odums.
“But in this age we have a whole new range of weapons, and we’re trying to use those weapons. I think Martin Luther King Jr. would want to be on YouTube, to have his speeches distributed that way.
“Malcolm X would love to make mixtapes, have those out on the streets. The same reasons they boycotted and had protests in that era are our reasons too. We’re coming from that same mindset, but we’re using new tools, trying to get our inheritance.”
After nearly five years together, the group has survived Katrina and all the connected stresses of living in New Orleans during this time, and their bonds have become stronger and closer. When asked what aspect of their work they were most proud of, various 2-Cent members expressed the same sentiment as Manda B, who explained, “For me, the best element of all this is that we’re family.”
For a large collective, 2-Cent seems to have no problem working together, creating new content every week, and continually expanding the range of work they do and the audiences they reach. “We’re all together like family,” says Griffin. “And we can’t imagine not staying together.”
Jordan Flaherty is a journalist based in New Orleans and an editor of Left Turn Magazine. He was the first writer to bring the story of the Jena 6 to a national audience and his reporting on post-Katrina New Orleans shared a journalism award from New America Media. His work has been published and broadcast in outlets including Die Zeit (in Germany), Clarin (in Argentina), Al-Jazeera, TeleSur and Democracy Now. He is also co-director of PATOIS: The New Orleans International Human Rights Film Festival. He can be reached at neworleans@leftturn.org. Learn more about 2-Cent at http://2-cent.com.
June 07, 2009
H.A.P.H. of THE RANJAHZ SET FOR DIGITAL SOLO RELEASE
H.A.P.H. of THE RANJAHZ SET FOR DIGITAL SOLO RELEASE
With first effort since The Ranjahz
The Epitome
New York, NY (May 23, 2009) – Javelot Music/EarthStrong Productions/WorldSound Media is slated to release
H.A.P.H.’s The Epitome. H.A.P.H.’s first major solo project since The Ranjah’s 2005 LP will be hitting the internet May 15th.
The Epitome shows H.A.P.H.’s musical range as a producer, with both feel good music and hard hitting street bangers.
The 14 tracks feature super producers VSharp, S Class and Nic Diamonds. H.A.P.H., along with these visionaries, crafted this masterpiece.
The Epitome is an original, innovative, long-awaited release from H.A.P.H.
About H.A.P.H.
During the mid-90’s, The Ranjahz were affiliated with a collective known as Team Roc – a group of rappers associated with Roc-A-Fella Records.
At the time, this included Jay Z, Sauce Money, Memphis Bleek, and Jaz-O. The Ranjahz made their debut on “If I Should Die” off of Jay Z’s Hard Knock Life, Volume 2. Since then they’ve made countless records, one of their most popular being “Insp Her Ation”, featuring Cee-Lo (of Gnarls Barkley)
Continue reading "H.A.P.H. of THE RANJAHZ SET FOR DIGITAL SOLO RELEASE" »
Isaac Haile Selassie
June 05, 2009
Lee "Scratch" Perry
Lee "Scratch" Perry
Lee "Scratch" Perry (born Rainford Hugh Perry, on March 20, 1936, in Kendal, Jamaica) is a reggae and dub artist, who has been highly influential in the development and acceptance of reggae and dub music in Jamaica and overseas. He employs numerous pseudonyms, such as Pipecock Jaxxon and The Upsetter.
June 04, 2009
Wake The Neighbors
R City Wake the Neighbors
Hailing from St. Thomas, Virgin Islands, R. City (comprised of brothers Theron a/k/a Da Spokesman and Timothy a/k/a Don't Talk Much) have created a sound that blends Caribbean twangs of consciousness and struggles of street and island life coupled with hip-hop/pop appeal. They realized their immense talent and started honing their craft at an early age. By the time they reached 10 and 11 they were winning local talent shows and used their prize money to pay the family's household bills. Plain and simple, R. City was born to be on stage. "We definitely are first and foremost artists more than anything else," states Timothy. "We were getting a lot of love from the people in the streets from us performing."
Fast forward to their late teens; by the time they graduated high school; they had a big choice to make. Their parents said "continue in school and we will find a way to help you, continue music and you will need to fend for yourselves and become men." They obviously chose the latter and came to the U.S. to test their potential for "making it." "We've always been writers for ourselves. Then me and my brother were like, let's try to write for other people", states Timothy. Landing in Atlanta after a short stint in Miami, they began penning songs for other artists and placed their first song "The Rain" for Akon via his DJ, Benny D. In a short time, they've amassed a staggering number of tunes for renowned artists. "We built a lot of relationships, got cool with a lot of people, networked and found ourselves in a lot of doors we never thought we were going to enter. When we started doing the writing thing, everybody started messing with us," says Timothy.
Aggressive and hungry tactics – play up their strengths. Theron is a bundle of energy that bounces off the walls; their dichotomy creates a splendid musical union. "We're night and day but we mesh perfectly together," says Theron, the soulful Yin to his brother Timothy's Hip-Hop flavored savvy. The fact that their music is a genre bender isn't lost on the siblings. "Give us the opportunity to be ourselves because what we doing, nobody has ever done." It's never been about money with us, to be honest… Trust me; nobody is going to outwork us. We don't drink or smoke, or go to clubs. So when people in the club partying, we work, when they sleep, we work, when they work, we work. So at the end of the day, we are going to get more work done than anybody", says Timothy
That said, their eclectic debut Wake The Neighbors is anything but a work in progress. They are clearly masters of lyric, melody, harmony, hooks, and performance. Their first single ‘Losin' It' smoothly tells a story of unexpected lust/love. Their St. Thomas upbringing is also evident on the Madd Scientist produced, Calypso influenced party anthem ‘Wave', Theron says "as soon as we did it we called Akon. When he heard it, he went crazy and set up a meeting with Jimmy Iovine and Ron Fair to hear the song." Then there's the reality checking hip-hop banger ‘Stop Lying' produced by Shondrae (Ludacris). It challenges the hip hop community to stop boasting about how they are living and things they are doing because it just isn't true. It can be described as a hard but positive song.
R. City is about a musical movement. Wake The Neighbors is a perfect blend of all the right elements and will be highly regarded and respected as R. City aim to change the face of music. "It's hard to explain our music because what we are doing is something that is rarely done." Once you experience them and their live show, you are sure to leave a fan. Go ahead, put in the cd….Wake The Neighbors. It is guaranteed to bang hard enough to keep any neighborhood party going all night long.
Confetti
Vistoso Bosses drops "Confetti"
Vistoso Bosses, comprised of Taylah.P and Kelci, is a high-energy girl group with infectious lyrics and sweet moves to match. "Our music is unique and eclectic, mixed with a little hip-hop," explains rapper Kelci. Taylah.P, who sings vocals, further expands upon the group's sound. "We have a new sound. We're influenced by everyday teen stuff – school, boys, and having fun." Both are careful to explain that Vistoso Bosses is a strong concoction of music and image. Their witty personalities accompanied by a multihued fashion sense, makes them an easy eye catcher to tweens and teens alike. Vistoso, defined as bright or colorful in the Spanish language, is the perfect adjective for the brilliant twosome. "Anybody can be vistoso," says Kelci, "We're all about having our own style." Taylah.P excitedly agrees, "Most people think we're all about not matching, but it's about being yourself. We like being colorful. We wear what we feel."
Kelci is quick to expand upon her state of bliss as the group celebrates being labelmates with Soulja Boy, Collipark Music's most successful artist to date. "It feels great to be on one of the hottest record labels out." Michael "Mr. Collipark" Crooms was introduced to the group by means of the Internet's social networking magic. The girls' homemade videos to their popular debut songs "Delirious" and "Boy Crazy" were instant faves on YouTube and Myspace. "[Delirious] is a happy song," says Taylah who details how the track came about. "We wrote the song along with St. James, a very talented producer." The group has since received the Myspace Artist of the Week accolade due to an overwhelming response from almost one-half million online fans. Mr. Collipark is enthusiastic about the debut of the self-proclaimed Bosses. "These girls are a breath of fresh air for the music industry. They're positive, bright, and just all around creative," describes the industry veteran responsible for the recent record-breaking success of Soulja Boy reaching the highest number of digital downloads ever in the history of music.
His assessment of the two as a teen girl-power group makes room for the pair to be artistically free of today's misogynistic driven culture. "We want to be viewed as role models," Taylah wholeheartedly explains. "We want to be an inspiration and positive light for girls of all ages." Their melodious vocals and lovable look make this goal easy to achieve. "Don't be afraid to be yourself," both girls advise, "Being different is being cool."
CATEGORY F5
Twista's CATEGORY F5
Deeming himself the Jason Voorhees of rap, Twista is resilient in the industry as he continues to slay tracks. Chi-town has a major influence on Twista - everything from K-town to downtown, his friends and family, as well as his fellow Chicago artists all play a part in establishing his intense yet mellow vibe.
Twista's quest to become Chicago's dominant MC began in the 80's. He recalls, "Around the Krush Groove days, that's when I knew I wanted to be a rapper to the fullest. Doing talent shows or trying to be part of things to where I could possibly get my foot in the door to become a rapper. Once I got that visual aspect that's when I went in harder." Twista would then compete in and win numerous talent shows around Chicago. Honing his skills through battle rapping, Twista proved to be a force to be reckoned with as he constantly won. He remembers, "I usually won the battles. The thing that got my foot in the door was having a different rap style."
Twista's journey to fame began in 1991 a DJ from a local radio station, saw him perform at a talent show held at the Golden Dome on Chicago's west side. This DJ , who had a credible reputation for shopping Chicago artists and getting Chicago recognized by the music industry, became Twista's manager. Twista soon began to conquer the talent show circuit, and eventually his manager would give a demo tape to a Chicago promoter from Loud Records. The promoter was so impressed with what he heard that he took the demo to artist reps in Los Angeles. Amazed by the Twista's fresh and dynamic style, the artist reps contacted Twista immediately and asked him to demonstrate his lyrical ability. The reps were won over and flew Twista and the manager to LA. It was only a matter of time before Twista became the first artist signed to LOUD Records.
Twista explains his talent, "I was just trying to come up with something different besides the metaphors, at first it was different rhythms and rap styles, then I flipped the words. Once I heard somebody else doing my rap style, then it was over, I started going crazy with it; doing whole songs and tearing it up." He further elaborates, "People just think it's about how fast I can spit; it's about how clear I can spit and how beautiful the rhythm is."
Over the years, Twista refined his lyricism to become more structured and more funky. He incorporated melodic syncopations that added depth and complexity to his already unique style. It was on the Do or Die single "Po Pimp"(1996) that Twista introduced this style to the masses.
Twista is an artist who was respected from the start. His underground album Resurrection (1994) received three and a half mics in the Source magazine. He would then go on to release Adrenaline Rush (1997) on Atlantic Records. With the success of first singles "Get It Wet" and "Emotions"; the album would go on to be certified gold. Following that was the release Mobstabilty (1998). The next album for Twista would be the double platinum Kamikaze (2004), which topped the charts at number one. It featured the hit singles "Slow Jamz" with Kanye West and "Overnight Celebrity". The Day After (2005) released a year later peaked at number two and hit platinum status, producing the hits "So Lonely" featuring Mariah Carey, and "Girl Tonite" featuring Trey Songz. Adrenaline Rush 2007 (2007) was the last album he released for Atlantic. Twista has collaborated with some high profile artists in the business such as: Jay Z on "Is That Your Bitch", P. Diddy on "Is This the End", Ludacris on "Cut Up", Three 6 Mafia on "Smoked Out", and a new track with Sting.
Under his new record label GMG (Get Money Gang), a subsidiary of EMI/Capitol Records, Twista is now completely in control of his music while introducing some fresh faces in the process. New artists that Twista wants to put in the spotlight through GMG include: B-Hype, Skoota Choose, Liffy Stokes, Anya, and Mello Tha' Guddaman. With GMG, Twista works to make his acts brand name, so they can survive in the ever-changing music industry. "GMG is the bridge between the music industry and the mid-west." Twista explains.
Currently, Twista is finishing up his new album Category F5. The album is a statement of his newfound creative liberation. Twista explains that the title of the album is a natural evolution of the titles of his previous works - "Category F5 is the highest level of a twister. Once I came up with the title, I felt it was appropriate because coming from the standpoint of Adrenaline Rush, I was trying to stay within that whole zone, and Category F5 sounded like some cold shit." The power of an F5 "can throw cars through the air like bullets, while breaking houses and foundations", and Twista wants to convey that destructive force lyrically. The fierceness on display in Adrenaline Rush reaches a profound intensity on Category F5. As far as the music is concerned, Twista hopes that his music provides an escape for listeners. "My music is like a good movie, it's meant to take listeners away from their problems. It's meant to make people say Wow, that's a dope ass rap," says Twista. Through his verbal prowess, Twista wants his fans to hear him dismember his haters.
Twista does to rap what Coltrane did to saxophone solos. In a rhythmic rapid-fire succession, lyrics flow from one verse onto the next in a dazzling fashion. He has carved out a legacy for himself as a premiere Chicago artist. Though he is an artist with many accomplishments under his belt, he feels that his recognition for being an innovative pioneer will come in due time - "some artists put out the big records, some put out the best records, but Twista's legacy will be that of longevity; being a timeless artist."
Twista's new album Category F5 will be released on June 16, 2009
FThe E.N.D
The Black eyed Peas presents The E.N.D
The first single from their upcoming release, The E.N.D. gave the Peas their first Hot 100 chart- topper of their career. "Boom Boom Pow" debuts with 469,000 digital downloads for the week catapulting the track to the #1 spot on Billboard's Hot Digital Songs chart. The weekly download total is the best-ever by a group.
The video for "Boom Boom Pow," directed by Mathew Cullen & Mark Kudsi of Motion Theory (Weezer's "Pork and Beans" and Beck's "Girl") premiers everywhere next week. In the first video from The E.N.D., The Black Eyed Peas' imagine 3008; their birth into the digital afterlife.
The E.N.D. is the Black Eyed Peas' first original new album since Monkey Business (released May 2005), with sales of over 4 million in the U.S. and worldwide sales of more than 9 million copies. Monkey Business generated Grammy Awards for "Don't Phunk with My Heart" and "My Humps."
The Energy Never Dies.
May 06, 2009
Ron Browz's Jumping Out The Window
Ron Browz's Jumping Out The Window
Influenced by the sounds of DJ Premier, Dr. Dre, Pete Rock, and Havoc, Ron's first big break came in the year 2000 when he produced four songs on the late Big L's album, The Big Picture, including the classic track "Ebonics." Big L taught Ron about the music business, and exposed him to a new network of contracts. The experience gave Ron reason to take the game seriously, and his career began to grow exponentially.
The following year of 2001 Ron Browz gave some beats to Queensbridge emcee Nas during the recording of the 2001 double-platinum album Stillmatic, Ron Browz was not expecting history to be made. Nas used Ron's track as the foundation for his lyrical battle classic "Ether," a scathing comeback to Jay-Z's "The Take-Over." "When I did the beat and Nas picked the track, I didn't know that's what it was gonna be for," explains Ron. "To this day I feel honored. I get a lot of respect for it when people meet me. " The credibility of "Ether" sparked a demand for the Ron Browz sound. His reputation for crafting walloping records grew with songs like the Ludacris smash hit "Blow It Out" from the album Chicken N Beer, which has sold over 2.5 million copies to date. Other platinum-plus albums with Ron's magic touch include Lloyd Banks The Hunger For More with the song "Playboy," DMX's "F'ck Y'all" on the Grand Champ LP, "Whatz The Word" on Lil Kim's La Bella Mafia album, and the Snoop Dogg collaboration with 50 cent "Oh No" on Snoop's Rhythm & Gangsta: The Masterpiece lp.
As time surpassed, Ron's perseverance became more memorable, with a strong showing on Jae Millz Street anthems "Who", and "Bring it back." Ron took the industry by storm when his production was presented as the opening song for 50 Cent's blockbuster film Get Rich Or Die Trying. The track, "I'll Whip Ya Head Boy," which features 50 and Young Buck over Ron's brazen baseline, was also nominated for an Oscar the following year. Ron's captivating, irrefutable sound coincides with the follow up album from Lloyd Banks "Rotten Apple", where you can hear his undeniable drums on "Playboy 2" or the heartfelt keys on the single "Help" which features singer Keri Hilson. His ‘sought-after' sound can also be heard on the Remy Ma song "Fresh" as well as songs with pop-singer Lumidee.
Faced with the fact that Hip Hop fans know his track record but not his name, Ron Browz humbly acknowledges that this should not be and issue much longer. "Every day a different person learns about me, and I want my name to be out there amongst the big names," he states confidently. "I bring raw talent to the game. I taught myself everything about making beats. For a person with eight gold and platinum plaques, I still don't get the recognition. When people hear my name, I want them to say, ‘I know its some fire.'"
The sky is the limit for Ron Browz, as his career progressively gains momentum, and he continues to deliver with such consistency. He continues to remain relevant. His hard work and diligence landed him two tracks on the recently released G-Unit album T.O.S, "Straight Outta South Side" and "Money Make The World Go Round." His impeccable craftsmanship can also be found on the upcoming release of Jim Jones new album, where his innovative sound can be heard on the song titled "Good Stuff." With the shortcomings in hip-hop and the inadequacy revolving around New York artist, Ron took it upon himself to venture out and start EtherBoy Records to make music more meaningful. "I'm not saying its dead, I'm just here to try and resurrect the feel for it, how music use to have a meaning, how it would move your soul." This brings us to his eminent single "Pop Champagne" where Ron introduces the world to his lyrical assertiveness over a pristine drum pattern once again captivating the consumers. When asked about his transition from a producer to an artist Ron stated, "It takes gumption to diversify one self as a producer, and as an artist. In the industry as a producer you're behind the scenes majority of the time. Whereas for an artist it consists of you having to be the front and center, but that's where I belong. It's a progression from one grind to a more complex one." "I realized in order for you to be overly happy with your self you have to follow your personal legend and continue to fulfill it. Find what you're most passionate about and go for it.
It wasn't easy to get where I am today. I worked hard for it. I took all the negative energy and created something big. I had to make it happen."
May 05, 2009
Electrik Red shows "How to Be a Lady Vol.1
Electrik Red shows "How to Be a Lady Vol.1
Throughout the history of pop music, few things have been more important than the relationship between artists and their producers. Legendary hit makers like Quincy Jones and Timbaland helped transform singers like Michael Jackson and Justin Timberlake into musical icons. Staying in line with this formula for success, Def Jam is set to re-direct the face of popular music with all-girl singing group, Electrik Red. Paired with Grammy Award-winning writing/production team The Dream and Tricky Stewart (Rihanna's "Umbrella"), Electrik Red's edgy brand of hip-hop and R&B exemplifies the future sound of music.
Comprised of Naomi, Sarah, Lesley and Binki, Electrik Red hails from both New York City and Canada. Binki and Lesley, who attended NYC's prestigious LaGuardia School of Performing Arts, met the Toronto born Naomi and Sarah while individually performing as back-up dancers for artists like Usher, Mariah Carey and Ciara. After running into each other time and again at auditions and parties, the girls began to form a friendship. "We'd get together on our off time, and strategize," says Naomi. "For some of us the ultimate was getting to work with an amazing performer, like a Janet or Madonna," explains Binki. "But once you hit that mark it's like ok, now where do I want to take it? In our case, making music was the next plateau to aim for."
Although the move to step to the front of the stage may have seemed risky, the girls knew they were ready. "Everyone had lucrative careers," says Lesley, "but we had the confidence to say. Ok, let's stop all that and go off on our own with no help from anyone we'd worked for."
While their individual careers started with dance, the girls all grew up studying music. Binki learned the business early from her father who was a member in the legendary Caribbean soul group Kid Creole and the Coconuts. Lesley began vocal training at age three while Sarah studied the piano as a young girl. Once they decided to form a group, the girls decided on the name Electrik Red which they felt exuded their collective sensuality.
In 2005, the foursome recorded a demo, and instead of calling on their long list of family friends and contacts in the music industry, Electrik Red decided to keep their new project under wraps. "What's crazy is that as many people we knew, we never really shopped the demo, we were protective of our music," says Naomi. "We felt like we couldn't go to an executive at a label until we feel like we had the best music possible. We believe you only have one shot."
In February of 2007, that one shot came when Electrik Red secured a deal with Def Jam. The girls were then paired with the hottest hit makers in town, The Dream and Tricky Stewart, who had worked with everyone from Mary J. Blige to Beyoncé. "We all looked at each other and said ‘Holy shit guys!'" remembers Binki. "Look where we're at right now!"
The multi-talented group are now getting ready to release their debut album which has rapidly become heavily anticipated thanks to the massive buzz surrounding Electrik Red's first single, "Drink In My Cup." The slinky, yet hard hitting atmospheric "Drink In My Cup" showcases the girl's flowing harmonies and edgy phrasing. The mix of street and seduction makes it clear Electrik Red is taking mainstream R&B to an entirely new level.
Kristinia DeBarge
Kristinia DeBarge launches her career with "Goodbye"
(April 13, 2009 – New York, NY) 19-year old Kristinia DeBarge launches her career with the anthemic upbeat smash "Goodbye," her debut single, now hitting at pop radio weeks before the official April 27th impact date. Powerhouse stations such as WKTU (New York), WKQI (Detroit), Z100 (New York), (KHKS) Dallas and WKSC (Chicago) were the first to get on board, with many majors quickly following suit. In addition, Nivea had committed to licensing the new hit smash "GoodBye" as the theme song for their new Network TV Campaign. "Goodbye" is featured in both :15 & :30 spots that began April 6 and runs through July 13th. ("Goodbye" samples the classic #1 hit of 1969, "Na Na Hey Hey Kiss Him Goodbye" by the group Steam, distinguished as the record that knocked the Beatles' controversial "Come Together" from the #1 spot in December.) A video shoot to capture the song's sexy fun feel is scheduled to take place shortly in Los Angeles.
Kristinia DeBarge carries on the tradition of her father James DeBarge, keyboardist and founding member of beloved Motown '80s group DeBarge. Kristinia knew she wanted to be a singer at the age of three, but didn't reveal her wishes to her family until she was twelve. To gage her passion, James DeBarge and Kristinia went to the studio and recorded a duet called "How I Feel Inside." Kristinia recalls. "Our session ended at 4am and my dad asked me after all those hours and after all that work if I still wanted to do this. I answered yes, and that's how he knew I was serious about being a singer."
"Goodbye" is the first release from Kristinia's debut album on new label Sodapop Music, set for summertime release. Many tracks on the album were written and produced by Babyface; "Goodbye," is co-produced by Babyface and The Pentagon. Sodapop Music is a full-scale label start-up for Babyface, one of his first since his LaFace Records (home of Toni Braxton, OutKast, TLC, and Usher), the wildly successful label co-founded in 1989 by Babyface and Antonio ‘L.A.' Reid, who today is Chairman, Island Def Jam Music Group. Also, co-founder Jeff Burroughs heads Sodapop Music after serving in senior executive positions over the past decade at RCA Music Group and as Executive Vice President of P. Diddy's Bad Boy Entertainment.
The Blackout 2
Method Man & Redman presents:The Blackout 2
Blackout! 2 is the second album by rap duo Method Man & Redman. It's their first album in ten years. The album is scheduled for release on May 19, 2009 under Def Jam.
Blackout! 2, which was originally scheduled for release in 2008 but was pushed back a number of times but now a final release date has been set for this May. After finishing up the Still High Tour with Termanology, The Alchemist, Havoc- from Mobb Deep- and Evidence, Redman and Method Man finished and set a release date for their highly anticipated sequel.
The album features production from Pete Rock and Erick Sermon, as Method Man and Redman promise to satisfy patient fans. The track "A Yo" that was leaked earlier this month has been confirmed to be included on the album. Also the track "City Lights" featuring Bun B leaked over the internet on March 24, 2009. Raekwon has also been confirmed to guest on the album. Featured artists from the previous album such as Ja Rule or LL Cool J may not appear in this album
The sequel to the How High film titled How High 2, is currently being written with production and filming to start this summer.
Blackout! 2 will be released 10 years since the Blackout! album, which was placed at the top of a lot of 1999's best album lists. Entertainment Weekly explained how the two lyricists work so well together. "When Hip Hop's most playfully creative rhyme stylers throw down like two superballs in a rubber room, they're unstoppable, and make rap's most joyous ride." They have shot music videos for the songs "A Yo" and "Mrs. International".
Tracklisting
All songs written and composed by Method Man & Redman.
# | Title | Music | Length |
|---|---|---|---|
1. | "BO2" (Intro) | ||
2. | "I'm Dope Nigga" | ||
3. | "A Yo" (feat. Saukrates) | Pete Rock | 3:48 |
4. | "Dangerus MCees" | 3:05 | |
5. | "Errbody Scream" (feat. Keith Murray) | ||
6. | "Hey Zulu" | ||
7. | "City Lights" (feat. Bun B) | Nasty Kutt | 3:57 |
8. | "Father's Day" | ||
9. | "Mrs. International" (skit) | ||
10. | "Mrs. International" (feat. Erick Sermon) | Buckwild | 3:56 |
11. | "How Bout Dat?" (feat. Ready Roc, Streetlife) | ||
12. | "Dis Iz All 4 My Smokers" | ||
13. | "Lock Down" (skit) | ||
14. | "4 Minutes to Lock Down" (feat. Raekwon, Ghostface Killah) | 3:24 | |
15. | "Neva Heard Dis B4" | ||
16. | "I Know Sumptin" (feat. Poo Bear) | ||
17. | "A Lil Bit" (feat. Melanie Rutherford) |
http://en.wikipedia.org/wiki/Blackout_2
May 03, 2009
Leon and the Peoples
Leon and the Peoples
Leon & The Peoples is a ‘reggae-soul’ band. Lead vocals by actor and singer/songwriter Leon. They have performed live across the nation.
Leon, actor and singer/songwriter, starred in the Disney “Cool Runnings.” Leon has also appeared on television with a re-occurring role on NBC’s “Crossing Jordan,” also on the HBO series “Oz”. Leon’s passion for music was first seen with fans as he portrayed singer David Ruffin in the award winning “The Temptations Mini-Series” and in both “The Little Richard Story” and “The Five Heartbeats”. Leon made his singing debut playing a reggae singer in “The Price of Kissing” in which he sang a reggae rendition of “Daddy’s Home”. In 2008, Leon & The Peoples song, "Life Is A Funny Game" is featured as the closing credit song on the 20th Century Fox movie "Cover" directed by Bill Duke.
Leon & The Peoples has been on BET’s “106 and Park” and have headlined the concert in Central Park celebrating the NYC AIDS WALK (2003 – 2009). Leon & The Peoples performed at NYC Summer Stage and The International Music and Arts Festival in New Orleans, LA. and other Reggae festivals from coast to coast. In 2007 was billed along side reggae greats, Beres Hammond and Marcia Griffiths for the "For The Love of It Tour", playing many sold out dates including House of Blues in LA, San Diego and Atlantic City as well as the Roxy - Boston, BB Kings - NYC & Hard Rock Live in Orlando to name a few. When asked why he dubbed his music "Reggae-Soul" he stated “My music has soul influences, so just saying my music is straight up reggae wouldn’t be accurate,” Leon offers. “It’s basically music for everyone. One good thing with us is that people say it’s hard not to like the album because it doesn’t pinpoint any demographic, its just good music.” Leon doesn't have any direct Caribbean roots. When asked how he got into reggae music he expressed that it is Reggae music that got into him. As a young boy at the age of 11, he heard Bob Marley's “Natty Dread” coming out of a friends window and Leon was hooked. He travels back and forth to Jamaica as an actor so it has become an adopted homeland. Even before he formed Leon & The Peoples, he was involved in reggae music for years, hosting almost every Reggae show imaginable, having friends in the Jamaican music industry, and portraying Jamaicans in some of his movie roles such as Derice Bannock in Cool Runnings . And taking an active role in issues affecting Jamaica. Leon has worked extensively with Upliftment Jamaica, which is a social service organization aimed at providing recreation, education, and health services for St. Thomas.
The Road Less Travled is The Peoples' debut album. Leon has stated that “It was important that we took the time to nurture our sound and perform live as much as possible before recording our first album. The Road Less Traveled is the culmination of years of hard work and harnessing the energy and creative vision of a great team. We put together something very special to share.” The album was produced at Pulse Studios in New York City. Syleena Johnson is featured on the cover of the track “Bottles and Cans” which was originally sung by Angie Stone. Numerous of people dedicated their time and talent to make this album something special. Including Beres Hammond who produced the track “New Day.” Tony Rebel, also put his classic reggae style to the track “Working Man” and Tanto Metro of the duo known as (Tanto Metro and Devante) offered his energy to the R&B classic "Second That Emotion" originally performed by Smokey Robinson and The Miracles. The album has 13 tracks which include the smooth soultry track "Will You Be My Wife" and another cover of the song "Lovely Day."
is featured on the cover of the track “Bottles and Cans” which was originally sung by . Numerous of people dedicated their time and talent to make this album something special. Including who produced the track “.” Tony Rebel, also put his classic reggae style to the track “” and Tanto Metro of the duo known as (Tanto Metro and Devante) offered his energy to the R&B classic "Second That Emotion" originally performed by and . The album has 13 tracks which include the smooth soultry track "Will You Be My Wife" and another cover of the song "Lovely Day."
Source: http://www.wikipedia.org
Next Day Air
NEXT DAY AIR
When two bumbling criminals accidentally receive a package of grade-A cocaine, they think they've hit the jackpot. But when they try to cash in on their luck, it triggers a series of events that forever changes the lives of ten people. Smalltime hoods Brody and Guch have seen better days. But when a wacked-out courier accidentally brings them a box containing 10 kilos of high-quality cocaine meant for their next-door neighbors, it sets in motion a chain of events that could cost all of them their lives.
Brody and Guch immediately arrange to sell the coke to Brody's drug dealer cousin and his tightlipped bodyguard. But when the intended recipients of the package, wannabe gangster Jesus and his feisty girlfriend, realize the box hasn't arrived, they set out on a desperate search to find it before ruthless drug kingpin Bodega Diablo notices it's missing. But they're too late. Furious over the loss of his shipment, mob boss Bodega will stop at nothing to get the drugs back. With Brody and Guch's drug deal about to go down, all parties are on a collision course that's almost certain to end in heavy gunfire. And whoever's still standing when the smoke clears could walk away with nearly a million dollars in cash and drugs.
| Production Status: | In Production/Awaiting Release |
| Genres: | Action/Adventure and Comedy |
| Running Time: | 1 hr. 30 min. |
| Release Date: | May 8th, 2009 (wide) |
| MPAA Rating: | R for pervasive language, drug content, some violence and brief sexuality. |
| Distributors: | Summit Entertainment, LLC |
| Production Co.: | Melee Entertainment |
| Financiers: | Rock Capital Films, A-Mark Entertainment, Secret Society Films |
| Filming Locations: | Los Angeles, California USA |
| Produced in: | United States |
May 01, 2009
Tyson:Synopsis
K'naan
K'Naan A strong Condender for Album of the year
K'naan, born Kanaan Warsame (Somali: Kaynaan Warsame) in 1978, is a Somali-Canadian poet, rapper and musician.
Born in Mogadishu, Somalia, K'naan spent his childhood in the district of Wardhiigleey ("The Lake of Blood") during the Somali Civil War, which began in 1991. His aunt, Magool, was one of Somalia's most famous singers. K'naan's grandfather, Haji Mohamed, was a poet. K'naan is also a Muslim. His name, K'naan, means "traveller" in the Somali language.
K'naan's father, Abdi, left the country, along with many other intellectuals to settle in New York City and work as a cab driver. He mailed money home to his family. As the civil war continued and the situation in Somalia continued to deteriorate, K'naan's mother, Marian Mohamed, petitioned the United States embassy for an exit visa. In 1991, on the last day the US embassy remained open as the government of Mohamed Siad Barre collapsed their visa was approved, and they boarded the last commercial flight out of the country.
They joined relatives in Harlem, New York City, before moving to the Toronto, Ontario neighbourhood of Rexdale, where there was a large Somali Canadian community. His family still lives there. In his new country, K'naan began learning English, some through hip hop albums by artists like Nas and Rakim. Despite speaking no English, the young K'naan taught himself hip hop and rap diction, copying the lyrics and style phonetically. He then also began rapping. He dropped out of school in grade ten to travel for a time, rapping at open mic events, and eventually returned to Toronto.
K'naan became a friend and associate of Canadian promoter, Sol Guy, who helped him secure a gig speaking before the United Nations High Commissioner for Refugees in 1999, where K'naan performed a spoken word piece criticizing the UN for its failed aid missions to Somalia.[6] One of the audience members, Senegalese singer Youssou N'Dour, was so impressed by the young MC's performance and courage that he invited him to contribute to his 2001 album Building Bridges, a project through which K'naan was able to tour the world.
This project lead to his work at other UN events, as well as the Montreal Jazz Festival and the Halifax Pop Explosion. It also helped him meet Canadian producer Jarvis Church and his Track & Field team in 2002, who produced his debut album The Dusty Foot Philosopher, which was released in 2005 to critical acclaim. In 2006, it won the Juno Award for Rap Recording of the Year, and was nominated for the inaugural Polaris Music Prize. It also won the BBC Radio 3 Award for World Music in the newcomer category for 2007. The Dusty Foot Philosopher will be re-released and re-packaged as a "Deluxe Edition" featuring new mixes and a bonus DVD in the United States (and various international territories) by the emerging media company and record label iM (Interdependent Media, Inc.) in 2008.
Since then, he has been on tour promoting his album and working on his follow-up release, "Troubadour," his debut album for new label A&M/Octone Records. He has also been working with artists like Nelly Furtado, Mos Def, The Roots, Dead Prez, and Pharoahe Monch on tours such as Live 8[9] and Breedlove Odyssey. He also collaborated with Damian Marley on the "Welcome to Jamrock" touring session.
In 2005, the Canadian music scene featured a low-key feud between K'naan and k-os, one of the most prominent Canadian hip-hop artists. Following the release of the music video for the song Soobax, which was shot by K'naan and a film crew in Kenya, k-os released a track B-Boy Stance attacking K'naan : "They took cameras to Africa for pictures to rhyme / Over; Oh, yes, the great pretenders [...] Religious entertainers who want to be life savers." Though the feud never became high-profile, with K'naan expressing confusion at the attack and respect for k-os, he nonetheless responded with the mixtape Revolutionary Avocado which argued "You the all-knowing with a beer bottle / Wishing you was Plato and me Aristotle? / ...Suburban negro turned hip-hop hero / Is there a reason he really hates me, though?" — a rebuttal CBC's Matthew McKinnon called "cold-cocking the champ". He recently released The Dusty Foot on the Road, a collection of recording made during his recent world tour on Wrasse Records.
His second studio album, Troubadour, was released on February 24, 2009 on A&M/Octone Records, and will be distributed through Universal Music Group worldwide. The album's first single, "ABC's", was released to radio in late 2008. K'naan has featured in several video games such as "Madden NFL 09" with his song ABC's, and "Fifa 06" with his song soobax. The song "If Rap Gets Jealous", a rerecording of a track of the same name - with different verses - from The Dusty Foot Philosopher, features Metallica lead guitarist Kirk Hammett. K'naan was also the first featured artist on X3, a collaborative project between CBC Radio 3, Exclaim! magazine and aux.tv to promote new Canadian music.
On April 15th 2009 K'Naan publicly criticised the approach to the problem of Somali piracy after the kidnapping of Richard Phillips (captain) of the United States flagged MV Maersk Alabama container ship 240 nautical miles (440 km; 280 mi) southeast of the Somalia port city of Eyl.
"It has no basis, no roots, and I'm not talking about, when I say basis - it's not the same as justifications [...] but how there came to be pirates, I think that is probably the most undiscussed thing in major media today - it's as if they just sprung from nowhere. But Somalis have long known about the issues."
Critics have said K'naan has "a sound that fuses Bob Marley, conscious American hip hop, and brilliant protest poetry." His voice and style have been compared to Eminem, but his subject matter is very different; according to K'naan, he makes "urgent music with a message", talking about the situation in his homeland of Somalia and calling for an end to violence and bloodshed. He specifically tries to avoid gangsta rap clichés and posturing, saying:
"All Somalis know that gangsterism isn't to brag about. The kids that I was growing up with [in Rexdale] would wear baggy [track] suit pants, and a little jacket from Zellers or something, and they'd walk into school, and all the cool kids would be like, 'Ah, man, look at these Somalis. Yo, you're a punk!' And the other kid won't say nothing, but that kid, probably, has killed fifteen people."
This statement was made to explain his position on the world of difference which exists between where he grew up, and the ghettos of the first world.. Nonetheless, K'naan denies that he is overtly political, instead explaining that he "[shows] the state of the world [and] if you call it like it is you're being political.". His own opinion of his music is that it's a "mix of tradition and [a] kind of articulation of my own life and [..] my past experiences."
K'naan has said that he is influenced by Somali music and the traditional instruments of Somalia.
Denroy Morgan gets spiritual with Theocracy Reigns
Morgan gets spiritual with Theocracy Reigns
April 27, 09
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Reggae veteran Denroy Morgan on Tuesday released his latest album entitled Theocracy Reigns.
Recorded on Asaph Records label and distributed through VP Records the 14-track album feature Morgan Heritage, LMS
Glenda Phillips-Lee (Ethiopian Orthodox Coptic Church) and Clifford Branch on piano.
The album, which was three years in the making is more than worth the wait as it packs powerful, uplifting messages where Denroy tells the story, but through it all he gives Jah the praise and glory.
Theocracy Reigns is a musical documentation of the ceremony and launching of the ministry that took place on July 23, 2005 at the Ethiopian Orthodox Church of North and South America (Harlem).
In speaking about the experience Denroy shared, “The church has now welcomed the Sabbatical worship in oneness with their Sunday worship. When I come representing Asaph Music and told Abuana that I was ready to launch the musical ministry, he made it possible and gave us a charter to administrate it in the church.”
The CD is aptly titled as each song resonates of heavenly R&B and traditional gospel influenced vocals, soulful piano and guitar leads, international keyboards and the groundation of the Nyobingi drum. As the rhythmic pattern of the Nyobingi drum is blended with Reggae, R&B and gospel - a powerful spiritual revival takes place.
On the album Shy poo (Nashayah Morgan) mixes the R&B emotion on Little Children, while Peter Morgan moves to the choir on Jesus is Still Alive - Kirk Franklin style and on Holy Sabbath he revives the spirit. God Meant For My Good accompanied by Clifford Branch on piano is sentimentally sung by Glenda Phillips.
Among the other tracks on the album are Go Before Us Jah, The Lion of Judah, Theocracy Reigns, Rock My Soul and I’m Still Holding On.
Denroy Morgan is known for his chartbusting single I’ll Do Anything For You and later other hits such as Sweet Tender Love, Happy Feelings and Africa Is Calling.
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‘Oakland at war, a civil war, us against the authorities’
‘Oakland at war, a civil war, us against the authorities’
Davey D interviews Mistah F.A.B. on the shooting deaths of Lovelle Mixon and four Oakland police officers
After the funeral March 27 that filled the Oakland Coliseum with more than 20,000 cops, motorcycle officers escorted the body of Sgt. Mark Dunakin to its resting place in Tracy. Dunakin was notorious in North Oakland for wreaking havoc on Black Oaklanders. All the OPD officers killed March 21 lived outside Oakland. – Photo: Lance Iversen, SF Chronicle
Davey D hanging here in Austin, Texas, and we have caught up with Mistah F.A.B. By now everybody knows the news that has taken place in the City of Oakland that is now national news. We’ve been around a lot of folks from around the country, from Jadakiss to Bundee, and we’re talking about the situation that has taken place with the four cops that have gotten killed on the eve of the Oscar Grant trial [i.e., the murder trial of former BART cop Johannes Mehserle, which was postponed].
We wanted to catch up with Mistah F.A.B. He’s one of the key voices of the Bay, at least nationally speaking, and we wanted to get your assessment, especially since you were part of the big showcase that was here last night with everybody who was on the bill, from the Bundees on down, and want to get your take on what people are saying and how you personally as an Oakland resident is feeling about this situation.
Mistah F.A.B.: Well, anytime where there’s a death situation, Davey, you don’t want to go out and say, well, they deserved it, because somebody lost a father and somebody lost a friend. And when you deal with death, nothing constitutes a reason for death. Like I don’t wish death on anyone and I don’t wish jail on anyone. Those are horrible things to face.
Unfortunately, when you live in times where it’s really war - and our city, for anybody who doesn’t know, the City of Oakland right now is under war; we’re like a civil war, and it’s us against the authorities - it’s unfortunate that if you get pulled over, you’re so afraid for your life that you’re going to react as someone would react in war.
I mean, man, if you’re hearing about these cops killing all these people, all these young brothers, and you get pulled over, you don’t know if you’re going to go to jail or if you’re going to die. So it’s a Catch 22, man, and it’s unfortunate because, like I say, more than one person lost their life here; more than two people lost their life here: The cops lost their lives and Brother Lovelle lost his life. That’s five deaths, man, as a result of 1) self defense and 2) being afraid for your life. So what do you do?
It’s a civil war, us against the authorities - if you get pulled over, you’re so afraid for your life that you’re going to react as someone would react in war.
Davey D: So let me ask you, one of the things people are saying is that it was wrong for people around the country - and we saw this last night when dead prez announced it and people cheered, well, I don’t know if they cheered at your spot, but they definitely cheered at the other spot - and some people are like, well, I don’t understand.
I mean when I talked to a cat from Philly, they had horror stories, and the people from Houston have horror stories. All these people come from communities where they have horror stories and it seems like you would think that after the tragedy of Oscar Grant or Annette Garcia or a Sean Bell or anybody that law enforcement would use that tragedy - the good people in law enforcement would use that tragedy - as a way to bridge that gap, strengthen the bonds with the community. And apparently that hasn’t happened. It seems that things have gotten worse.
Mistah F.A.B.
Mistah F.A.B.: I’m not a guy that says all police officers are bad because there are some cops that really handle their obligations and their duty to their position. There are many cops that along the way they’ve spared me. There’s been times where they know you’re doing wrong but they’re like, “Get outta here, man; it’s bigger than that.” So all cops aren’t bad.
And, like they said, when they announced it, people cheered, like, “Fuck the cops!” “Kill ‘em!” “Kill the cops!” “Kill the pigs!” And that’s not going to settle anything. What that’s going to do is the cops hear - just like we talk, they talk: “So that’s how y’all feel? All right, we’re going to get your ass back!”
It’s war, man. It’s really gang war all over America, all over the world. In Philly, Houston, New York, cops need to realize the only way that this is going to stop is if they step up and take the initiative to say, OK, we’re wrong; we’ve done wrong things. How can we mend these relationships?
How can we sit down and come into the community and make a peace? And if there is no possible way to make a peace, let us admit our faults. Therefore, the people won’t feel like, “Oh, man, I’m getting pulled over.”
A random traffic stop is life or death now. Why does it feel like that, like you don’t even want to stop. So you got a high speed chase, you risk somebody else’s life, you pull over, you shoot a cop: That’s your life. You can’t win. People are blaming the people like they’re stupid for doing that. Why are they doing that? That’s some ignorant asshole wanting to shoot a cop. But no, they’re not.
That’s somebody who’s scared for his life. All over the country, all over the world, they’re afraid for their lives. People of authority are taking advantage of their authority and the good cops aren’t taking the initiative to step up and say, “We don’t support that.” They’re not saying: “Hold on! We’re not like that. All of us aren’t like that.”
A random traffic stop is life or death now. You don’t even want to stop. So you got a high speed chase, you risk somebody else’s life, you pull over, you shoot a cop: That’s your life. You can’t win.
Davey D: That’s something that was talked about last night and the question was asked - we were talking with some brothers off the record because they didn’t want to go on, and that just goes to show you there were folks that were here that were afraid to go on because of past situations and they don’t want to be on record - but they were asking, what was the reaction of the police after Oscar Grant? Did anybody send his mom a flower? Cards? Did anybody hold a press conference to say this is a tragedy? You didn’t see none of that.
Dude broke it down: He said they see us as inhuman. If they see us as inhuman, why should we not see them as inhuman?
Mistah F.A.B.: I don’t see a problem going on record because this is something I really stand firm and believe. I talked to many - I won’t put their name on record - but I talked to some Black officers in our community and I told them: Yo, you know, when this whole situation went down, I felt like you guys should have came forth like, “We’re not supporting that. We definitely don’t believe in the ideologies that some of these officers and these people of authority are enforcing. We want to make amends with the community.”
They see us as inhuman. If they see us as inhuman, why should we not see them as inhuman?
You have to realize, Davey, there are officers who have programs, like these summer programs where there are sports programs for these kids. Like I told one of them, I said, “Bro, you’re one of the main representatives to get kids into school and the initiative to get them into sports and community related type things so when it’s time for these kids to turn 18 and when they become grown, they’re an enemy? These same kids you played with in summer camp and baseball - they’re an enemy now?
“These are the kids that are dying. These are the grown men that were once in those programs. They aren’t your enemy. Don’t treat them like they’re your enemy. These are your offspring, these are kids that played in your camp.”
Davey D: What did these officers say when you broke it down to them like that?
Mistah F.A.B.: It was so humbling to see someone like me really tell them like that. Like one of the officers - I’m in the hood when I see him, and I flag him down and the homies were like, “Man, what you doing?” I’m like, “Hold on, man; this is a homie. He’s a cool dude.” So I flag him down and he pulled over. He like, “F.A.B., what’s up, man?”
I’m like, “Man, why you don’t take a stand to that, dude? Why you didn’t say nothing about that?” He’s like, “F.A.B., man, it’s so many politics.” I said, “Listen, there comes a time when you have to make your own politics. You have to say it even if this is worth losing my job or worth losing whatever rank I have or public persona that people perceive me as.
“What are you going to stand for? This could have been your kid that they killed. Are you going to stand for something or are you going to hide behind your position?”
And to a lot of these artists, a lot of these political figures, these athletes: “Stop hiding behind your position. People say, oh, let’s do it off the record. Why? Let’s put it on the record. Show us how you really feel. Show us what’s going on in your community. Or is it something that you’re not wanting to stand for?”
This is not saying I’m going to kill a cop when I see one. I’m not saying that, ‘cause I honestly do believe that there are cops out there that really do their job. But I’m not going to hide behind my position as a rapper and be afraid that if I get pulled over, they’re going to take this out on me because I represent for my people. If we don’t address the politics and the issues that the public needs to hear, then no one will ever be conscious of what’s really going on.
Davey D: That’s real talk. We’ve been talking with Mistah F.A.B. As we wrap up, we’re here in Austin, Texas, and for people who don’t know, yesterday when the news broke out here at the South by Southwest Music Conference, it reverberated all the way around. Dead prez got on the stage at two concerts and announced it, and in both the concert that I was at, where it was a mixed audience - Black, Brown, white, everybody - the audience cheered - cheered - and that says a lot.
At the concert that F.A.B. was at, same thing: Packed house cheered. And I guess this leads to my last question: With these sorts of relationships, there are two concerns that people have. One is people are speculating, OK, this is how you feel and it will really bring the heat and not just people in Oakland but in all cities where people may feel encouraged or some sort of satisfaction from this are going to catch heat.
But I’m not going to hide behind my position as a rapper and be afraid that if I get pulled over, they’re going to take this out on me because I represent for my people. If we don’t address the politics and the issues that the public needs to hear, then no one will ever be conscious of what’s really going on.
Last night we saw a heavy presence of police. I don’t know if it was because of the closing or whatever but also the question is, what are some of the solutions that we can put forth? What kinds of things should happen?
Mistah F.A.B.: The people must realize that death is not cool. I’m not telling y’all, “Yo, go kill a cop, man. Make your people happy.” It’s not about that. What is that settling?
But if slaves revolted and killed a slave owner, then the people who have been oppressed will feel some type of satisfaction, because for so long they have been getting treated with the injustices of these slave owners. The authorities act like they’re slave owners and they treat us inhuman. They treat us like we’re less than one-third of a man like we used to be when we first came to this country.
If we take a stand and we make examples of these slave owners, then the slave owners will realize, “Wait! Hold on! This ain’t right. Something ain’t right. Wait a minute and they must realize it’s something that they’re doing that raises the level, the intensity level, that forces us to revolt and rebel.
But if slaves revolted and killed a slave owner, then the people who have been oppressed will feel some type of satisfaction … The authorities act like they’re slave owners and they treat us inhuman.
The people must understand that I’m not saying continue to accept the injustices - no way! Put your foot down, stand firm on your decisions that you do make, but also be aware of the fact that this is someone else’s family. If they want to continue to act that way, whatever your decision, stand firm with it. But always try to look for the positive decision out of it. Don’t just always say, “Well, I’m gon’ kill him.”
Like last week, Davey, they just gave my brother 432 years. That’s serious. It’s so serious that it’s unbelievable. When you hear your brother say they just gave me 432 years, what I’m gon’ do? What you gon’ do? 432 years? It’s serious, Davey.
They’re making examples out of us, all because they can. We stand firm on our decision as we gather, as we organize in a worldwide brotherhood realizing that we’re not going to take this anymore.
But let’s come forth with our political leaders and let’s sit down with their authority leaders and let’s make up a solution. And if there’s no solution to be made, then the problem will persist. And it’s not like this problem has just started happening. This has been going on for years. But who’s going to step forward and say, “Let’s make this change, let’s try to do this.”
I have no problem going to sit down with the chief of police and say “Dog, let’s do this. Let’s do that.” And once the public sees someone of my social status and my relevance in the community and I’m bringing those guys that you’re turning your back on, those same guys that you’re racially profiling, that you’re pulling over, that are afraid for their lives, they’re on the front line and they’re willing to say, all right what we gon’ do?
That’s what must happen. So political leaders, community leaders and people of activism all over the country and all over the world must step forth to make a change for power, not a change of continuing the cycle of ignorance.
Davey D: We’ve been talking with Mistah F.A.B. We’re here in Austin, Texas. Davey D hanging out with you. I want to thank you, Mistah F.A.B., for taking time out, sharing your thoughts.
We want people to reflect on this, and let’s figure out how we can really flip this to our collective advantage and move forward. We’ve had the Oscar Grants, we’ve had the Sean Bells, the Annette Garcias, the Adolph Grimes - 12 shootings already at the start of this year. Something has got to change; otherwise, it’s going to be a very, very, very long, hot summer.
Email Davey D at mrdaveyd@aol.com and visit daveyd.com. Listen to Davey on Hard Knock Radio Monday-Friday at 4 p.m. on KPFA 94.1 FM or kpfa.org.
April 06, 2009
"In Prison My Whole Life"
William Francome is a fairly typical, white middle-class guy. Typical except for the fact that he is about to embark on a journey into the dark heart of the American judicial system; the tangled world of renowned Death Row prisoner Mumia Abu-Jamal.
The connection between these two characters is a simple one, and the pretext for this film, as Will explains:
"I was born in London on December 9th 1981. Over 3000 miles away Mumia Abu-Jamal, a Black Panther and radical journalist, was arrested for the murder of a police officer in Philadelphia. He claimed he was innocent but was sentenced to death and has been awaiting execution ever since. Over the years, he has attracted massive international support from organisations like Amnesty International and world leaders like Nelson Mandela amongst others. I'm now 24 years old and in that time Mumia has become the most famous and controversial death row inmate in America".
Despite his situation, and against all odds, Mumia has managed to penetrate the consciousness of people like Will. Through his writings and his web and radio broadcasts from Death Row, he has become known to many as "the Voice of the Voiceless".
"In Prison My Whole Life" takes us to some surprising places and brings us into contact with some of America?s most original minds. Never-seen-before footage and brand new evidence create a prevailing case for reasonable doubt while exploring the socio-political climate of America ? past and present. Angela Davis, Mos Def, Noam Chomsky, Alice Walker, Snoop Dogg, Steve Earle, Amy Goodman and many others take us through a decades-old struggle for equality, fairness and respect that so many Americans strive for to this day.
Mumia?s cause has created a political storm but after the politicians have said their piece, after the court papers have been filed and the protestors have gone home, we are left with a film about a man ? a father, a son, an inspiration and a pariah - who faces his twenty-fifth year on Death Row.
Extraordinary though Mumia?s story is, he is only one of 3,350 people currently on death row in the United States. This film allows him not only to speak to us, but also on behalf of those others who cannot find a voice.
http://www.inprisonmywholelife.com
ETANA PREPARES TO SOAR HIGHER IN 2009
Popular roots singer, Etana, who has so far enjoyed an astounding season of awards, copping the ‘Female singer of the Year’ title in all local awards, and the much-coveted ‘Album of the Year’ award, is now in overdrive as she prepares to soar even higher in 2009.
With her career poised as it is to move to an even more international level, it is inevitable that changes will take place. The Strong One, who has set up her own label, Freemind Music, The BES Records, is channeling free-spiritedness and female power as she seeks to establish herself. One important career decision has been to enlist the services of highly respected music mogul, Heavy D, as her co-manager.
“I am being managed by Freemind music, but we understand the need to partner with other entities and individuals as we seek to secure that winning team,” the conscious females singer and role model states. “We have been in dialogue with the best in the business and have assembled what we are confident is the right combination,” Etana declared.
Solid Agency, which has been directly involved in Etana’s career, will remain as the entity responsible for booking shows for the artiste. “We will continue to work with Solid in this regard,” she stated, adding that the company, Dancehallreggaeweseh, will co-ordinate all aspects of her public relations portfolio.
The singer, who will be going on a promotional tour of the United States and Europe in the summer, is now promoting her latest single, Free.
Source: www.dancehallreggaeweseh.com
The Obama Deception
The Obama Deception is a hard-hitting film that completely destroys the myth that Barack Obama is working for the best interests of the American people.
The Obama phenomenon is a hoax carefully crafted by the captains of the New World Order. He is being pushed as savior in an attempt to con the American people into accepting global slavery.
We have reached a critical juncture in the New World Order's plans. It's not about Left or Right: it's about a One World Government. The international banks plan to loot the people of the United States and turn them into slaves on a Global Plantation.
Covered in this film: who Obama works for, what lies he has told, and his real agenda. If you want to know the facts and cut through all the hype, this is the film for you.
Watch the Obama Deception and learn how:
- Obama is continuing the process of transforming America into something that resembles Nazi Germany, with forced National Service, domestic civilian spies, warrantless wiretaps, the destruction of the Second Amendment, FEMA camps and Martial Law.
- Obama's handlers are openly announcing the creation of a new Bank of the World that will dominate every nation on earth through carbon taxes and military force.
- International bankers purposefully engineered the worldwide financial meltdown to bankrupt the nations of the planet and bring in World Government.
- Obama plans to loot the middle class, destroy pensions and federalize the states so that the population is completely dependent on the Central Government.
- The Elite are using Obama to pacify the public so they can usher in the North American Union by stealth, launch a new Cold War and continue the occupation of Iraq and Afghanistan.
The information contained in this film is vital to the future of the Republic and to freedom worldwide. President Barack Obama is only the tool of a larger agenda. Until all are made aware, humanity will remain captive to the masters of the New World Order.
911 Missing Links - The Definitive Truth About 911
911 Missing Links - The Definitive Truth About 911.
Officially released on 8/18/2008.
911 MISSING LINKS is the first film to expose the identity of the criminals responsible for 911.
This documentary contains the definitive truth about 911. Created from investigations by agents, analysts and assets of the Federal Bureau of Investigation, the Central Intelligence Agency, the National Security Agency and Intelligence sectors of the United States Armed Forces who are still Loyal to America. Also utilizing evidence from Foreign Intelligence organizations, local law enforcement agencies and independent investigators, 911 Missing Links goes where no other 911 Documentary has yet dared to go.
You will also learn why even the most popular movies on the subject have failed to address the evidence presented in this film and why different factions of the 911 truth movement constantly bog any real progress down by bickering among themselves because the facts will make it abundantly clear that the so-called 9/11 "Truth" movement has also been infiltrated and is ultimately controlled by the same criminal group who masterminded the attacks.
As they say, 'If you want to control the dissenters, you lead the dissent.'
http://www.911MissingLinks.com
April 05, 2009
Hybrids The Movie
Time has finally run out for mankind as the choices made and paths followed throughout history have finally caught up to him.
Since the beginning, man's history has consisted of war and his environment has always been neglected. Our ability to sustain and provide natural and uncontaminated resources to the populous has steadily decreased at an alarming rate. The disruptions of the earth's logical order through the insertion of genetically modified organisms only amplified matters by altering the planets ability to rejuvenate itself.
Man made chemicals flood the planets water and air supply. Everything lies in the present as fate has sided with the people. The only hope left is living life naturally for as the movement grows the struggle continues. A grim future unfolds as the people become aware.
http://www.rawHybrids.com * http://www.reallifepictures.info
April 02, 2009
Cynthia McKinney
Cynthia Ann McKinney (born March 17, 1955) is a former United States Representative and was the 2008 Green Party nominee for President of the United States. McKinney served as a Democrat in the U.S. House of Representatives from 1993–2003 and 2005–2007, first representing Georgia's 11th Congressional District and then Georgia's 4th Congressional District. She is the first African-American woman to have represented Georgia in the House.
In the 1992 election, McKinney was elected in the newly re-created 11th District, and was re-elected in 1994. When her district was redrawn and renumbered due to the Supreme Court of the United States ruling in Miller v. Johnson, McKinney was easily elected from the new 4th District in the 1996 election, and was re-elected twice without substantive opposition.
McKinney was defeated by Denise Majette in the 2002 Democratic primary, in part due to Republican crossover voting in Georgia's open primary election, which permits anyone from any party to vote in any party primary, and in part due to her "controversial profile, which included a suggestion that [George W.] Bush knew in advance of the September 11 attacks."
After her 2002 loss, McKinney traveled and gave speeches, and served as a Commissioner in The Citizens' Commission on 9-11. On October 26, 2004, she was among 100 prominent Americans and 40 family members of those who were killed on 9/11 who signed the 9/11 Truth Movement statement, calling for new investigations of what they perceived as unexplained aspects of the 9/11 events. McKinney was re-elected to the House in November 2004, following her successor's run for Senate. In Congress, she advocated unsealing records pertaining to the assassination of Martin Luther King, Jr., and an investigation into the murder of Tupac Shakur and continued to criticize the Bush Administration over the 9/11 attacks. She supported anti-war legislation and introduced articles of impeachment against President Bush, Vice President Dick Cheney, and Secretary of State Condoleezza Rice.
She was defeated by Hank Johnson in the 2006 Democratic primary, after finding herself in the national spotlight again over the March 29, 2006 Capitol Hill Police Incident, where she was involved in a confrontation with a Capitol Hill Police officer who did not recognize her as a member of congress. She left the Democratic Party in September 2007.
Members of the United States Green Party had attempted to recruit McKinney for their ticket in both 2000 and 2004. She eventually ran as the Green Party nominee in the 2008 presidential election.
March 02, 2009
Sister Souljah
Sister Souljah (born as Lisa Williamson in 1964, Bronx, New York) is an American hip hop-generation author, activist, recording artist, and film producer. She is best known for Bill Clinton's criticism of her remarks about race in the United States during the 1992 presidential campaign. Clinton's well-known repudiation of her comments led to what is now known in politics as a Sister Souljah moment.
Souljah was the executive director of Daddy's House Social Programs Inc., a not-for-profit corporation for urban youth, financed by Sean Combs and Bad Boy Entertainment.
She recounts in her autobiography that she was born into poverty and raised on welfare. At age 10 she moved with her family to the suburbs of Englewood, New Jersey, a wealthy suburb of New Jersey with tree-lined streets, which is also home to other famous Black artists such as George Benson, Eddie Murphy, and Regina Belle.
Souljah disliked what American students were being taught in school systems across America. She felt that the school systems purposely left out the African origins of civilization. Also, she criticized the absence of a comprehensive curriculum of African American history, which she felt all students, black and white, needed to learn and understand in order to be properly educated. She felt that she was being taught very little of her history, since the junior high school and high school left out Black history, art, and culture. The Englewood school district took an active role recruiting Black educators and administrators.
Souljah took a very active and special interest in learning everything she could about African history, which she felt was left out of the education curriculum in this country purposely: "I supplemented my education in the white American school system by reading African history, which was intentionally left out of the curriculum of American students." While at Dwight Morrow High School, a school that had a relatively even distribution of Black, Latino, and Jewish student enrollment and a majority Black administration during the time of her studies, from 1978 to 1981. She was a legislative intern in the House of Representatives. Souljah was also the recipient of several honors during her teenage years. She won the American Legion's Constitutional Oratory Contest, a scholarship to attend Cornell University's Advanced Summer Program.
Throughout college she traveled, visiting Britain, France, Spain, Portugal, Finland, and Russia. Her academic accomplishments were reinforced with first-hand experiences as she worked in a medical center in Mtepa Tepa, a village located in Zimbabwe, and assisted refugee children from Mozambique. She also traveled to South Africa and Zambia. She graduated from Rutgers University with degrees in American History and African Studies. She became a well-known and outspoken voice on campus and active writer for the school newspaper. One of her noted campus initiatives was spearheading a campaign to bring Jesse Jackson to Rutgers to speak against the university's controversial investments in South Africa at the time, when divestiture from apartheid-era South Africa was a heated political issue. Sister Souljah was part of the Rutgers Coalition for Divestment which successfully organized the Rutgers University administration to divest 3.6 million dollars in their financial holding companies doing business in racist pre-Nelson Mandela, South Africa. Sister Souljah and students across the state of New Jersey also pressured and organized a successful campaign to get the state of New Jersey to divest more than 1 Billion dollars of it's financial holdings in apartheid South Africa.
In 1985, during her senior year at Rutgers University, she was offered a job by Reverend Benjamin Chavis of the United Church of Christ Commission for Racial Justice. She spent the next three years developing, organizing, and financing programs such as African Survival Camp, a 6-week summer sleep-away camp in Enfield, North Carolina. She also became the organizer of the National African Youth-Student Alliance and outspoken voice against Racially Motivated Violence in cases such as Howard Beach, Yusuf Hawkins etc.
Sister Souljah became a controversial figure during the 1990s as a frequent guest on American televisions and radio talk shows. Sister Souljah became known for being unrelenting in promoting and protecting the interest of African People in America, the Caribbean and in the diaspora. Since she was a young intelligent, popular, and stylish, her frank talk on race issues became popular across the nation.
Sister Souljah is married to a man named Mike Rich and has one child named Michael Jr.
She appeared on several tracks as a featured guest with the hip-hop group Public Enemy, and she became a full member of the group when Professor Griff left the group after allegedly making anti-Semitic remarks. In 1992, she released her only album, 360 Degrees of Power. Both of her videos, "The Final Solution: Slavery's Back in Effect" and "The Hate that Hate Produced," were banned by MTV because of their inflammatory imagery. Her album sold only 27,000 copies, and so her label, Epic/SME Records, dropped her. It is believed that the album sold poorly because of public backlash from her comments in response to the beating of Rodney King, but it also received terrible reviews in the music press.
Souljah became infamous for her statements about the 1992 Los Angeles riots. In an interview conducted May 13, 1992, she was quoted in the Washington Post as saying:
“ If Black people kill Black people every day, why not have a week and kill white people? ”
The quotation, which was taken out of context, was later reproduced in the media, and she was widely criticized. Presidential candidate Bill Clinton publicly criticized that statement—and Jesse Jackson for allowing her to be on his Rainbow Coalition—thus the Sister Souljah moment was created.
In 1995, at the age of 31, she published a volume of autobiography titled No Disrespect (Times/Crown/Random House ISBN 0-812-92483-5). In 1999, she made her debut as a novelist with The Coldest Winter Ever (Simon & Schuster ISBN 0-671-02578-3). The latter was praised by The New Yorker. An indirect sequel of the novel, titled Midnight: A Gangster Love Story (Atria/Simon & Schuster ISBN 978-1-4165-4518-7), originally scheduled for October 14, 2008, was published November 4, 2008, and entered The New York Times bestseller list at #7 its first week out and remains there as of February 2009. Another novel, Porsche Santiaga, is due in 2010.
She also does occasional pieces for Essence Magazine and has written for The New Yorker.
As a community activist, Souljah has organized a number of service programs. In 1985, during her senior year at Rutgers University, she developed and financed the African Youth Survival Camp for children of homeless families, a 6-week summer sleep-away camp in Enfield, North Carolina. She has been a motivating force behind a number of hip-hop artists' efforts to give back to the community, organizing major youth events, programs, and summer camps with artists such as Lauryn Hill, Doug E. Fresh, and Sean "Diddy" Combs.
Souljah was the executive director of Daddy's House Social Programs Inc., a not-for-profit corporation for urban youth, financed by Sean Combs and Bad Boy Entertainment. Daddy's House educates and prepares youth, aged 10–16, to be in control of their academic, cultural, and financial lives. The students progressing through the program earn support to travel throughout the world.
Lucy (Dinqineš)
Lucy (also given a second (Amharic) name: dinqineš, or “Dinkenesh,” meaning “You are beautiful” or "you are wonderful") is the common name of AL 288-1, the 40% complete skeleton of an Australopithecus afarensis specimen discovered in 1974 at Hadar in the Awash Valley of Ethiopia's Afar Depression. Lucy is estimated to have lived 3.2 million years ago.
The discovery of this hominin was significant as the skeleton shows evidence of small skull capacity akin to that of apes and of bipedal upright walk akin to that of humans, providing further evidence that bipedalism preceded increase in brain size in human evolution.
Side view of Lucy replica
French geologist Maurice Taieb discovered the Hadar Formation in 1972. He then formed the International Afar Research Expedition (IARE), inviting Donald Johanson, an American anthropologist now head of the Institute of Human Origins of Arizona State University, and Yves Coppens, a French born paleontologist now based at the Collège de France to co-direct the research. An expedition was formed with four American and seven French participants, and in the autumn of 1973 the team surveyed Hadar, Ethiopia for fossils and artifacts related to the origin of humans.
In November 1973, near the end of the first field season, Johanson noticed a fossil of the upper end of a shinbone, which had been sliced slightly on the front. The lower end of a thighbone was found near to it, and when he fitted them together the angle of the knee joint clearly showed that this fossil, reference AL 129-1, was an upright walking hominid. Over three million years old, the fossil was much older than any others known at the time. The site lay about two and a half kilometres from the site at which they subsequently found "Lucy".
The team returned for the second field season in the following year and found hominid jaws. Then, on the morning of November 24, 1974, near the Awash River, Johanson abandoned a plan to update his field notes and joined graduate student, Tom Gray from Texas State, in taking their Land Rover to Locality 162 to search for bone fossils.
Both Johanson and Gray spent a couple of hours on the increasingly hot arid plains, surveying the dusty terrain, then Johanson decided on a hunch to make a small detour on their way back to the Land Rover to look at the bottom of a small gulley that had been checked at least twice before by other workers. At first sight there was virtually no bone in the gulley, but as they turned to leave, a fossil caught Johanson's eye; an arm bone fragment lying on the slope. Near it lay a fragment from the back of a small skull. As they looked further, they found more and more bones, including part of a thighbone, vertebrae, part of a pelvis indicating that the fossil was female, ribs, and pieces of jaw. They marked the spot and returned to camp, excited at finding so many pieces apparently from one individual hominid.
Cast of Lucy in Mexico
In the afternoon, everyone on the expedition was at the gully, sectioning off the site and preparing for careful collection which eventually took three weeks. That first evening they celebrated at the camp, staying up all night, and at some stage during the evening the fossil AL 288-1 was nicknamed Lucy, after the Beatles song "Lucy in the Sky with Diamonds", which was being played loudly and repeatedly on a tape recorder in the camp.
Over the three weeks, several hundred pieces or fragments of bone were found, with no duplication, confirming their original speculation that they were from the one skeleton. As the team analyzed the fossil further, they calculated that an amazing 40% of a hominin skeleton had been recovered, an astounding accomplishment in the world of anthropology. Usually, only fossil fragments are discovered; rarely are skulls or ribs found intact. Johanson considered it was female based on the one complete pelvic bone and sacrum indicating the width of the pelvic opening. Lucy was only 1.1 m (3 feet 8 inches) tall, weighed 29 kilograms (65 lb) and looked somewhat like a Common Chimpanzee, but although the creature had a small brain, the pelvis and leg bones were almost identical in function with those of modern humans, showing with certainty that these hominids had walked erect.
Johanson brought the skeleton back to Cleveland, under an agreement with the government of Ethiopia, and returned it according to agreement some 9 years later. Lucy as a fossil hominin significantly captured public notice, becoming almost a household name at the time.
Further discoveries of afarensis specimens occurred during the 1970s giving anthropologists a much better appreciation of the range of variability and sexual dimorphism of the species.
March 01, 2009
Gigi Shibabaw
From an ancient kingdom fixed in the popular imagination as civilization's cradle, birthplace of biblical consorts to the Hebrew kings and would-be messiahs, emerges the voice of Gigi Shibabaw. Gigi, a stunning young Ethiopian singer, reaches from the past with a spriritual vision for the future, reminding us of the most fundamental human truths: devotion, harmony, and beauty. Her self-titled album, is a space odyssey that takes us back home, to what really matters.
Produced by world music mastermind Bill Laswell, who has worked with artists ranging from Herbie Hancock to Morocco's Master Musicians of Joujouka, Gigi's album is an organic flowering of ancient Nile rhythms, contemporary jazz virtuosity, pan-African rhythm, and dub-reggae studio wizardry. Percolating around Gigi's rich, affectless voice are a team of master musicians that include saxophonists Wayne Shorter, Henry Thredgill, and Pharoah Sanders; guitarist Nicky Skopelitis; percussinists Aiyb Dieng and Karsh Kale; and Laswell himself on bass. From "Guramayle," a sweeping pop number kitted out in soulful organ swells, to the West African styled "Mengedegna," the rugged horn-laden Ethio-funk of "Tew Ante Sew," and dark dub energy of "Sew Argegn," Gigi's debut captures the many facest of this unique artist.
Twenty-seven years old, tall, dusky and crowned with a nest of sun-kissed curls, Gigi embodies polar possibilities with disarming grace. From a tiny corner of East Africa, she has emerged with an effortlessly cosmopolitan voice. Gigi is conversant in the ancient language of Agew, a root language and lingua franca of ancient norther states of Ethiopia. "For an Ethiopian artist, my work is different," she explains, sequestered in Laswell's Orange Music Souns Studio during the recording of this album. And not only because Gigi writes all of her own songs, "I grew up singing in the Ethiopian Church, which is actually not allowed for women, but there was a priest at my home who taught me how to sing the songs. And I listen to a lot of West African music, South African music, hip hop, and funk, so you feel all that in the melodies. Even if it's in Amharic, people can appreciate this music." Those who know Ethiopia's pop superstars Aster Aweke and Mahmoud Ahmed will find Gigi's music markedly different. Her varied musical interests leaven the rigid Ethiopian scales; her voice is just as likely to soar fullbodied like the Malian songbird Oumou Sangare as it is to break into breathy falsetto.
Fifth child in a family of ten, Ejigayew "Gigi" Shibabaw was raised in a far-off hamlet by conscientious parents who'd turned their backs on the squalor of the city. Her family's life was directly dependent on the water from the river Ardi to irrigate their coffee plant crops. "I always knew I wanted to be a singer," she recalls. "We always had a lot of entertainment in my house. When people would come over, my parents would have the kids perform for them." A loyal daughter with a rebellious streak -- some things truly are universal -- Gigi sought her artistic fortunes abroad when her tradition-minded father initially forbade her to make way in the world as an entertainer. Living first in Nairobi, Kenya, and performing with an Ensemble of East African expats, Gigi returned to Ethiopia's capital Addis Ababa, where she quickly established herself as a singer and songwriter to be reckoned with.
Cast in a French theatre production of the story of Solomon and the Queen of Sheba, which featured an all-Ethiopian ensemble, Gigi toured East and South Africa, and eventually France, where she was invited to perform at a Paris World Music Festival. Seeing the world stage as her true home, Gigi relocated to San Fransisco at age 24. It wasn't long before her music, released for the local Ethiopian community, caught the attention of Chris Blackwell, Palm Pictures founder.
Her music derives from celebrations of Genna (Ethiopian Christmas), when men and women used to assemble at her home for two months of feasting, games, and of course, zefen (songs) and chifera (group dancing). Her poetry is inspired by the land, by scripture, the ancient Ethiopian church, and the beauty of the Ethiopian civilization.
Gigi entrusted her songs to an international cast of musicians -- fellow Ethiopians, West Africans, Americans, and Indian-Americans. "I thought it would be difficult to work with people who weren't Ethiopian and didn't know our music," she admits, "but everything we've done is magic. Bill Laswell is incredible. It's like when we got all these musicians together, it just happened -- they're playing my heart."
Courtesy of http://www.myspace.com/gigishibabaw
February 26, 2009
Roots empress Dezarie
"Eaze The Pain"
Melody & Lyrics by Dezarie
Produced & Performed by Ron Benjamin
Roots empress Dezarie has blessed the reggae community with the deliverance of her newest recording "Gracious Mama Africa". Released on the Afrikan Roots Lab record label, this album emerges from the seeds planted on her amazing debut album of 2001 "FYA".
Gracious Mama Africa transports the incredible voice of Dezarie to a whole new level - the highest heights. Her foundation is firmly established in songs such as "Travelers" and the title track. The brilliance and clarity of Dezarie's voice is reverently unveiled on "Exhalt". Gracious Mama Africa abounds with pleas for social justice and racial equality with selections like "Poverty", "Strengthen Your Mind" and "Justice".
But to this listener, the strength and power of Dezarie is most strikingly displayed in her condemnation of so-called civilization. "Gone Down", "Not One Penny", "Law Fe De Outlaw", "Slew Dem An Done" and "Judgment Come" all deliver conscious punches that penetrate the soul.
"Do what you want, wheresoever you please. Bombing Vieques, yes your bombing the seas. Lock up anyone that was opposing. Speaking against the nonsense that you were doing. But babylon you gone down, you gone down. Babylon funeral, you gone down." - Dezarie
After receiving Atlanta's "Best New Female Reggae Artist" award in 2001, Dezarie returned to her native island of St. Croix. Since that time, she has been working closely with Midnite, the players of instruments for "Gracious Mama Africa". Midnite's trademark sound is fully displayed on this album. Momentous bass lines from Phillip Merchant, classic one-drop from Dion Hopkins and the bubbling of Ron Benjamin on keyboards prevail throughout, accentuated by Abijah's charismatic guitar playing.
From the excellent overdubs of Dezarie's voice to the flying symbols on "Slew Dem" it is evident that Ron Benjamin worked tirelessly in the production and mixing of this album. The fruits of this labour are eloquently displayed on Gracious Mama Africa which is sure to be one of the best roots albums of 2003.
Source/Courtesy:http://www.Ireggae.com / http://www.dezarie.com
Winnie Madikizela-Mandela
Winnie Madikizela-Mandela; born September 26, 1936 as Nomzamo Winifred Zanyiwe Madikizela, is a South African politician who has held several government positions, headed the African National Congress' Women's League and is currently a member of the ANC's National Executive Committee.
She is the ex-wife of former South African president and African National Congress (ANC) leader Nelson Mandela. As a controversial activist, she is popular among her supporters, who refer to her as the 'Mother of the Nation', yet reviled by others.
Her Xhosa name is Nomzamo. Traditionally Xhosa names carry significance; Nomzamo means "trial". She was born in the village of Mbongweni, Bizana, in the Pondo region of what is now South Africa's Eastern Cape Province. She held a number of jobs in various parts of what was then the Bantustan of Transkei, including with the Transkei government, living at various times in Bizana, Shawbury, and Johannesburg.
She met lawyer and anti-apartheid activist Nelson Mandela in 1957. They were married in 1958 and had two daughters, Zenani (b.1959) and Zindzi (b.1960). She is a diabetic.
Despite restrictions on education of blacks during apartheid, she earned a degree in social work from the Jan Hofmeyer School in Johannesburg, and several years later earned a bachelor's degree in international relations from the University of Witwatersrand, also in Johannesburg.
She emerged as a leading opponent of the white minority rule government during the later years of her husband Nelnon Mandela's long imprisonment; from August 1963 – February 1990. For many of those years, she was exiled to the town of Brandfort in the Orange Free State and confined to the area, except for the times she was allowed to visit her husband at the prison on Robben Island.
Her reputation was damaged by what many considered her sometimes bloodthirsty rhetoric, the most noteworthy example of this being a speech she gave in Munsieville on April 13, 1985, where she endorsed the practice of necklacing in the struggle to end apartheid. She said, "with our boxes of matches and our necklaces we shall liberate this country".
During the 1980s as well as the early 90s, she attracted immense national and international media attention and was interviewed by many foreign journalists as well as national journalists such as Jani Allan, then Leading Columnist of the Sunday Times (South Africa).
Further tarnishing her reputation were accusations by her bodyguard, Jerry Richardson, that Winnie Madikizela-Mandela ordered him to abduct and kill an alleged informer, 14 year old James Seipei (also known as Stompie Moeketsi) in January 1989. This incident became a cause célèbre for the apartheid government. In 1991, she was convicted of kidnapping and being an accessory to assault in connection with the death of Seipei. Her six-year jail sentence was reduced to a fine on appeal.
During the transition from apartheid to democracy, she adopted a far less conciliatory attitude than her husband toward the previously dominant white community. The Mandelas' 38-year marriage ended in separation (April 1992) and divorce (March 1996). She then adopted the surname Madikizela-Mandela. Appointed Deputy Minister of Arts, Culture, Science and Technology in the first post-Apartheid government (May 1994), she was dismissed eleven months later following allegations of corruption.
She remained popular among many ANC radicals, and, in December 1993 and April 1997, she was elected president of the ANC Women's League, though she withdrew her candidacy for ANC Deputy President at the movement's Mafikeng conference in December 1997.
In 1997, she appeared before the Truth and Reconciliation Commission. Archbishop Desmond Tutu as chair of the commission recognised her importance in the anti-apartheid struggle, but also begged her to apologize and to admit her mistakes. In a guarded response, she echoed his words, admitting that 'things went horribly wrong'.
January 29, 2009
Joseph Nathaniel Hibbert
Joseph Nathaniel Hibbert (b. 1894) was, along with Leonard Howell, Archibald Dunkley, and Robert Hinds, one of the first preachers of the Rastafari movement in Jamaica following the coronation of Ras Tafari as Emperor Haile Selassie I of Ethiopia on 2 November 1930.
In about 1911, at the age of 17, he moved to Costa Rica where he spent 20 years at farm work, also becoming a member of the Ancient Order of Ethiopia masonic lodge. His background at this time had been with the Ethiopian Baptist Church, that had been founded in Jamaica by the 18th century Baptist preacher George Lisle. Hibbert returned to Jamaica in 1931, starting his ministry, "Ethiopian Coptic Faith", to teach that the newly-crowned Haile Selassie was divine, in St. Andrew Parish, in a district called Benoah. He reached this conclusion independently, having studied the Ethiopic translation of the Bible. Somewhat later, he transferred his ministry to Kingston, where he found that another street preacher named Leonard P. Howell was already teaching many similar doctrines. Like Howell and Dunkley, Hibbert was subjected to arrest and imprisonment by authorities, and he was also a founding member of EWF Local 17.
Hibbert was probably among the Rastafari elders, including Mortimer Planno, who were given the honour of meeting with Haile Selassie I on his historic 1966 visit to Jamaica. In 1970, Hibbert formally invited the Archbishop Laike Mandefro, whom Haile Selassie had sent to Jamaica as emissary of the Ethiopian Orthodox Tewahedo Church, to teach Rastafarians about the Orthodox Faith, and in about 1971, Mandefro named Hibbert as a "Spiritual Organizer".
Leonard Percival Howell
Leonard Percival Howell (June 16, 1898 – 1981) was a Jamaican religious figure. He was one of the first preachers of the Rastafari movement (along with Joseph Hibbert, Archibald Dunkley, and Robert Hinds), and is sometimes known as "The First Rasta."
Born in May Crawle River, Jamaica, Howell left the country as a youth and returned in 1932. He began preaching in 1933 about what he considered the symbolic portent for the African diaspora—the crowning of Ras Tafari Makonnen as Emperor Haile Selassie I of Ethiopia. His preaching asserted that Haile Selassie was the "Messiah returned to earth." Although this resulted in him being arrested, tried for sedition and imprisoned for two years, the Rastafari movement grew. [1]
Over the following years, Howell came into conflict with all the establishment authorities in Jamaica: the planters, the trade unions, established churches, police and colonial authorities. Nevertheless, this movement prospered, and today the Rastafari faith exists worldwide.
Leonard Howell died in Kingston, Jamaica.
Howell's doctrine of Rastafari
Though imprisoned for it, Howell published his doctrine with the title The Promise Key under the pen name G.G. Maragh. Some of the themes were later discarded in the movement, but the main ones in this book included: Opposition to the wickedness
The dignity of the Black race
God's revenge on the wicked for their wickedness
The negation, persecution and humiliation of the government and legal bodies of wicked world
Preparation to return to Africa
Acknowledgment of Emperor Haile Selassie I as the Supreme Being and the only ruler of the Black people.
Opposition to the wickedness
The dignity of the Black race
God's revenge on the wicked for their wickedness
The negation, persecution and humiliation of the government and legal bodies of wicked world
Preparation to return to Africa
Acknowledgment of Emperor Haile Selassie I as the Supreme Being and the only ruler of the Black people.
January 27, 2009
Empress Menen Asfaw
Empress Menen Asfaw (Baptismal name Wolete Giyorgis) (25 March 1889 - February 15, 1962) was the wife and consort of H.I.M. Emperor Haile Selassie I of Ethiopia. Empress Menen was the daughter of Asfaw, Jantirar of Ambassel. He was a direct descendant of Emperor Lebna Dengel, through Emperor Gelawdewos of Ethiopia and his daughter Princess Enkulal Gelawdewos and this genealogy was deleted from the official history of Etege Menen. The title of Jantirar has traditionally belonged to the head of the family holding the mountain fortress of Ambassel, and Jantirar Asfaw was one of them. Her mother was Woizero Sehin Mikael, half-sister of Lij Iyasu (Iyasu V), and daughter of Negus Mikael of Wollo. Woizero Sehin's mother, Woizero Fantaye Gebru, was a direct descendant of Emperor Susenyos in the "Seyfe Melekot" line. Empress Menen and H.I.M. Emperor Haile Selassie were the parents of six children: Princess Tenagnework, Prince Asfaw Wossen (Emperor-in-Exile Amha Selassie I), Princess Tsehai, Princess Zenebework, Prince Makonnen Ras of Harrar, and Prince Sahle Selassie.
According to both published and unpublished reports, the then Woizero Menen Asfaw was given in marriage by her family, to the prominent Wollo nobleman, Dejazmach Ali of Cherecha, and bore him a daughter, Woizero Belaynesh Ali, and a son, Jantirar Asfaw Ali. This first marriage ended in divorce, and Woizero Menen then married Dejazmach Amede Ali Aba-Deyas, another very prominent nobleman of Wollo. She bore her second husband two children as well, a daughter Woizero Desta Amede, and a son Jantirar Gebregziabiher Amede.". Following the sudden death of her second husband, Woizero Menen's grandfather, Negus Mikael arranged her marriage to Ras Leul Seged Atnaf Seged, a prominent Shewan nobleman, who was considerably older than Woizero Menen, sometime in late 1909 or early 1910.
Woizero Menen probably met Dejazmach Tafari Makonnen (later Emperor Haile Selassie) at the home of her uncle, Lij Iyasu. The rapport between the two may have inspired Lij Iyasu to attempt to bind Dejazmach Tafari to him more firmly through marriage ties. He therefore arranged the separation of Woizero Menen from Ras Leul Seged, and sent her to Harar to marry Dejazmatch Tafari Makonnen. They were married in early August of 1911. Ras Leul Seged apparently did not hold a grudge against Dejazmatch Tafari for this circumstance, blaming it entirely on Lij Iyasu who had ordered it. He was among the leaders who fought on the side of Dejazmach Tafari Makonnen in the Battle of Segale, and died in that battle.
The account given in the Autobiography of the Emperor, My Life and Ethiopia's Progress, mentions no previous marriage or children of Empress Menen and no such order by Iyasu, but states only that at the age of 20, they were married by their own mutual consent, and describes her as "a woman without any malice whatsoever". When Tafari Makonnen became Emperor of Ethiopia as H.I.M. Haile Selassie I, Menen Asfaw was crowned as Empress at his side. Empress Menen had no children by Ras Leul Seged.
Empress Menen was active in promoting women's issues in Ethiopia, was Patroness of the Ethiopian Red Cross, and the Ethiopian Women's Charitable Organization. She was also patroness of the Jerusalem Society that arranged for pilgrimages to the Israel. She founded the Empress Menen School for Girls in Addis Ababa, the first all girls school which had both boarding and day students. Girls from all over the Empire were brought to the school to receive a modern education, encouraged by the Empress who visited it often and presided over its graduation ceremonies. The Empress gave generously, as well as sponsored programs for the poor, ill and disabled. She was also a devoutly religious woman who did much to support the Ethiopian Orthodox Tewahedo Church. She built, renovated and endowed numerous churches in Ethiopia and in the Holy Land. Prominent among these are the St. Raguel Church in Addis Ababa's Merkato district, the Kidane Mehret (Our Lady Covenant of Mercy) Church on Mount Entoto, and the Holy Trinity Monastery on the banks of the River Jordan in Israel. She gave generously from her personal funds towards the building of the new Cathedral of St. Mary of Zion at Axum, but did not live to see it completed and dedicated.
When the Empress was exiled from Ethiopia during the Italian occupation from 1936 to 1941, she made a pledge to the Virgin Mary at the Church of the Nativity in Bethlehem, promising to give her crown to the church if Ethiopia were liberated from occupation. The Empress made numerous pilgrimages to Sites in then British-ruled Palestine, in Syria and in Lebanon, during her exile to pray for her occupied homeland. Following the return of H.I.M. Emperor Haile Selassie I and his family to Ethiopia in 1941, a replica of the crown was made for future Empresses, but the original crown that Empress Menen was crowned with at her husband's side in 1930 was sent to the Church of the Nativity in Bethlehem. Empress Menen, although often seen wearing a tiara at public events that called for it, would never again wear a full crown.
Empress Menen performed perfectly in the role of Empress-consort. In her public role she combined religious piety, concern for social causes, and support for development schemes with the majesty of her Imperial status. Outwardly she was the dutiful wife, visiting schools, churches, exhibitions and model farms, attending public and state events at her husband's side or by herself. She took no public stand on political or policy issues. Behind the scenes however, she was the Emperor's most trusted advisor, quietly offering advice on a whole range of issues. She avoided the publicly political role that her predecessor as Empress-consort, Empress Taitu Bitul, had taken, which had caused deep resentment in government circles during the reign of Menelik II.
The Empress and some of her family were placed under house arrest briefly during the 1960 Imperial Guard coup attempt against her husband at her villa outside the Guenete Leul Palace grounds in northern Addis Ababa. Following the return of the Emperor and the crushing of the coup attempt, there was much speculation as to the conduct of the Crown Prince, who had been proclaimed monarch by the coup leaders. It was noted that the Crown Prince had accompanied his mother in a drive through the palace grounds, making stops at Imperial Guard posts to exchange pleasantries with the guards, on the night before the coup was launched. The ailing Empress had been urged to visit the posts by security officials, who were concerned about the soldiers' morale, and perhaps had an idea that something was brewing. The appearance of the Empress with the Crown Prince at her side may have been used by coup leaders as an indication to their followers that the Empress might sympathise with a movement that brought her favored son to the throne. It is extremely unlikely that either the Empress or the Prince had any idea of what was being plotted. However, a cloud of suspicion never left the Crown Prince, and the Empress was deeply saddened by this.
Following her death in 1962, the Empress was buried in the crypt of Holy Trinity Cathedral in Addis Ababa among the tombs of her children. Prime Minister Aklilu Hapte-Wold delivered her eulogy paying tribute to her charity, her piety, and her role as advisor and helpmate to the Emperor, as well as her personal kindness and goodness. On the third day memorial and commemoration after the funeral, the Emperor himself paid tribute to his wife by saying that although the Prime Minister had aptly described what kind of person his late wife had been, he wanted to say that during their five decades of marriage, not once had it been necessary to have a third party mediate between him and his wife, and that their marriage had been one of peace and mutual support.
Later, the H.I.M. Emperor Haile Selassie I built a pair of grand sarcophagi in the north transept of Holy Trinity Cathedral's nave, in order to transfer his wife's remains there and eventually be buried at her side himself. But due to the revolution, the Emperor was not buried there after his death, and the Empress remained in her original tomb in the crypt. During the ceremonial burial of her husband's remains in November 2000, the remains of Empress Menen were also disinterred from the crypt tomb, and placed in the sarcophagus next to her husband in the nave of the Cathedral, as he had originally intended.
Source: www.wikipedia.org
Robert "Bob" Nesta Marley
Robert "Bob" Nesta Marley, Order of Merit (OM) (February 6, 1945 – May 11, 1981) was a Jamaican musician, singer-songwriter and Rastafarian. He was the lead singer, songwriter and guitarist for the ska, rocksteady and reggae bands: The Wailers (1964 – 1974) and Bob Marley & the Wailers (1974 – 1981). Marley remains the most widely known and revered performer of reggae music, and is credited for helping spread Jamaican music to the worldwide audience.
Marley's best known hits include "I Shot the Sheriff", "No Woman, No Cry", "Exodus", "Could You Be Loved", "Stir It Up", "Jamming", "Redemption Song", "One Love" and, together with The Wailers, "Three Little Birds",[2] as well as the posthumous releases "Buffalo Soldier" and "Iron Lion Zion". The compilation album, Legend, released in 1984, three years after his death, is the best-selling reggae album ever (10 times platinum in US), with sales of more than 20 million copies.
Bob Marley was born in the small village of Nine Mile in Saint Ann Parish, Jamaica as Nesta Robert Marley. A Jamaican passport official would later swap his first and middle names. His father Norval Sinclair Marley was a white Scottish Jamaican. Norval was a Marine officer and captain, as well as a plantation overseer, when he married Cedella Booker, a black Jamaican then eighteen years old. Norval provided financial support for his wife and child, but seldom saw them, as he was often away on trips. In 1955, when Marley was 10 years old, his father died of a heart attack at age 60. Marley suffered racial prejudice as a youth, because of his mixed racial origins and faced questions about his own racial identity throughout his life. He once reflected:
I don't have prejudice against meself. My father was a white and my mother was black. Them call me half-caste or whatever. Me don't dip on nobody's side. Me don't dip on the black man's side nor the white man's side. Me dip on God's side, the one who create me and cause me to come from black and white.
Marley became friends with Neville "Bunny" Livingston (later known as Bunny Wailer), with whom he started to play music. He left school at the age of 14 to make music with Joe Higgs, a local singer and devout Rastafari. It was at a jam session with Higgs and Livingston that Marley met Peter McIntosh (later known as Peter Tosh), who had similar musical ambitions.
In 1962, Marley recorded his first two singles, "Judge Not" and "One Cup of Coffee", with local music producer Leslie Kong. These songs, released on the Beverley's label under the pseudonym of Bobby Martell, attracted little attention. The songs were later re-released on the box set, Songs of Freedom, a posthumous collection of Marley's work.
The Wailers
In 1963, Bob Marley, Bunny Wailer, Peter Tosh, Junior Braithwaite, Beverley Kelso, and Cherry Smith formed a ska and rocksteady group, calling themselves "The Teenagers". They later changed their name to "The Wailing Rudeboys", then to "The Wailing Wailers", at which point they were discovered by record producer Coxsone Dodd, and finally to "The Wailers". By 1966, Braithwaite, Kelso, and Smith had left The Wailers, leaving the core trio of Bob Marley, Bunny Wailer, and Peter Tosh.
In 1966, Marley married Rita Anderson, and moved near his mother's residence in Wilmington, Delaware in the United States for a short time, during which he worked as a DuPont lab assistant and on the assembly line at a Chrysler plant, under the alias Donald Marley.
Upon returning to Jamaica, Marley became a member of the Rastafari movement, and started to wear his trademark dreadlocks (see the religion section for more on Marley's religious views).
After a conflict with Dodd, Marley and his band teamed up with Lee "Scratch" Perry and his studio band, The Upsetters. Although the alliance lasted less than a year, they recorded what many consider The Wailers' finest work. Marley and Perry split after a dispute regarding the assignment of recording rights, but they would remain friends and work together again.
Between 1968 and 1972, Bob and Rita Marley, Peter Tosh and Bunny Wailer re-cut some old tracks with JAD Records in Kingston and London in an attempt to commercialize The Wailers' sound. Bunny later asserted that these songs "should never be released on an album … they were just demos for record companies to listen to." Also in 1968, Bob and Rita visited the Bronx to see Johnny Nash's songwriter Jimmy Norman. A three day jam session with Norman and others, including Norman's co-writer Al Pyfrom, resulted in a 24-minute tape of Marley performing several of his own and Norman-Pyfrom's compositions which is, according to Reggae archivist Roger Steffens, rare in that was influenced by pop rather than reggae, as part of the effort to break Marley into American charts. According to an article in The New York Times, Marley experimented on the tape with different sounds, adopting a doo-wop style on "Stay With Me" and "the slow love song style of 1960's artists" on "Splish for My Splash."
The Wailers' first album, Catch a Fire, was released worldwide in 1973, and sold well. It was followed a year later by Burnin', which included the songs "Get Up, Stand Up" and "I Shot The Sheriff". Eric Clapton made a hit cover of "I Shot the Sheriff" in 1974, raising Marley's international profile.
The Wailers broke up in 1974 with each of the three main members going on to pursue solo careers. The reason for the breakup is shrouded in conjecture; some believe that there were disagreements amongst Bunny, Peter, and Bob concerning performances, while others claim that Bunny and Peter simply preferred solo work.
Bob Marley & The Wailers
Despite the breakup, Marley continued recording as "Bob Marley & The Wailers". His new backing band included brothers Carlton and Aston "Family Man" Barrett on drums and bass respectively, Junior Marvin and Al Anderson on lead guitar, Tyrone Downie and Earl "Wya" Lindo on keyboards, and Alvin "Seeco" Patterson on percussion. The "I Threes", consisting of Judy Mowatt, Marcia Griffiths, and Marley's wife, Rita, provided backing vocals.
In 1975, Marley had his international breakthrough with his first hit outside Jamaica, "No Woman, No Cry," from the Natty Dread album. This was followed by his breakthrough album in the US, Rastaman Vibration (1976), which spent four weeks on the Billboard charts Top Ten.
In December 1976, two days before "Smile Jamaica", a free concert organized by the Jamaican Prime Minister Michael Manley in an attempt to ease tension between two warring political groups, Marley, his wife, and manager Don Taylor were wounded in an assault by unknown gunmen inside Marley's home. Taylor and Marley's wife sustained serious injuries, but later made full recoveries. Bob Marley received minor wounds in the chest and arm. The shooting was thought to have been politically motivated, as many felt the concert was really a support rally for Manley. Nonetheless, the concert proceeded, and an injured Marley performed as scheduled, two days after the attempt. When asked why, Marley responded, "the people who are trying to make this world worse aren’t taking a day off. How can I?". The members of the group Zap Pow – which had no radical religious or political beliefs – played as Bob Marley's backup band before a festival crowd of 80,000 while members of the Wailers were still missing or in hiding.
Bob Marley in London, 1980
Marley left Jamaica at the end of 1976 for England, where he recorded his Exodus and Kaya albums. Exodus stayed on the British album charts for 56 consecutive weeks. It included four UK hit singles: "Exodus", "Waiting In Vain", "Jamming", "One Love", and a rendition of Curtis Mayfield's hit, "People Get Ready". It was here that he was arrested and received a conviction for possession of a small quantity of cannabis while traveling in London.
In 1978, Marley performed at another political concert in Jamaica, the One Love Peace Concert, again in an effort to calm warring parties. Near the end of the performance, by Marley's request, Manley and his political rival, Edward Seaga, joined each other on stage and shook hands.
Babylon by Bus, a double live album with 13 tracks, was released in 1978 to critical acclaim. This album, and specifically the final track "Jammin'" with the audience in a frenzy, captured the intensity of Marley's live performances.
Survival, a defiant and politically charged album, was released in 1979. Tracks such as "Zimbabwe", "Africa Unite", "Wake Up and Live", and "Survival" reflected Marley's support for the struggles of Africans. His appearance at the Amandla Festival in Boston in July 1979 showed his strong opposition to South African apartheid, which he already had shown in his song "War" in 1976. In early 1980, he was invited to perform at the April 17 celebration of Zimbabwe's Independence Day.
Uprising (1980) was Bob Marley's final studio album, and is one of his most religious productions, including "Redemption Song" and "Forever Loving Jah". It was in "Redemption Song" that Marley sang the famous lyric,
| “ | Emancipate yourselves from mental slavery | ” |
Confrontation, released posthumously in 1983, contained unreleased material recorded during Marley's lifetime, including the hit "Buffalo Soldier" and new mixes of singles previously only available in Jamaica.
Marcus Mosiah Garvey, Jr.
Marcus Mosiah Garvey, Jr., National Hero of Jamaica (17 August 1887 – 10 June 1940[1]), was a publisher, journalist, entrepreneur, Black nationalist, Pan-Africanist, and orator. Marcus Garvey was founder of the Universal Negro Improvement Association and African Communities League (UNIA-ACL)
Prior to the twentieth century, leaders such as Prince Hall, Martin Delany, Edward Wilmot Blyden, and Henry Highland Garnet advocated the involvement of the African diaspora in African affairs. Garvey was unique in advancing a Pan-African philosophy to inspire a global mass movement focusing on Africa known as Garveyism.[2] Promoted by the UNIA as a movement of African Redemption, Garveyism would eventually inspire others, ranging from the Nation of Islam, to the Rastafari movement (which proclaims Garvey as a prophet). The intention of the movement was for those of African ancestry to "redeem" Africa and for the European colonial powers to leave it. The idea that African Americans should return to Africa was known as the Colonist Movement. His essential ideas about Africa were stated in an editorial in the Negro World entitled “African Fundamentalism” where he wrote:
| “ | Our union must know no clime, boundary, or nationality… let us hold together under all climes and in every country… |
Garvey was born in St. Ann's Bay, Jamaica, on August 17, 1887, to Marcus Mosiah Garvey, Sr., a mason, and Sarah Jane Richards, a domestic worker and farmer. Of eleven siblings, only Marcus and his sister Indiana reached maturity. Garvey's father was known to have a large library, and it was from his father that Marcus gained his love for reading. Sometime in the year 1900, Garvey entered into an apprenticeship with his uncle, Alfred Burrowes. Like Garvey Sr., Burrowes had an extensive library, of which young Garvey made good use. When he was about fourteen, Garvey left St. Ann's Bay for Kingston, where he found employment as a compositor in the printing house of P. A. Benjamin, Limited. He was a master printer and foreman at Benjamin when, in November 1907, he was elected vice-president of the Kingston Union. However, he was fired when he joined a strike by printers in late 1908. Having been blacklisted for his stance in the strike, he later found work at the Government Printing Office. In 1909, his newspaper The Watchman began publication, but it only lasted for three issues.
In 1910 Garvey left Jamaica and began traveling throughout the Central American region. He lived in Costa Rica for several months, where he worked as a time-keeper on a banana plantation. He began work as editor for a daily newspaper entitled La Nacionale in 1911. Later that year, he moved to Colón, Panama, where he edited a biweekly newspaper before returning to Jamaica in 1912.
After years of working in the Caribbean, Garvey left Jamaica to live in London from 1912 to 1914, where he attended Birkbeck College, worked for the African Times and Orient Review, published by Dusé Mohamed Ali, and sometimes spoke at Hyde Park's Speakers' Corner.
Founding and Projects of the UNIA-ACL
During his travels, Garvey became convinced that uniting Blacks was the only way to improve their condition. Towards that end, he departed England on 14 June 1914 aboard the S.S. Trent, reaching Jamaica on 15 July 1914. He founded the Universal Negro Improvement Association (UNIA) in August 1914 as a means of uniting all of Africa and its diaspora into "one grand racial hierarchy." Amy Ashwood, who would later be Garvey's first wife, was among the founders. As the group's first President-General, Garvey's goal was "to unite all people of African ancestry of the world to one great body to establish a country and absolute government of their own."
Following much reflection the following day and night about what he learned, he named the organization the Universal Negro Improvement Association and African Communities (Imperial) League."
After corresponding with Booker T. Washington, Garvey arrived in the U.S. on 23 March 1916 aboard the S.S. Tallac to give a lecture tour and to raise funds to establish a school in Jamaica modeled after Washington's Tuskegee Institute. Garvey visited Tuskegee, and afterward, visited with a number of Black leaders. After moving to New York, he found work as a printer by day. He was influenced by Hubert Harrison. At night he would speak on street corners, much like he did in London's Hyde Park. It was then that Garvey perceived a leadership vacuum among people of African ancestry. On 9 May 1916, he held his first public lecture in New York City at St Mark's Church in-the-Bowery and undertook a 38-state speaking tour.
In May 1917, Garvey and thirteen others formed the first UNIA division outside Jamaica and began advancing ideas to promote social, political, and economic freedom for Blacks. On July 2, the East St. Louis riots broke out. On July 8, Garvey delivered an address, entitled "The Conspiracy of the East St. Louis Riots," at Lafayette Hall in Harlem. During the speech, he declared the riot was "one of the bloodiest outrages against mankind." By October, rancor within the UNIA had begun to set in. A split occurred in the Harlem division, with Garvey enlisted to become its leader; although he technically held the same position in Jamaica.
Garvey next set about the business of developing a program to improve the conditions of those of African ancestry "at home and abroad" under UNIA auspices. On 17 August 1918, publication of the widely distributed Negro World newspaper began. Garvey worked as an editor without pay until November 1920. By June 1919 the membership of the organization had grown to over two million.
On 27 June 1919, the Black Star Line of Delaware, was incorporated by the members of the UNIA with Garvey as President. By September, it obtained its first ship. Much fanfare surrounded the inspection of the S.S. Yarmouth and its rechristening as the S.S. Frederick Douglass on 14 September 1919. Such a rapid accomplishment garnered attention from many.
One person who noticed was Edwin P. Kilroe, Assistant District Attorney in the District Attorney's office of the County of New York. Kilroe began an investigation into the activities of the UNIA, without finding any evidence of wrongdoing or mismanagement. After being called to Kilroe's office numerous times, Garvey wrote an editorial on Kilroe's activities for the Negro World. Garvey was arrested and indicted for criminal libel in relation to the article, but charges were dismissed after Garvey published a retraction.
While in his Harlem office at 56 West 156th Street on 14 October 1919, Garvey received a visit from George Tyler, who told him that Kilroe "had sent him" to get Garvey. Tyler then pulled a .38-caliber revolver and fired four shots, wounding Garvey in the right leg and scalp. Garvey was taken to the hospital and Tyler arrested. The next day, it was let out that Tyler had committed suicide by leaping from the third tier of the Harlem jail as he was being taken to his arraignment.
By August 1920, the UNIA claimed four million members. That month, the International Convention of the UNIA was held. With delegates from all over the world in attendance, over 25,000 people filled Madison Square Garden on August 1 to hear Garvey speak.
Another of Garvey's ventures was the Negro Factories Corporation. His plan called for creating the infrastructure to manufacture every marketable commodity in every big U.S. industrial center, as well as in Central America, the West Indies, and Africa. Related endeavors included a grocery chain, restaurant, publishing house, and other businesses.
Convinced that Blacks should have a permanent homeland in Africa, Garvey sought to develop Liberia.
The Liberia program, launched in 1920, was intended to build colleges, universities, industrial plants, and railroads as part of an industrial base from which to operate. However, it was abandoned in the mid-1920s after much opposition from European powers with interests in Liberia. In response to suggestions that he wanted to take all Americans of African ancestry back to Africa, he wrote, "We do not want all the Negroes in Africa. Some are no good here, and naturally will be no good there."
Garvey has been credited with creating the biggest movement of people of African descent. This movement that took place in the 1920s is said to have had more participation from people of African descent than the Civil Rights Movement. In essence the UNIA was the largest Pan-African movement.
In a memorandum dated 11 October 1919, J. Edgar Hoover, special assistant to the Attorney General, and head of the General Intelligence Division (or "anti-radical division"), of The Bureau of Investigation or BOI (after 1935, the Federal Bureau of Investigation) wrote a memorandum to Special Agent Ridgely regarding Marcus Garvey. In the memo, Hoover wrote that:
“ | Unfortunately, however, he [Garvey] has not as yet violated any federal law whereby he could be proceeded against on the grounds of being an undesirable alien, from the point of view of deportation. | ” |
Sometime around November 1919 an investigation by the BOI was begun into the activities of Garvey and the UNIA. Toward this end, the BOI hired James Edward Amos, Arthur Lowell Brent, Thomas Leon Jefferson, James Wormley Jones, and Earl E. Titus as its first five African-American agents. Although initial efforts by the BOI were to find grounds upon which to deport Garvey as "an undesirable alien", a charge of mail fraud was brought against Garvey in connection with stock sales of the Black Star Line after the U.S. Post Office and the Attorney General joined the investigation.
The accusation centered on the fact that the corporation had not yet purchased a ship with the name "Phyllis Wheatley". Although one was pictured with that name emblazoned on its bow on one of the company's stock brochures it had not actually been purchased by the BSL and still had the name Orion. The prosecution produced as evidence a single empty envelope which it claimed contained the brochure. During the trial, a man by the name of Benny Dancy testified that he didn't remember what was in the envelope, although he regularly received brochures from the Black Star Line. Another witness for the prosecution, Schuyler Cargill, perjured himself after admitting to having been told to mention certain dates in his testimony by Chief Prosecutor Maxwell S. Mattuck. Furthermore, he admitted that he could not remember the names of any coworkers in the office, including the timekeeper who punched employees time cards. Ultimately, he acknowledged being told to lie by Postal Inspector F.E. Shea. He said Shea told him to state that he mailed letters containing the purportedly fraudulent brochures. The Black Star Line did own and operate several ships over the course of its history and was in the process of negotiating for the disputed ship at the time the charges were brought.
Of the four Black Star Line officers charged in connection with the enterprise, only Garvey was found guilty of using the mail service to defraud. His supporters called the trial fraudulent. While there were serious accounting irregularities within the Black Star Line and the claims he used to sell Black Star Line stock could be considered misleading, Garvey's supporters still contest that the prosecution was a politically motivated miscarriage of justice, given the above-mentioned false statement testimony and Hoover's explicit regret that Garvey had committed no crimes.
When the trial ended on 23 June 1923, Garvey had been sentenced to five years in prison. He initially spent three months in the Tombs Jail awaiting approval of bail. While on bail, he continued to maintain his innocence, travel, speak and organize the UNIA. After numerous attempts at appeal were unsuccessful, he was taken into custody and began serving his sentence at the Atlanta Federal Penitentiary on 8 February 1925. Two days later, he penned his well known "First Message to the Negroes of the World From Atlanta Prison" wherein he makes his famous proclamation:
“ | Look for me in the whirlwind or the storm, look for me all around you, for, with God's grace, I shall come and bring with me countless millions of black slaves who have died in America and the West Indies and the millions in Africa to aid you in the fight for Liberty, Freedom and Life. | ” |
Professor Judith Stein has stated, “his politics were on trial.”
Garvey's sentence was eventually commuted by President Calvin Coolidge. Upon his release in November 1927, Garvey was deported via New Orleans to Jamaica, where a large crowd met him at Orrett's Wharf in Kingston. A huge procession and band converged on UNIA headquarters.
Criticism
While W.E.B. DuBois expressed the Black Star Line was “original and promising,” he also said: “Marcus Garvey is, without doubt, the most dangerous enemy of the Negro race in America and in the world. He is either a lunatic or a traitor.” Du Bois feared that Garvey's activities would undermine his efforts toward black rights.
Garvey suspected Du Bois was prejudiced against him because he was a Caribbean native with darker skin. Du Bois once described Marcus Garvey as "a little fat black man, ugly, but wit intelligent eyes and a big head."[citation needed] Garvey called Du Bois “purely and simply a white man's nigger" and "a little Dutch, a little French, a little Negro … a mulatto … a monstrosity.” This led to an acrimonious relationship between Garvey and the NAACP. Garvey accused Du Bois of paying conspirators to sabotage the Black Star Line to destroy his reputation.
Garvey recognized the influence of the Ku Klux Klan, and in early 1922, he went to Atlanta, Georgia for a conference with KKK imperial giant Edward Young Clarke.
According to Garvey, “I regard the Klan, the Anglo-Saxon clubs and White American societies, as far as the Negro is concerned, as better friends of the race than all other groups of hypocritical whites put together. I like honesty and fair play. You may call me a Klansman if you will, but, potentially, every white man is a Klansman, as far as the Negro in competition with whites socially, economically and politically is concerned, and there is no use lying.”
After Garvey's entente with the Ku Klux Klan, a number of African American leaders appealed to U.S. Attorney General Harry M. Daugherty to have Garvey incarcerated.
Later years
Garvey travelled to Geneva in 1928 to present the Petition of the Negro Race, which outlined the worldwide abuse of Africans, to the League of Nations. In September 1929, he founded the People's Political Party (PPP), Jamaica's first modern political party, which focused on workers' rights, education, and aid to the poor.
Also in 1929 Garvey was elected councilor for the Allman Town Division of the Kingston and St. Andrew Corporation (KSAC). He lost his seat, however, because of having to serve a prison sentence for contempt of court, but in 1930, he was re-elected, unopposed, along with two other PPP candidates.
In April 1931 Garvey launched the Edelweiss Amusement Company, which he set up to help artists earn their livelihood from their craft. Several Jamaican entertainers — Kidd Harold, Ernest Cupidon, Bim & Bam, and Ranny Williams — went on to become popular after receiving initial exposure that the company gave them.
In 1935 Garvey left Jamaica for London, where he lived and worked until his death in 1940. During these last five years, he remained active and in touch with events in war-torn Ethiopia (then known as Abyssinia) and the West Indies. In 1938, he gave evidence before the West Indian Royal Commission on conditions there. Also in 1938 he set up the School of African Philosophy in Toronto to train UNIA leaders. He continued to work on the magazine The Black Man.
In 1937 a group of his American supporters, called the Peace Movement of Ethiopia, openly collaborated with Mississippi Senator Theodore Bilbo in the promotion of a repatriation scheme introduced in the US Congress as the Greater Liberia Act. In the Senate, Bilbo was a supporter of Franklin Roosevelt's New Deal. Bilbo was an outspoken supporter of segregation and white supremacy and, attracted by the ideas of Black separatists like Garvey, Bilbo proposed an amendment to the federal work-relief bill on June 6, 1938, proposing to deport 12 million black Americans to Liberia at federal expense to relieve unemployment. He took the time to write a book titled Take Your Choice, Separation or Mongrelization, advocating the idea. Garvey praised him in return, saying that Bilbo had "done wonderfully well for the Negro".
During this period, the grandmother of the current (55th) Governor of New York, David Paterson served as his secretary.
Death
On 10 June 1940, Garvey died after two strokes, putatively after reading a mistaken, and negative, obituary of himself in the Chicago Defender which stated, in part, that Garvey died "broke, alone and unpopular". Because of travel conditions during World War II, he was interred at Kensal Green Cemetery in London. Rumours claimed that Garvey was in fact poisoned on a boat on which he was travelling and that was where and how he actually died.
In 1964, his remains were exhumed and taken to Jamaica. On 15 November 1964, the government of Jamaica, having proclaimed him Jamaica's first national hero, re-interred him at a shrine in National Heroes Park.
Personal life
Marcus Garvey was married twice: to the Jamaican Pan-African activist Amy Ashwood (married 1919, divorced 1922), who worked with him in the early years of UNIA; then to the journalist and publisher Amy Jacques (married 1922). The latter was mother to his two sons, Marcus Jr. and Julius.
Haile Selassie I
Haile Selassie I born Tafari Makonnen, was Ethiopia's regent from 1916 to 1930 and Emperor of Ethiopia from 1930 to 1974. The heir to a dynasty that traced its origins to the 13th century, and from there by tradition back to King Solomon and the Queen of Sheba, Haile Selassie is a defining figure in both Ethiopian and African history.
At the League of Nations in 1936, the Emperor's condemnation of the use of chemical weapons against his people was a pivotal moment in the onset of the Second World War, as well as a foreshadowing of the "barbarism" which was to come. His internationalist views led to Ethiopia's becoming a charter member of the United Nations, and his political thought and experience in promoting multilateralism and collective security have proved seminal and enduring. His suppression of rebellions among the nobles (mekwannint), as well as what some perceived to be Ethiopia's failure to modernize adequately, earned him criticism among some contemporaries and historians.
Haile Selassie is revered as the religious symbol for God incarnate among the Rastafari movement, the number of adherents of which is indetereminate due to the loose structure of the religion, but is estimated between 1 and 2 million. Begun in Jamaica in the 1930s, the Rastafarian movement perceives Haile Selassie as a messianic figure who will lead the peoples of Africa and the African diaspora to a golden age of peace, righteousness, and prosperity.
Haile Selassie I was born Lij Tafari Makonnen "Lij" translates literally to "child", and serves to indicate that a youth is of noble blood. He would later become Ras Tafari Mekonnen; "Ras" translates literally to "head" and is the equivalent of "duke", though it is often rendered in translation as "prince". In 1928, he was elevated to Negus, "King".
Upon his ascension to Emperor in 1930, he took the name Haile Selassie, meaning "Power of the Trinity". Haile Selassie's full title in office was "His Imperial Majesty Haile Selassie I, Conquering Lion of the Tribe of Judah, King of Kings of Ethiopia and Elect of God" This title reflects Ethiopian dynastic traditions, which hold that all monarchs must trace their lineage back to Menelik I, who in the Ethiopian tradition was the offspring of King Solomon and the Queen of Sheba.
To Ethiopians Haile Selassie has been known by many names, including Janhoy, Talaqu Meri, and Abba Tekel. The Rastafari employ many of these appellations, also referring to him as HIM, Jah and Jah Rastafari.
Ras Makonnen, father of Haile Selassie I, in 1902
Haile Selassie I was born Tafari Makonnen from a mixed Oromo, Amhara, and Gurage family on 23 July 1892, in the village of Ejersa Goro, in the Harar province of Ethiopia. His mother was Woizero ("Lady") Yeshimebet Ali Abajifar, daughter of the renowned Oromo ruler of Wollo province Dejazmach Ali Abajifar. Haile Selassie's father was Ras Makonnen Woldemikael Gudessa, the governor of Harar; Ras Makonnen served as a general in the First Italo–Ethiopian War, playing a key role at the Battle of Adwa. He inherited his imperial blood through his paternal grandmother, Princess Tenagnework Sahle Selassie, who was an aunt of Emperor Menelik II, and as such asserted direct descent from Makeda, the Queen of Sheba, and King Solomon of ancient Israel.
Ras Makonnen arranged for Tafari as well as his first cousin, Ras Imru Haile Selassie to receive instruction in Harar from Abba Samuel Wolde Kahin, an Ethiopian capuchin monk, and from Dr. Vitalien, a surgeon from Guadeloupe. Tafari was named Dejazmach (literally "commander of the gate", roughly equivalent to "count") at the age of 13, on 1 November 1905. Shortly thereafter, his father Ras Makonnen died at Kulibi, in 1906.
Governorship
Tafari assumed the titular governorship of Selale in 1906, a realm of marginal importance[20] but one that enabled him to continue his studies. In 1907, he was appointed governor over part of the province of Sidamo. It is alleged that during his late teens, Haile Selassie was married to Woizero Altayech, and that from this union, his daughter Romanework Haile Selassie was born.
Following the death of his brother Yelma in 1907, the governorate of Harar was left vacant, and its administration was left to Menelik's loyal general, Dejazmach Balcha Safo. Balcha Safo's administration of Harar was ineffective, and so during the last illness of Menelik II, and the brief reign of Empress Taitu Bitul, Tafari was made governor of Harar in 1910 or 1911.
On 3 August he married Menen Asfaw of Ambassel, niece of heir to the throne Lij Iyasu.
Regency
The extent to which Tafari contributed to the movement that would come to depose Iyasu V is unclear. Iyasu V, or Lij Iyasu, was the designated but uncrowned Emperor of Ethiopia from 1913 to 1916. Iyasu's reputation for scandalous behavior and a disrespectful attitude to the nobles at his grandfather Menelik II's court damaged his reputation, and his flirtation with Islam was considered treasonous among the Ethiopian Orthodox Christian leadership of the empire, leading to his being deposed on 27 September 1916.
Contributing to the movement that deposed Iyasu were conservatives such as Fitawrari Habte Giorgis Dinagde, Menelik II's longtime war minister. The movement to depose Iyasu preferred Tafari, as he attracted support from both progressive and conservative factions. Ultimately, Iyasu was deposed on the grounds of conversion to Islam, and Menelik II's daughter (Iyasu's aunt) was named Empress Zewditu. Tafari was elevated to the rank of Ras and was made heir apparent. In the power arrangement that followed, Tafari accepted the role of Regent (Inderase) and became the de facto ruler of the Ethiopian Empire.
Empress Zewditu ruled from 1916 until her death in April 1930.
As regent, the new Crown Prince developed the policy of cautious modernization initiated by Menelik II. He secured Ethiopia's admission to the League of Nations in 1923 by promising to eradicate slavery; each emperor since Tewodros II had issued proclamations to halt slavery, but without effect: the internationally-scorned practice persisted well into Haile Selassie's reign. He toured Europe that same year, inspecting schools, hospitals, factories, and churches. Although patterning many reforms after European models, he remained wary of European pressure. To guard against economic imperialism, he required that all enterprises have at least partial local ownership. Of his modernization campaign, he remarked, "We need European progress only because we are surrounded by it. That is at once a benefit and a misfortune."
Throughout Ras Tafari's travels in Europe, the Levant, and Egypt, he and his entourage were greeted with enthusiasm and fascination. He was accompanied by two other Rases, each of whom was also the son of a general who had contributed to the victorious war against Italy a quarter century earlier. The Ethiopians' "Oriental Dignity" and "rich, picturesque court dress" were sensationalized in the media; among his entourage he even included a pride of lions, which he distributed as gifts to President Poincaré of France, George V of the United Kingdom, and the Zoological Garden of Paris. As one historian noted, "Rarely can a tour have inspired so many anecdotes".
In this period, the Crown Prince visited the Armenian monastery of Jerusalem. There, he adopted 40 Armenian orphans (አርባ ልጆች Arba Lijoch, "forty children") who had escaped the alleged Armenian genocide of the Ottoman Empire. The prince arranged for the musical education of the youths, and they came to form the imperial brass band.
Tafari's authority was challenged in 1928 when veteran General Balcha Safo marched on Addis Ababa. The general paid homage to the Empress, but snubbed Tafari. The gesture empowered Empress Zewditu politically, and she attempted to have Tafari tried for treason, for his benevolent dealings with Italy, which included a 20-year peace accord (see Italo–Ethiopian Treaty of 1928). When popular support, as well as the support of the police, seemed to remain with Tafari, the Empress relented and crowned him Negus (Amharic: "King") in 1928.
The crowning of Tafari was controversial, as he occupied the same territory as the Empress, rather than going off to a regional kingdom of the empire. Two monarchs, even with one being the vassal and the other the Emperor (in this case Empress), had never occupied the same location as their seat in Ethiopian history. Conservatives, including Balcha Safo, agitated to redress this perceived insult to the dignity of the crown, leading to the rebellion of Ras Gugsa Welle, husband of the Empress. He marched from his governorate at Gondar towards Addis Ababa but was defeated and killed at the Battle of Anchim in March 1930. News of Gugsa Wele's defeat and death had hardly spread through Addis Ababa when the Empress died suddenly on 2 April 1930. Although it was long rumored that the Empress was poisoned upon the defeat of her husband, or alternately that she died from shock upon hearing of the death of her estranged yet beloved husband, it has since been documented that the Empress succumbed to a flu-like fever and complications from diabetes.
Cover of Time magazine, 3 November 1930
With the passing of Zewditu, Tafari himself rose to Emperor and was proclaimed Neguse Negest ze-'Ityopp'ya, "King of Kings of Ethiopia". He was crowned on 2 November 1930, at Addis Ababa's Cathedral of St. George. The coronation was by all accounts "a most splendid affair", and it was attended by royals and dignitaries from all over the world. Among those in attendance were George V's son Prince Henry, Marshal Franchet d'Esperey of France, and the Prince of Udine representing Italy. Emissaries from the United States, Egypt, Turkey, Sweden, Belgium, and Japan were also present. British author Evelyn Waugh was also present, penning a contemporary report on the event. One newspaper report suggested that the celebration may have incurred a cost in excess of $3,000,000. Many of those in attendance received lavish gifts; in one instance, the Christian Emperor even sent a gold-encased Bible to an American bishop who had not attended the coronation, but who had dedicated a prayer to the Emperor on the day of the coronation.
Haile Selassie introduced Ethiopia's first written constitution on 16 July 1931, providing for a bicameral legislature. The constitution kept power in the hands of the nobility, but it did establish democratic standards among the nobility, envisaging a transition to democratic rule: it would prevail "until the people are in a position to elect themselves." The constitution limited the succession to the throne to the descendants of Haile Selassie, a point that met with the disapprobation of other dynastic princes, including the princes of Tigrai and even the Emperor's loyal cousin, Ras Kassa Haile Darge.
In 1932, the Kingdom of Jimma was formally absorbed into Ethiopia following the death of King Abba Jifar II of Jimma.
The Emperor, Photography by Walter Mittelholzer, February 1934.
Ethiopia became the target of Italian imperialist designs in the 1930s. Benito Mussolini's fascist regime was keen to avenge the military defeats Italy had suffered to Ethiopia in the First Italo-Abyssinian War. A conquest of Ethiopia could also empower the cause of fascism and embolden its rhetoric of empire. Ethiopia would also provide a bridge between Italy's Eritrean and Italian Somaliland possessions. Ethiopia's position in the League of Nations did not dissuade the Italians from invading in 1935; the "collective security" envisaged by the League proved useless, and a scandal erupted when the Hoare-Laval Pact revealed that Ethiopia's League allies were scheming to appease Italy.
Mobilization Following the 1935 Italian invasion of Ethiopia, Haile Selassie joined his northern armies and set up headquarters at Desse in Wollo province. He issued his famous mobilization order on 3 October 1935:
| “ | If you withhold from your country Ethiopia the death from cough or head-cold of which you would otherwise die, refusing to resist (in your district, in your patrimony, and in your home) our enemy who is coming from a distant country to attack us, and if you persist in not shedding your blood, you will be rebuked for it by your Creator and will be cursed by your offspring. Hence, without cooling your heart of accustomed valour, there emerges your decision to fight fiercely, mindful of your history that will last far into the future... If on your march you touch any property inside houses or cattle and crops outside, not even grass, straw, and dung excluded, it is like killing your brother who is dying with you... You, countryman, living at the various access routes, set up a market for the army at the places where it is camping and on the day your district-governor will indicate to you, lest the soldiers campaigning for Ethiopia's liberty should experience difficulty. You will not be charged excise duty, until the end of the campaign, for anything you are marketing at the military camps: I have granted you remission... After you have been ordered to go to war, but are then idly missing from the campaign, and when you are seized by the local chief or by an accuser, you will have punishment inflicted upon your inherited land, your property, and your body; to the accuser I shall grant a third of your property... | ” |
On 19 October 1935, Haile Selassie gave more precise orders for his army to his Commander-in-Chief, Ras Kassa:
When you set up tents, it is to be in caves and by trees and in a wood, if the place happens to be adjoining to these―and separated in the various platoons. Tents are to be set up at a distance of 30 cubits from each other.
When an aeroplane is sighted, one should leave large open roads and wide meadows and march in valleys and trenches and by zigzag routes, along places which have trees and woods.
When an aeroplane comes to drop bombs, it will not suit it to do so unless it comes down to about 100 metres; hence when it flies low for such action, one should fire a volley with a good and very long gun and then quickly disperse. When three or four bullets have hit it, the aeroplane is bound to fall down. But let only those fire who have been ordered to shoot with a weapon that has been selected for such firing, for if everyone shoots who possesses a gun, there is no advantage in this except to waste bullets and to disclose the men's whereabouts.
Lest the aeroplane, when rising again, should detect the whereabouts of those who are dispersed, it is well to remain cautiously scattered as long as it is still fairly close. In time of war it suits the enemy to aim his guns at adorned shields, ornaments, silver and gold cloaks, silk shirts and all similar things. Whether one possesses a jacket or not, it is best to wear a narrow-sleeved shirt with faded colours. When we return, with God's help, you can wear your gold and silver decorations then. Now it is time to go and fight. We offer you all these words of advice in the hope that no great harm should befall you through lack of caution. At the same time, We are glad to assure you that in time of war We are ready to shed Our blood in your midst for the sake of Ethiopia's freedom..."
Compared to the Ethiopians, the Italians had an advanced, modern military which included a large air force. The Italians would also come to employ chemical weapons extensively throughout the conflict, even targeting Red Cross field hospitals in violation of the Geneva Convention.
Progress of the war Starting in early October 1935, the Italians invaded Ethiopia. On 6 October, Italian honor was avenged when Adwa fell. But, by November, the pace of invasion had slowed appreciably and Haile Selassie's northern armies were able to launch what was known as the "Christmas Offensive". During this offensive, the Italians were forced back in places and put on the defensive. However, by early in 1936, the First Battle of Tembien stopped the progress of the Ethiopian offensive and the Italians were ready to continue their offensive. Following the defeat and destruction of the northern Ethiopian armies at the Battle of Amba Aradam, the Second Battle of Tembien, and the Battle of Shire, Haile Selassie took the field with the last Ethiopian army on the northern front. On 31 March 1936, he launched a counterattack against the Italians himself at the Battle of Maychew in southern Tigray. The Emperor's army was defeated and retreated in disarray. As Haile Selassie's army withdrew, the Italians attacked from the air along with rebellious Raya and Azebo tribesmen on the ground, who were armed and paid by the Italians.
When the struggle to resist Italy appeared doomed, Haile Selassie traveled to the rock-hewn churches of Lalibela for fasting and prayer.
Haile Selassie made a solitary pilgrimage to the churches at Lalibela, at considerable risk of capture, before returning to his capital.[53] After a stormy session of the council of state, it was agreed that because Addis Ababa could not be defended, the government would relocate to the southern town of Gore, and that in the interest of preserving the Imperial house, the Emperor's wife Menen Asfaw and the rest of the Imperial family should immediately depart for Djibouti, and from there continue on to Jerusalem.
Exile debate 
The Emperor arrives in Jerusalem
The Emperor arrives in Jerusalem
After further debate as to whether Haile Selassie should go to Gore or accompany his family into exile, it was agreed that Haile Selassie should leave Ethiopia with his family and present the case of Ethiopia to the League of Nations at Geneva. The decision was not unanimous and several participants, including the nobleman Blatta Tekle Wolde Hawariat, objected to the idea of an Ethiopian monarch fleeing before an invading force. Haile Selassie appointed his cousin Ras Imru Haile Selassie as Prince Regent in his absence, departing with his family for Djibouti on 2 May 1936.
On 5 May, Marshal Pietro Badoglio led Italian troops into Addis Ababa, and Mussolini declared Ethiopia an Italian province. Victor Emanuel III was proclaimed as the new Emperor of Ethiopia. However, on 4 May, the day before, the Ethiopian exiles had left Djibouti aboard the British cruiser HMS Enterprise. They were bound for Jerusalem in the British Mandate of Palestine, where the Ethiopian royal family maintained a residence. The Imperial family disembarked at Haifa and then went on to Jerusalem. Once there, Haile Selassie and his retinue prepared to make their case at Geneva. The choice of Jerusalem was highly symbolic, since the Solomonic Dynasty claimed descent from the House of David. Leaving the Holy Land, Haile Selassie and his entourage sailed for Gibraltar aboard the British cruiser HMS Capetown. From Gibraltar, the exiles were transferred to an ordinary liner. By doing this, the government of the United Kingdom was spared the expense of a state reception.
Collective security and the League of Nations, 1936 Mussolini, upon invading Ethiopia, had promptly declared his own "Italian Empire"; because the League of Nations afforded Haile Selassie the opportunity to address the assembly, Italy even withdrew its League delegation, on 12 May 1936. It was in this context that Haile Selassie walked into the hall of the League of Nations, introduced by the President of the Assembly as "His Imperial Majesty, the Emperor of Ethiopia" (Sa Majesté Imperiale, l'Empereur d'Ethiopie). The introduction caused a great many Italian journalists in the galleries to erupt into jeering, heckling, and whistling. As it turned out, they had earlier been issued whistles by Mussolini's son-in-law, Count Galeazzo Ciano. Haile Selassie waited calmly for the hall to be cleared, and responded "majestically" with a speech often considered among the most stirring of the 20th century.
Although fluent in French, the working language of the League, Haile Selassie chose to deliver his historic speech in his native Amharic. He asserted that, because his "confidence in the League was absolute", his people were now being slaughtered. He pointed out that the same European states that found in Ethiopia's favor at the League of Nations were refusing Ethiopia credit and war matériel while aiding Italy, which was employing chemical weapons on military and civilian targets alike.
It was at the time when the operations for the encircling of Makale were taking place that the Italian command, fearing a rout, followed the procedure which it is now my duty to denounce to the world. Special sprayers were installed on board aircraft so that they could vaporize, over vast areas of territory, a fine, death-dealing rain. Groups of nine, fifteen, eighteen aircraft followed one another so that the fog issuing from them formed a continuous sheet. It was thus that, as from the end of January 1936, soldiers, women, children, cattle, rivers, lakes, and pastures were drenched continually with this deadly rain. In order to kill off systematically all living creatures, in order to more surely poison waters and pastures, the Italian command made its aircraft pass over and over again. That was its chief method of warfare.
Noting that his own "small people of 12 million inhabitants, without arms, without resources" could never withstand an attack by a large power such as Italy, with its 42 million people and "unlimited quantities of the most death-dealing weapons", he contended that all small states were threatened by the aggression, and that all small states were in effect reduced to vassal states in the absence of collective action. He admonished the League that "God and history will remember your judgment."
It is collective security: it is the very existence of the League of Nations. It is the confidence that each State is to place in international treaties... In a word, it is international morality that is at stake. Have the signatures appended to a Treaty value only in so far as the signatory Powers have a personal, direct and immediate interest involved?
The speech made the Emperor an icon for anti-Fascists around the world, and Time Magazine named him "Man of the Year". He failed, however, to get what he most needed: the League agreed to only partial and ineffective sanctions on Italy, and several members even recognized the Italian conquest.
Exile 
Haile Selassie in 1942
Haile Selassie in 1942
Haile Selassie spent his exile years (1936–1941) in Bath, United Kingdom, in Fairfield House, which he bought. His activity in this period was focused on countering Italian propaganda as to the state of Ethiopian resistance and the legality of the occupation. He spoke out against the desecration of houses of worship and historical artifacts (including the theft of a 1,600-year old imperial obelisk), and condemned the atrocities suffered by the Ethiopian civilian population. He continued to plead for League intervention and to voice his certainty that "God's judgment will eventually visit the weak and the mighty alike", though his attempts to gain support for the struggle against Italy were largely unsuccessful until Italy entered World War II on the German side in June 1940.
The Emperor's pleas for international support did take root in the United States, particularly among African American organizations sympathetic to the Ethiopian cause. In 1937, Haile Selassie was to give a Christmas Day radio address to the American people to thank his supporters when his taxi was involved in a traffic accident, leaving him with a fractured knee. Rather than canceling the radio appearance, he proceeded in much pain to complete the address, in which he linked Christianity and goodwill with the Covenant of the League of Nations, and asserted that "War is not the only means to stop war":
With the birth of the Son of God, an unprecedented, an unrepeatable, and a long-anticipated phenomenon occurred. He was born in a stable instead of a palace, in a manger instead of a crib. The hearts of the Wise men were struck by fear and wonder due to His Majestic Humbleness. The kings prostrated themselves before Him and worshipped Him. 'Peace be to those who have good will'. This became the first message.
[...] Although the toils of wise people may earn them respect, it is a fact of life that the spirit of the wicked continues to cast its shadow on this world. The arrogant are seen visibly leading their people into crime and destruction. The laws of the League of Nations are constantly violated and wars and acts of aggression repeatedly take place... So that the spirit of the cursed will not gain predominance over the human race whom Christ redeemed with his blood, all peace-loving people should cooperate to stand firm in order to preserve and promote lawfulness and peace.
During this period, Haile Selassie suffered several personal tragedies. His two sons-in-law, Ras Desta Damtew and Dejazmach Beyene Merid, were both executed by the Italians. The Emperor's daughter, Princess Romanework, wife of Dejazmach Beyene Merid, was herself taken into captivity with her children, and she died in Italy in 1941. His daughter Tsehai died during childbirth shortly after the restoration in 1942.
After his return to Ethiopia, he donated Fairfield House to the city of Bath as a residence for the aged, and it remains so to this day.
1940s and 1950s British forces, which consisted primarily of Ethiopian-backed African and South African colonial troops under the "Gideon Force" of Colonel Orde Wingate, coordinated the military effort to liberate Ethiopia. The Emperor himself issued several imperial proclamations in this period, demonstrating that, while authority was not divided up in any formal way, British military might and the Emperor's populist appeal could be joined in the concerted effort to liberate Ethiopia.
On 18 January 1941, during the East African Campaign, Haile Selassie crossed the border between Sudan and Ethiopia near the village of Um Iddla. The standard of the Lion of Judah was raised again. Two days later, he and a force of Ethiopian patriots joined Gideon Force which was already in Ethiopia and preparing the way. Italy was defeated by a force of the United Kingdom, the Commonwealth of Nations, Free France, Free Belgium, and Ethiopian patriots. On 5 May 1941, Haile Selassie entered Addis Ababa and personally addressed the Ethiopian people, five years to the day since his 1936 exile:
Today is the day on which we defeated our enemy. Therefore, when We say let us rejoice with our hearts, let not our rejoicing be in any other way but in the spirit of Christ. Do not return evil for evil. Do not indulge in the atrocities which the enemy has been practicing in his usual way, even to the last.
Take care not to spoil the good name of Ethiopia by acts which are worthy of the enemy. We shall see that our enemies are disarmed and sent out the same way they came. As St. George who killed the dragon is the Patron Saint of our army as well as of our allies, let us unite with our allies in everlasting friendship and amity in order to be able to stand against the godless and cruel dragon which has newly risen and which is oppressing mankind.
After World War II, Ethiopia became a charter member of the United Nations. In 1948, the Ogaden, a region disputed with Somalia, was granted to Ethiopia. On 2 December 1950, the UN General Assembly adopted Resolution 390 (V), establishing the federation of Eritrea (the former Italian colony) into Ethiopia. Eritrea was to have its own constitution, which would provide for ethnic, linguistic, and cultural balance, while Ethiopia was to manage its finances, defense, and foreign policy.
Despite his centralization policies that had been made before World War II, Haile Selassie still found himself unable to push for all the programs he wanted. In 1942, he attempted to institute a progressive tax scheme, but this failed due to opposition from the nobility, and only a flat tax was passed; in 1951, he agreed to reduce this as well. Ethiopia was still "semi-feudal", and the Emperor's attempts to alter its social and economic form by reforming its modes of taxation met with resistance from the nobility and clergy, which were eager to resume their privileges in the postwar era. Where Haile Selassie actually did succeed in effecting new land taxes, the burdens were often passed by the landowners to the peasants. Despite his wishes, the tax burden remained primarily on the peasants.
Between 1941 and 1959, Haile Selassie worked to establish the autocephaly of the Ethiopian Orthodox Church. The Ethiopian Orthodox Church had been headed by the abuna, a bishop who answered to the Partriarchate in Egypt. Haile Selassie applied to Egypt's Holy Synod in 1942 and 1945 to establish the independence of Ethiopian bishops, and when his appeals were denied he threatened to sever relations with the See of St. Mark. Finally, in 1959, Pope Kyrillos VI elevated the Abuna to Patriarch-Catholicos. The Ethiopian Church remained affiliated with the Alexandrian Church. In addition to these efforts, Haile Selassie changed the Ethiopian church-state relationship by introducing taxation of church lands, and by restricting the legal privileges of the clergy, who had formerly been tried in their own courts for civil offenses.
In keeping with the principle of collective security, for which he was an outspoken proponent, he sent a contingent under General Mulugueta Bulli, known as the Kagnew Battalion, to take part in the UN Conflict in Korea. It was attached to the American 7th Infantry Division, and fought in a number of engagements including the Battle of Pork Chop Hill. In a 1954 speech, the Emperor spoke of Ethiopian participation in the Korean conflict as a redemption of the principles of collective security:
Nearly two decades ago, I personally assumed before history the responsibility of placing the fate of my beloved people on the issue of collective security, for surely, at that time and for the first time in world history, that issue was posed in all its clarity. My searching of conscience convinced me of the rightness of my course and if, after untold sufferings and, indeed, unaided resistance at the time of aggression, we now see the final vindication of that principle in our joint action in Korea, I can only be thankful that God gave me strength to persist in our faith until the moment of its recent glorious vindication.
Haile Selassie, Emperor of Ethiopia, photographed during a radio broadcast
During the celebrations of his Silver Jubilee in November 1955, Haile Selassie introduced a revised constitution, whereby he retained effective power, while extending political participation to the people by allowing the lower house of parliament to become an elected body. Party politics were not provided for. Modern educational methods were more widely spread throughout the Empire, and the country embarked on a development scheme and plans for modernization, tempered by Ethiopian traditions, and within the framework of the ancient monarchical structure of the state.
Haile Selassie compromised when practical with the traditionalists in the nobility and church. He also tried to improve relations between the state and ethnic groups, and granted autonomy to Afar lands that were difficult to control. Still, his reforms to end feudalism were slow and weakened by the compromises he made with the entrenched aristocracy. The Revised Constitution of 1955 has been criticized for reasserting "the indisputable power of the monarch" and maintaining the relative powerlessness of the peasants.
His international fame and acceptance also grew. In 1954 he visited West Germany, becoming the first head of state to do so after the end of World War II. Many elderly Germans still vividly recall the Emperor's visit, as it signaled their acceptance back into the world, as a peaceful nation. He donated blankets produced by the Debre Birhan Blanket Factory, in Ethiopia, to the war-ravaged German people.
King Emmanuel Charles Edwards VII
King Emmanuel Charles Edwards VII (1915–1994) was an influential leader of the Rastafari movement order Bobo Shanti. He was born in Saint Elizabeth and died in Kingston, Jamaica. He established the Bobo Shanti faith, based on ancient Ethiopian tradition (e.g. customs of the Ethiopian Orthodox Church).
Early life
He preached the doctrines of Marcus Garvey and Leonard Howell, both prophets of the Rastafari culture.Later he himself came to be regarded as High Priest by his followers, and even more—they claimed him to be Adonai incarnate.
Bobo Shanti
In 1958, King Emmanuel VII officially founded the Ethiopia Africa Black International Congress (EABIC), while reconstituting the ancient Melchizedek tradition. King Emmanuel VII being the President-Founder, God, & King of the Bobo Shanti Order, was duly recognized as creational crowned champion of human rights and human justice, and ambassador for the repatriation and reparation network of His Divine Majesty Emperor Haile Selassie I of Ethiopia. King Emmanuel VII's Royal Saints and Apostles i.e., Priests, Prophets, Empresses, & Princesses are referred to as "Bobo Shanti" or simply "Bobo Dreads." They are recognizable by their tightly wrapped turbans and flowing shawls, respectivley worn to cover their consecrated locks. In his years as President-Founder, God and King of the EABIC, King Emmanuel VII reestablished the principles for his ancient divine order and bequeathed these tenets to his Royal Saints and Apostles for spiritual guidance.
Because King Emmanuel VII was highly regarded as The Black Christ-in-flesh, the Royal Saints whom followed him on his sojourn identified each of their respective environments as previously recorded in the Bible. For instance, Ackee Walk was supposed to be Nazareth, where Jesus came from, Harris Street was Galilee, where Jesus went after leaving his native home, Eighth Street, Capernaum and Ninth Street, Bethlehem, for it was there that Yeshua, Queen Rachel's son, was born. The settlement in Bull Bay is named Mount Temon, where God originated, per Genesis passage. The Bobo Shanti trinity, consists of Marcus Garvey as the Holy prophet, King Emmanuel VII as the Holy Priest and Haile Selassie as the Divine King.
In all songs and readings from the bible, the Congress members generally use such phrases as: "KING EMMANUEL THE 7TH ADONAI GOD JAH RASTAFARI".
"HOLY EMMANUEL I KING SELASSIE I JAH RASTAFARI".
You can hear these phrases in reggae songs from singers like Sizzla, Capleton, Turbulence, Junior Reid, Fantan Mojah and Anthony B who are also followers of the Bobo Shanti order.
January 26, 2009
Dead Prez - Information Age Scheduled to drop February 09
Continuing on the path of politically minded artists like Public Enemy, 2pac and KRS-One, the Florida-formed-New York based outfit known as Dead Prez has been crafting revolutionary but gangsta hip-hop since the late 1990s. Taking inspiration from the life and social activism of Malcolm X, Sticman and M-1, the duo who comprise Dead Prez, have released two proper albums, two underground mix-tapes and two solo albums of street level political hip-hop that is heavily aligned with challenging the status quo, prompting London's Daily Telegraph to say, "Dead Prez uses music not to lie about having expensive cars or girlfriends with big bottoms, but to rail against the inequities in American society. They do so with an insight and honesty that is rare in any art-form, let alone hip-hop."
Stic Man and M-1 first started collaborating when they met on the campus of Florida A&M University. M1 was in school at the time studying economics and stic was a local in the streets of Tallahssee doing the same. They both shared a common understanding of the need for change in their communities and the society at large, and they eventually became organizers and members of the International People's Democratic Uhuru Movement. During this time the comrades grew significantly in their political eductaion. Both being emcees and avid hip hop fans, and needing a bigger platform for their organizing efforts they decided New York City would be a great move to get their music broader appeal.
Once in New York, the group dubbed themselves Dead Prez (after "dead presidents," a slang term for money and a literal meaning that means the system as it stands is dead for the people, and also that the massess of the people are "dead" to the knowledge of ourselves and should be the rightful presidents of our own lives).
A chance meeting with Brand Nubian's Lord Jamar led the group to sign with Loud Records. However, before the band even signed on the dotted line, they collaborated with various artists, and dropped mix tapes. In 1997, the group first appeared on the Loud 97 Set Up tape, with "Food, Clothes and Shelter." In 1998, Sticman produced and collaborated with mainstream hip-hop artist Big Punisher on his Platinum debut Capital Punishment . dead prez went on to release the singles "Police State With Chairman Omali" and "It's Bigger Than Hip-Hop" . Along with a captivating live show, dead prez amassed a major buzz, leading up to the release of their debut for Loud/RCA/BMG--2000's Let's Get Free.
Let's Get Free was the first introduction to Sticman and M-1's revolutionary hip-hop lifestyle--one that strayed from the normal mainstream rapper's subject matter without creating alienation from the streets. In 2002 and 2003, the group returned with a follow-up to Let's Get Free, with the two-volume mixtape project Turn off the Radio: The Mixtape, Vol. 1 and Turn off the Radio: The Mixtape, Vol. 2: Get Free or Die Tryin'. Recreating hits by Aaliyah, Black Rob, and the Notorious B.I.G., the group infused their political ideals into the melodic confines of other artists' songs. Commenting on the project, Sticman said, "We took the popular songs that we love because of the hot sound or the melody or whatever and made it relative to Black people's struggle. It means it's a lot more we could be talking about with these great hits."
In 2004, Dead Prez released RBG: Revolutionary But Gangsta on Columbia Records. Featuring, a collaboration with Jay-Z on the remix for "Hell Yeah (Pimp the System)," the record created a sonic and philosophical bridge between the much misunderstood gang cluture and revolutionary activism. Stic Man explained, "With each album we have a new sound vision and message where we want to fuse certain things. We think about music that we like and certain artists from back in the days to right now whether it be Dr. Dre or Curtis Mayfield or Lil' Jon or Trick Daddy or Sade or Portishead. We take inspirations from all our favorite music and we fuse elements from that and until we feel like it represents what we're trying to represent." Summing up the group's aesthetic, Stic Man said, "Like a healthy meal, we strive to create albums that are balanced…with a few flavorful surprises."
In June 2006, the cable movie network Starz In Black began airing an original documentary called "dead prez: It's Bigger Than Hip Hop" directed by John Threat. The hour-long documentary featured live footage and interviews with dead prez. It also featured interviews from Kamel Bell, owner of Ankh Marketing and son of incarcerated Black Panther Herman Bell; Fred Hampton Jr., son of Black Panther Chief of Staff and Spokesman Fred Hampton; and radio personality Davey D. Among the topics discussed in the documentary are the inadequacies of the public education system, minority entrepreneurship, and social revolution.M1 stated, "we've never had the opportunity to express ourselves on this level of magnitude. Starz InBlack taking a chance on us lets us know that the work we are doing is not in vain. That our message is penetrating, it's getting through." The network's audience spans to over 50 million homes.
Dead Prez was one of the featured groups on the feature film Dave Chappelle's Block Party, released in 2006. In 2006, they and former 2Pac collaborators, the Outlawz, jointly released a mixtape album titled Can't Sell Dope Forever urging their joint following to find creative ways to make a living and not get caught up in the drug traps set up by the system.
In 2006, M1 recorded a solo album titled "Confidential". From the album, the song "'Til We Get There" was featured on the EA Sports video game NBA Live 2007. In 2008, Stic Man also digitally released his solo album "Manhood"(Boss Up Inc) and his song "Faithful Lover" appears in Vivica Fox's 3 Can Play that Game (Sony Pictures).. In 2008 stic man produced and co-wrote three songs ("Sly Fox", "We're Not Alone" and "Untitled") on the legendary Def Jam recording artist Nas's latest "untitled"LP.
Stic.man is the CEO of Boss Up Inc and WWW.BOSSUPBU.COM and has authored and co-published four books Warrior Names from Afrika, The Art of Emcee-ing, Afrikan Martial Arts: Discovering The Warrior Within and most recently The Vegan Soulfood Guide to the Galaxy with his wife of 15 years Afya Ibomu. Stic.man is also featured in the film The Black Candle (Narrated By Maya Angelou).
M1 is currently starring as the lead role in an independent film about the life of U.S. political prisoner Sundiata Acoli.
Source:http://www.myspace.com/deadprez / http://www.deadprez.com/
January 02, 2009
Breakdown FM: An Interview w/ Sister Souljah-Still at War 'Til Midnight
Click Link Below to Listen to Breakdown FM Interview
http://odeo. com/episodes/23722448-Sista-Souljah-Interview
An Interview w/ Sister Souljah
Still at War Till Midnight
The first time I met Sister Souljah was back in 1989 when she rolled through the now defunct New Music Seminar in New York City and set the place on fire.
There was a historic panel discussion featuring Chuck D of Public Enemy, film director Spike Lee, Singer James Mtume and if memory serves me correctly music exec Bill Stephany also sat on that panel.
At that time we knew Souljah as Lisa Williamson and she was no joke. Fiery, articulate and uncompromising, she was one of those folks who made everyone step up their game.
She was the type of person who you wanted to be riding alongside you because there was no way she was gonna lose. She proved that during this panel discussion. The conversations that took place that day were heated. Mtume was a source of controversy because several months prior he had gone on the radio said something about rappers and sampling and how it was not a cool thing.
This prompted a response from the group Stetsasonic who released a song called 'Talking All That Jazz' which took Mtume to task. The Stets crew showed up to the session deep as it was first time the two parties had met. Anticipating more controversy, folks were pleasantly surprised as Mtume eased tensions by backing off the harshness of his initial statements and clarifying what he meant. He noted that he was a fan not an enemy to Hip Hop.
Spike Lee was the man of the hour because his movie 'Do the Right Thing' had dropped and set off racial tensions in New York. That day Spike was bold and brash and seemed to relish the storm that surrounded him and his movie. He pulled no punches as he explained that he felt his movie and the issues it raised was the 'right thing' and that it was high time folks dealt with the issue of race head on.
A few months after later New York's simmering racial tensions would boil over with the shooting death of Yusef Hawkins in Bensonhurst, Brooklyn.
Public Enemy was the biggest rap group at that time with Chuck D making folks quiver as he talked about his disdain for Elvis in the song 'Fight the Power'. That afternoon he spoke eloquently and laid out a 6 point platform that he said would take Hip Hop and industry to new heights. There were a lot of folks in the room that day that took notes and launched their careers using Chuck's advice. The tenet of his speech was centered around importance of positioning oneself to be a presenter of music and not leaving it up to others who did not love or respect the culture. He who controls and defines the music has major power was Chuck's mantra that afternoon.
Like I said the panel was on tilt, but the person who really rocked the house was the lone woman on that panel Lisa Williamson, who at the time was unknown to folks outside of New York, but known to many of the rappers in the room.
If memory serves me correctly, I think fellow journalist Harry Allen described her as a raptivist. That day she gave an impassioned speech about the importance of NOT allowing 'media middlemen' get in the way of the social, political and business dealings of Black people. She talked frankly about people outside the community coming in and playing folks off one another, by sparking conflict and redefining our issues and pushing their own agendas. She talked about how Black folks needed to communicate directly with one another and not let people come between us.
At that time she named off several music industry executives including Lyor Cohen and Cara Lewis.
She said, "If your name is Eric B you don't let Cara Lewis come between us you come talk to me first because I'm your sister... The middleman will beat us every time". Her remarks were riveting and for many in the room prophetic as many of us would have our own challenges with middlemen who would come into our midst and divide us if we didn't support or agree with their ideals and outlooks.
Sadly Public Enemy would be the first of many who would weather such a storm over remarks made by Professor Griff who was accused of being anti-semtic
Fast forward 19 years.
Lisa Williamson is now Sister Souljah, best selling author, scholar and most importantly still an uncompromising community activist and organizer. She's still the type of person who makes you straighten up your shoulders and step up your game when she enters the room. You step up, not because you're intimidated or brow beaten, but because her energy is infectious and you simply can't help yourself.
I caught up with Souljah the other day when she touched down in the Bay Area to promote her new book 'Midnight' which is the prequel to her book 'The Coldest Winter Ever'. It's her first book in 8 years and has got a lot of people buzzing as they were left wanting to know so much more about the character Midnight. We talked at length about her book, the process she underwent when writing and what sort of things she wanted to convey. Souljah noted that nowadays she finds it easier to get life lessons across through her works of fiction versus real life narratives.
She britsles at the notion of her being the jump off of what the industry now likes to coin gangsta /urban lit. She explained that there's no jumpoff and that Black folks have been writing and reading forever. She's a writer and a good one at that who produces material that is captivating to an audience that is often underserved and discounted. She doesn't dumb down her material or compromise on the quality of work. She strives to give her audience the best she has to offer and hates that there are those who feel that as a writer who is popular amongst this underserved audience that she has somehow compromising her talents.
We also talked about whether or not the stories were true about her and Will Smith's wife Jada Pinket Smith were working on a movie for 'Coldest Winter Ever'
She gave us the full 4-1-1. She said she is still working with the Smith's on making her book into a movie. She says she has plans to make sure all her books go to the big screen. She also talked about the importance of people owning their intellectual property. In 2008 with all the new technology around, owning your creations is more important then ever. "Get your business straight", she said.
That point would be reiterated later that evening before a packed house at Eastbay Church of Science in Oakland as she told the audience how HBO agreed to make the movie' but then backed out at the 11th hour after she and Jada had done all sorts of leg work including penning a screenplay. She noted that HBO backed out the deal, retained the movie rights to her creation and for the most parts were making no moves to go forward. She talked about how she had to shell out 300 thousand dollars to buy back her rights and how she learned a hard lesson. Now she owns everything outright and won't make such a mistake again. She told the audience to make sure they always understand their value in the larger scheme of things.
During our interview we built upon a number of topics.
She talked about President-elect Barack Obama and what his victory means to us as Black people. She broke things down as she explained that Obama has a job to do as president and that it doesn't have much to do with the day to day job each of us have to do to uplift our communities. She went into detail about this. We also touched upon Obama's background as a community organizer and how that measured up to the work she has long done as a community organizer who worked with and still works with homeless youth.
Souljah talked at length about how we should understand that all of us have jobs to do. All of us have a place to fit in. She talked about how we should not be lured into the trap of celebrity worship where we expect a rap artist to suddenly come along and craft a bill or get knee deep into work details that are required to be an effective community activist. She said we often put the wrong expectations upon people and then are left disappointed when they don't come through.
This discussion then led to a larger breakdown about leadership in the African American community and the current state of Hip Hop. With each topic Souljah kicked some keen insight that will leave many re-adjusting some of their concepts.
As we talked I realized that over the years and with all the topics we've discussed in interviews from politics to Malcolm X to relationship advice, I never got the background story that prompted her middleman remarks during that 1989 New Music Seminar panel.
She explained that as a young activist at 19 years old she was doing a lot of work with homeless kids and spending what little money she had on those kids.
She talked about how she met LL Cool J and came up with the idea of doing some sort of fundraising concert for the youth. LL wanted to make sure she was on the up and up and sat down with the kids sans Souljah and got the scoop. Once sastified that she was sincere he agreed to do a concert and not charge her so she could raise funds for her summer camp. This was the start of good thing as soon a number of other artists joined in and added to the lineup. Souljah soon developed a reputation for doing these big concerts at the Apollo Theater in Harlem where some of the biggest names in Hip Hop would come donate their time while she charged a high ticket price that was aimed at all the so called uptown ballers. 100% of the money went to the kids.
Souljah explained it was the perfect marriage. At the time everyone was under 21 and all who participated was excited at being able to contribute their talents to something that was overwhelmingly positive. This was all going down at the height of the crack era where you had young Black people who had been written off by society. It was astounding to critics and enemies of Black people and Hip Hop culture to see young people doing for self and pulling themselves up by their proverbial boot straps and not looking for handouts. People were helping build up their communities. Many of the artists who participated did so gladly because they saw the immediate benefits as that the money raised not only went to Souljah's camps but would also help spark after school programs for the youth in many of the artists own hoods.
As Souljah's concerts became legendary throughout New York she started to get some outright haterism from industry executives. Frustrated because she had violated no laws and the artists she tapped were in compliance with their contracts, they saw her concerts as something that was cutting them out and therefore a problem. Souljah had eliminated the middleman and went directly to the artists where she leveraged her friendships by highlighting everyone's mutual interests to help out the kids in the neighborhood.
Industry folks worked overtime to find ways to undercut Souljah including going to some of those popular rap artists and threatening to mess up future financial earnings. Souljah noted it was a cold game and quite eye opening to see outside forces could come into the hood and economically strong arm some of our best and brightest stars. One by one folks caved in fearful of economic reprisals. She noted that many weren't the soldiers she had thought they would be. many did not live up to rhetoric and science they kicked in their songs.
Souljah went on to note that many didn't come directly to her to explain their concerns. Instead industry execs inserted themselves into the equation insisting that they would handle all dealings including bookings for Souljah's concerts. The artist would no longer perform for free and in fact they were being priced out of the market. The end result was her being pressured and eventually written (black balled) out the picture.
A-List rap artists doing a free concert in New York-a city with more than 8 million people was apparently a big problem. Several years later Souljah's formula to help fund community organizations would be replicated by commercial radio stations around the country who would have major rap stars come through and do free Summerjam, Wintetrjam and every other type of 'jam' concerts for charity. The coldest part about this is while some of the gate receipts would go aid a few community groups, many of these stations would make up to a third of their yearly budget in behind the scenes sponsorship money for these megajams. So almost overnight, these huge rap stars went from helping fund community social programs in their own neighborhoods that were being systematically under-funded by the then Reagan and Bush administrations to helping fund the portfolios for investors and media moguls to tunes of millions of dollars. The platforms of these media moguls would later highlight harsh stereotypes that would far too often be used to demonize us and put us in bad light. Souljah's recounting of these incidents were sobering as we can see that in way too many instances the same tactics are used today with similar results.
It's with this backdrop and understanding that Souljah's remarks to the audience about owning your own, building institutions and us respecting and loving one another take on heightened meaning. The fact that after 15 years of marriage she and her family still hit the road attending all her lectures is a testament to her understanding about how we should strive to keep ourselves firmly rooted.
It was a pleasure chopping it up with Sister Souljah. As I said she's inspiring and full of insight. Her new book Midnight is one that she says she put her heart and soul into and is her favorite work to date. She noted this is the type of book that will hopefully help us grow and become better men and women..
This interview also weeves in excerpts from speeches that Souljah has given in the past as well as a reading from her new book Midnight...
Enjoy
http://www.daveyd.com/
January 01, 2009
Listen!! and lookout for "Southside"
The -SE of DASECA Productions; Serani
Joell Ortiz
Another shade of Black Panther - Richard Aoki
Richard Aoki (Field Marshall)
Growing up was know easy job for Richard at the early stages in his life he and his family were placed in an Internment camp during World War II, a childhood prisoner held at Topaz Concenation camp in Utah from 1942-1945. He joined the military at a young age, Having left the Army after two years of service, Richard was intimately aware of the vicious treatment and punishment that the U.S. government could meter out.
Being Japanese-American and growing up in Black West Oakland, he was tight with Huey P. Newton, Bobby Seale, as well as David Hilliard years before the party started. He also attended Merritt College for two years before transferring to U.C. Berkeley in 1966. Richard remembers" we had discussed pressing political, social issues of the day, that we wanted to do something about it, so we got together one night and hammed out the 10 point program of the Black Panther Party.
Richard said, there were several Asian American members of the BPP, he was the only one attain a formal leadership role. Richard attended the first meeting of the BPP his connection to the community along with revolutionary politics and his action made it easy for other Panthers to accept him as a equal, he was made branch captain they accepted his rank, and later in the Party Huey promoted him to Field Marshall. Richard said, "one of the first things the Party did was patrol the police of Oakland, they were killing a dude a week, and set up Political Education classes for members and the community."
Richard says" I've seen where unity amongst the races yielded positives results. I don't see any other way for people to gain freedom, justice, equality here except by being inclusionst"
Enrolling at U.C. Berkeley soon after the founding of the BPP, Richard became a leading member of the Asian American Political Alliance (AAPA). A student based organization whom platform closely resembled the Party's 10 point program. Richard would recruit blacks on the campus by passing out information and telling students about the Party and when Elrage Clever started teaching classes on campus in 1968(Experienmental class 139X) he was there organizing for the BPP.
From 1968, onward Richard was involved in networking with various groups cutting across communities, and nationalities. Richard says" One of the least understood aspects of the liberation movement era is the impact that many Black, Brown, Yellow, Red radicals had on one another. Ideological and organizational influences spilled across vast distances, while Panthers absorbed Maoism, Asian Americans took to the lectures and speeches of Huey Newton, Chicanos and Puerto Rican radicals replicated some of the BPP' Serve the People programs" as well as Native Americans like groups like AIM".
Richard was a founding member of the Third World Liberation Front on the campus of UO Berkeley in 1969 which was a formation of African Americans, Native Americans, Africans, Mexican Americans, Asian students, striking to win demands for a Third World College on campus.
The college would include departments for Chicano studies, and Native American Asian, and Africans studies, with the aim of the program being to help oppressed minority communities in American. TWLF is were striking for the same basic demands that the students at San Francisco State were. The formation of radical students successfully challenged, the most conservative intuitions in the nation the University system and won vital space in the form of Ethnic Studies Depts. On both UC Berkeley as well as San Francisco State campuses With these new departments has made higher education transformed the cultural imagation of many people and communities of color, thanks to people like Richard Aoki who paved the way for many others to fellow. Richard said, "That if it not for the BPP the many student and political groups for students rights would not have emerge."
Note: Richard donated some of the first defend weapons for police patrols to the BPP. Richard has always been active in the communities, and today after he has retired from his job, he still doing workshops and speaking about the past as well as present conditions like the War, Economy, and Police Abuse.
Source:hppt://www.itsabouttimebpp.com
Willie D Of The Geto Boys Spawns Controversial New Rap Group
DJ PREMIER
There's an old saying: Rap is something you do; hip-hop is something you live. No truer words have been used to describe this music and culture. And no individual more truly embodies the second part of this maxim than DJ Premier-turntable technician, producer, and now, record label founder. Borne out of his daily operation to restore skills, soul and integrity to hip hop (ingredients that have been sorely neglected in recent times), Year Round Incorporated, DJ Premier's very own independent record label, is finally now a reality.
"I've always felt that it's important to have a name-whether it's my publishing, production company or email address-that has some real meaning to it," says Premier of how he christened his imprint. "'Year Round' describes me fully because I'm always working."
Though Premier is renown as both a member of one of hip hop's most respected groups, Gang Starr, and one of modern music's top aural architects, there's an equally valuable if less celebrated aspect to his tireless work: championing new and unheralded talent. Preem has been a crucial figure in the early development of some of rap music's modern legends specifically, the Notorious B.I.G., Jay-Z, and Nas when all were still relatively unknown, emerging artists, and went on to collaborate on classic records with each. He's brought light to such other well-respected acts as Freddie Foxxx, Heather B, G-Dep, and M.O.P. well before other producers and DJs were willing to take chances on them. And he continues to seek out new underground records with an honest enthusiasm and passion that few of his peers possess. It's in this spirit of breaking rap music's significant voices of tomorrow that Year Round Incorporated carries its mission.
Explains Preem: "Nobody cares about developing the artists when they come up anymore. It's not healthy for the game of rap. But instead of crying about it, we're doing something about it by going in the studio and banging out some joints that nobody can front on. Lately, I've been doing tracks for a lot of cats that normally couldn't really afford me, but have enough potential to deserve a track from me. With Year Round [Records], I'm focusing on these kinds of artists-the ones who are really gonna be a force to be reckoned with; all these little shiny cats out now are not gonna be able to hold a stick to them."
Case in point, Year Round's first signees, NYGz, composed of the BX-Uptown duo of Panchi and Shabeeno. If the group exudes a savvy, confidence and charisma missing from so many of today's up-and-comers, it's because Panchi and Sha aren't actually newcomers, but veterans (formerly known as Operation Rattification) who've patiently laid in the cut awaiting their opportune time to shine. Those who've patiently awaited a record that represents the classic sound of New York hip hop at its finest, commence bangin' NYGz's (and Year Round Incorporated's) debut release, "Giantz Ta Thiz"-a modern masterpiece of gritty rhymes, commanding flows, and, of course, ingenious production that brings underground hip hop back to the urban streets where it belongs.
Lyrically, Panchi and Sha run down their resume-reminiscing on hustling days in the '80s, running wild through the Rotten Apple's concrete corridors, and being "in the back of the Zodiac" where they "first tasted cognac." Beatwise, Preem literally stands hip hop history on its head-taking the bass-dominated rumble of the breakbeat classic "Seven Minutes of Funk" (the foundation of everything from the Furious Five's "Superrappin'" to EPMD's "It's My Thing" to Jay-Z's "Ain't No Nigga") and re-working it into a new, brilliantly syncopated groove that bounces with the fervor of the original. Very simply, it is one of the illest creations of his already esteemed career. With the equally hard-hitting "Strength" holding down the B-side, NYGz and Year Round possess one of the strongest singles of the forthcoming year.
Subsequent Year Round singles will continue to mine this impactive, back to basics aesthetic, and are set to include tracks from controversial Queensbridge underground legend Poet ("An OG who knows how to spit and isn't afraid to say what he got to say," says Preem) of the acclaimed PHD and Screwball, and newcomer Rave Roulette the Hitman-a Brooklyn emcee whose Five Percent-informed ill street lyricism merges the diverse influences of Kane, Rakim and Wu-Tang, and channels them into something entirely his own. With these and other Year Round releases in the chamber, the return of the real is upon us. Hip hop devotees, your dreams have now been fulfilled.
"It's like feeding someone a new drug," says Preem of the label's approach. "And then as you keep on feedin' 'em, they're gonna want more and more. I'm definitely a pusher. I push music that you should be hearing. I have no choice but to be that way."
http://www.myspace.com/djpremier / http://en.wikipedia.org/wiki/Dj_premier
Theophilus Albert Marryshow
Theophilus Albert Marryshow
By Veta Dawson, Contributor
BEFORE WE leave the integration movement and look at the movement towards independence in the individual territories, I would like us to examine the role/contribution of three persons who were integral to the integration movement.
Theophilus Albert Marryshow, born in Grenada on November 7, 1887, is dubbed the father of Federation, yet I am sure that many of you have never heard of him or only know the name. This lesson seeks to correct that. We must at least be aware of the many heroes that our Caribbean region has produced.
In 1915, he established a newspaper known as The West Indian. The very name gives you an idea of how Marryshow felt about the unity of the region. In fact, the paper was dedicated to two causes, self-government and creating a federation of the British West Indies. The quality of the paper and the respect it received ,resulted in increasing support of its readers to these two causes. Marryshow himself received support from the general public whenever he had occasion to speak to them and this no doubt catapulted him into his political career.
In the Trinidad Guardian of October 16, 1917, during the height of the World War I (1914-1917), Marryshow appealed to Trinidadians to join Grenadians in a demand for a more dignified and responsible form of government. It is instructive that in his letter, he said: "I speak not as a Grenadian to Trinidadians, but as a West Indian to West Indians."
In 1922, the (British) Parliamentary Undersecretary of State for the colonies visited Grenada as part of a tour led by the Wood's Enquiry to look into the feasibility of an association of the Windward islands and Trinidad as the nucleus of a larger federation of the British West Indies. Marryshow presented his proposals for constitutional reform and indicated his support for the formation of a West Indies Federation.
In 1932, Marryshow attended a conference in Dominica to consider West Indian Federation and self-government of the region. In that same year, he was also part of a two-man delegation to Britain. The mission was to put forward proposals for a greater say in the government of the island. By this time Marryshow was one of the first five elected members in charge of one of the five electoral districts into which Grenada was divided, after and at the recommendation of the Wood's report. In this same year, Marryshow and G. Edwards received an address from the voters of Grenada claiming the right to control their own affairs within a self-governing West Indian Federation.
In 1939, another conference was held in St. Lucia and resolutions passed there called for closer union of the West Indies. Did I hear you ask if Marryshow was present at this conference? Of course, he was! War World War II (1939-1945) interrupted the movement towards a closer union or Federation, but Marryshow did not give up. He had a vision of the British West Indies as one unit.
Marryshow continued to press not just for constitutional changes for Grenada but for a Federation of the West Indies which he viewed as the destiny of the British Caribbean.
He felt that the ideas of Federation could best be advanced by the people's representatives in the various legislatures of the colonies. Each could best advertise and promote the concept of Federation and thus garner public support for its creation. The two, he felt, were intimately linked Federation and constitutional advancement, that is.
In 1947, at the Conference on Closer Union held in St. Kitts, Marryshow was among Grenada's three representatives. He was also present at the Conference of West Indies and served as one of Grenada's two Senators in the Federal House of Representatives when the Federation was created.
ADDITIONAL TEXT/SOURCES/INFO.
1. Augier, R.; Gordon, S, Sources of West Indian History
2. Brizan, George, Grenada: Island of Conflict
3. Steele, Beverly, Grenada: A History of its People
http://myspace.com/tamarryshow
* Veta Dawson teaches at the Immaculate Conception High School in St. Andrew.
December 30, 2008
St. Lucian Roots Reggae Artist Taj Weekes’ Album “Deidem”
St. Lucian Roots Reggae Artist Taj Weekes’ Album “Deidem”
New York, NY - November 10, 2008 - St. Lucian roots reggae artist Taj Weekes and his band Adowa celebrate the acceptance of their sophomore release DEIDEM for consideration of a Best Reggae Album nomination by The Recording Academy for the 51st Annual Grammy Awards on February 8, 2009. Grammy hopeful Weekes states, “We may just be the first St. Lucian artists to be nominated for a Grammy to date.” For the first time ever, the announcement of nominations for the 2009 Grammy Awards will take place during a prime-time television special, “The GRAMMY Nominations Concert Live!! — Countdown To Music’s Biggest Night,” on December 3 on the CBS Television Network. Enthusiastically received by fans and the media alike, Billboard Magazine proclaimed DEIDEM as one of “six albums that herald the roots reggae resurgence.” Veteran music journalist and XM Satellite Radio Program Director Dermot Hussey described DEIDEM as “raising the level of songwriting within the idiom of reggae music.” Reflecting on his position as a non-Jamaican reggae artist, Weekes muses, “Reggae†music is like a tree… its roots are in Jamaica, but its branches have outgrown the yard and the fruit has landed in other territories.” With potent and penetrating lyrics, DEIDEM, meaning “All of Us,” delivers a passionate commentary on the relevant issues of our time. Weekes explains, “Whether it’s Darfur, the Middle East, global warming…there’s something going on in every part of the world and we’re trying to bring it all together on one album. No one is talking to each other; the album is designed to create conversation where people can come together.”
Though the topics are insightful and serious, the grooves, melodies and rhythms are the familiar backbeats that reggae fans know and love. Reggae Reviews writes, “After releasing perhaps the best reggae album of 2005, Taj Weekes returns with an early candidate for the best of ‘08 in DEIDEM… It’s smart, inspirational, musically vibrant, and just plain gorgeous. No reggae fan can afford not to know Taj Weekes.”
Weekes’ commitment to humanitarian issues is demonstrated by his work as Goodwill Ambassador to the Caribbean in cooperation with the International Consortium of Caribbean Professionals (ICCP) and as founder of his charity, They Often Cry Outreach, which is dedicated to improving the lives of underprivileged, at-risk and orphaned children in the Caribbean and beyond. A portion of the proceeds from the song “Orphans Cry” will be donated to TOCO to bring awareness to the issues that affect the Caribbean such as HIV/AIDS, global warming and poverty.
DEIDEM was released during the eligibility period on August 8, 2008 through Weekes’ independent label, Jatta Records, with U.S. distribution through the Independent Distributors Collective and Homegrown Music Network. Through a licensing deal with Spectra Records, DEIDEM was released to major distribution chains throughout the U.S., Canada and Asia. In conjunction with Afrikool/Culture Taxi Records, Jatta secured distribution for DEIDEM in the United Kingdom, Germany, Austria and Switzerland. DEIDEM is available online through iTunes, eMusic, Amazon and other online music distributors.
FURTHER INFORMATION
Contact: Shirley J. Menard - SJM Media Group
Phone: 917.488.5982
Email: management@tajandadowa.com
Websites: www.tajandadowa.com, www.theyoftencryoutreach.org
Contact: Shirley J. Menard - SJM Media Group
Phone: 917.488.5982
Email: management@tajandadowa.com
Websites: www.tajandadowa.com, www.theyoftencryoutreach.org
The First President Of the United States Was A Black Man (John Hanson)
John Hanson
Thaddeus Matthews
Let me start black history month a few weeks early. Barack Obama has plans of running for President of the United States, But will he be the first Black President or the 8th Black President? I know this posting will stir controversty but George Washington was not the first President of the U.S. Let's take a look at history.
A "Black" Man, A Moor, John Hanson Was the First President of the United States! 1781-1782 A.D.??? George Washington was really the 8th President of the United States! George Washington was not the first President of the United States. In fact, the first President of the United States was one John Hanson. Don't go checking the encyclopedia for this guy's name - he is one of those great men that are lost to history. If you're extremely lucky, you may actually find a brief mention of his name. The new country was actually formed on March 1, 1781 with the adoption of The Articles of Confederation. This document was actually proposed on June 11, 1776, but not agreed upon by Congress until November 15, 1777. Maryland refused to sign this document until Virginia and New York ceded their western lands (Maryland was afraid that these states would gain too much power in the new government from such large amounts of land). Once the signing took place in 1781, a President was needed to run the country. John Hanson was chosen unanimously by Congress (which included George Washington). In fact, all the other potential candidates refused to run against him, as he was a major player in the revolution and an extremely influential member of Congress. As the first President, Hanson had quite the shoes to fill. No one had ever been President and the role was poorly defined. His actions in office would set precedent for all future Presidents. He took office just as the Revolutionary War ended. Almost immediately, the troops demanded to be paid. As would be expected after any long war, there were no funds to meet the salaries. As a result, the soldiers threatened to overthrow the new government and put Washington on the throne as a monarch. All the members of Congress ran for their lives, leaving Hanson as the only guy left running the government. He somehow managed to calm the troops down and hold the country together. If he had failed, the government would have fallen almost immediately and everyone would have been bowing to King Washington. In fact, Hanson sent 800 pounds of sterling siliver by his brother Samuel Hanson to George Washington to provide the troops with shoes. Hanson, as President, ordered all foreign troops off American soil, as well as the removal of all foreign flags. This was quite the feat, considering the fact that so many European countries had a stake in the United States since the days following Columbus. Hanson established the Great Seal of the United States, which all Presidents have since been required to use on all official documents. President Hanson also established the first Treasury Department, the first Secretary of War, and the first Foreign Affairs Department. Lastly, he declared that the fourth Thursday of every November was to be Thanksgiving Day, which is still true today.
The Articles of Confederation only allowed a President to serve a one year term during any three year period, so Hanson actually accomplished quite a bit in such little time. Six other presidents were elected after him - Elias Boudinot (1783), Thomas Mifflin (1784), Richard Henry Lee (1785), Nathan Gorman (1786), Arthur St. Clair (1787), and Cyrus Griffin (1788) - all prior to Washington taking office. So what happened? Why don't we ever hear about the first seven Presidents of the United States? It's quite simple - The Articles of Confederation didn't work well. The individual states had too much power and nothing could be agreed upon. A new doctrine needed to be written - something we know as the Constitution. And that leads us to the end of our story. George Washington was definitely not the first President of the United States. He was the first President of the United States under the Constitution we follow today. And the first seven Presidents are forgotten in history.
Source:http://www.freerepublic.com/focus/f-bloggers/1771850/posts
December 04, 2008
BRAHYHAN ART: Murder Dem A Play
BRAHYHAN ART : Murder Dem A Play
Representing a new generation of reggae that keeps in the tradition of crooners who came before him, those who inspire him, including the likes of Dennis Brown, Beres Hammond, and Toots Hibbert to name a few Reggae artiste Brahyhan Art, born Bryan Grant in St. Ann, Jamaica, recalls playing the guitar before the tender age of eight. His keen interest in music was inspired by his eldest brother, a recording artist known as Ray Grant. But it was his mother who taught him his first three primary chords on which he’d improvise for the next couple of years.
During Brahyhan's early teens, the guitar became secondary until years later when he began practicing for a college entry audition. He majored in guitar (Caribbean Latin American & Jazz Studies) while he attended the Edna Manley College of the Visual and Performing Arts. While in school Brahyhan was discovered by George Miller, who gave him his first big break as a guitarist - an opportunity to tour as a member of the Fire House Band (Luciano’s backing band at the time). An immeasurable experience, Brahyhan toured with Luciano (Grammy nominee), Mikey General and Sizzla for years and later with Bushman as band leader and guitarist of his Grass Roots Band.
About BRAHYHAN ART
When he wasn’t touring, Brahyhan was either teaching music in two local schools, or pursuing his long time dream of singing. He also wrote songs for artistes such as George Nooks, Singing Melody, Bushman, Luciano, etc. Today, devoted to his singing career the, Best New Artist for the year 2002 By; ER (Entertainment Report) TVJ, 2003, has done splendidly on many major shows including “Rebel Salute,” - on repeated occasions, “AT I,” “Fully Loaded,” “St. Mary Mi Come From” and “Unity Splash”, among others. His international appearances includes an extensive tour of the United States and Canada. Representing a new generation of reggae that keeps in the tradition of crooners who came before him, those who inspire him, including the likes of Dennis Brown, Beres Hammond, and Toots Hibbert to name a few, Brahyhan Art continues to bring a fresh voice to the genre. Email: brahyhan@aol.com www.myspace.com/brahyhanart
Contact: Jason Grant : 1876-360-7998 : 1876-392-4863 : 1876-578-3006
Email: brahyhan@aol.com www.myspace.com/brahyhanart
STEVIE CULTURE : CONSCIOUS LYRICS
STEVIE CULTURE : CONSCIOUS LYRICS
Stevie Culture has been a musician for his entire life. He was born in Kingston, Jamaica to Rastafarian parents. His Father was a musician who played the guitar and sang.
As the lead singer for “The S.A.N.E. Band” (Sounds Against Negative Expression—the top band in Jamaica during the 1990s), Stevie Culture performed as an opening act for many Reggae artists such as Shaggy, Anthony B, Sizzla, Third World, UB40, Steel Pulse, Culture, Burning Spear, The Wailers and Alton Ellis. More impressively, Stevie has performed on stage as a backing vocalist for many great artists like Dennis Brown, Tony Rebel, Everton Blender, Capleton and the late, great Garnet Silk.
Stevie Culture is an artist that has always worked toward keeping consciousness in Reggae music. He has also fought the same fight that legends such as Bob Marley and Peter Tosh have fought throughout the years to keep the message of Reggae music important and valid.
“This song is about the upliftment of Reggae music. Over the years, Reggae has become mostly slack lyrics about sex and violence. So I’ve written this song to inspire others to think consciously when writing songs. Remember, the children are listening” Stevie Culture
Stevie Culture is a huge factor in the forwarding of cutting edge Reggae music coming out of Jamaica. He is a well know musician around the Jamaican musical community and is also a studio musician, composing original music and played on many future stars album, such as Crystal Axe, Steve Aliba form Africa. He also played keys on the Itals new album "Me Livity".
He not only produces the most exciting groundbreaking Riddims heard anywhere, he was the lead singer and drummer for the famous "SANE" band, and toured with Toney Rebel, Everton Blender & Utan Green. Stevie's tours have drawn massive crowds all over the world, from the Caribbean to Japan.
Stevie has collaborated on several songs with big name Reggae bands, such as Morgan Heritage and African Star. He has also opened for major bands like Third World, Maxi Priest and Shaggy.
His first official single release "Top Class" is making waves from Taiwan to JA. It is being played on hundreds of Radio stations worldwide and it is getting an amazing response. He plans to release his first Album on King Step Recording in June of 2006. The album's title is "Blessen", and is a harmonious blend of Modern Roots, Dancehall and a little something extra.
Born August 2, 1973 as Steffen Jones, Stevie grew up in a musically inclined family from Lacovia, St. Elizabeth, Jamaica. His father, Jah Lenks (Lloyd Jones) was the lead singer of the band 12 Tribes of Israel. His biggest musical influences growing up were Bob Marley, Alton Ellis and Stevie Wonder.
Source:http://www.myspace.com/sculture http://www.stevieculture.com
November 03, 2008
Nina B.
Nina B is a native New Yorker who was born in the Bronx and raised in Brooklyn, two of hip-hop’s breading grounds. Hip-hop is her genre, and every rhyme she writes brings her one step closer to carving what will soon become her legacy in the history of the music game. At the tender age of six, Nina recorded her first rhyme on her playschool recorder. By age 9, she had written enough to have a catalog of poetry and music, which would soon pave the path to her becoming one of hip-hop’s most promising female artist. As a young girl, Nina experienced the harsh reality of the streets and the trials and tribulations life had to offer. This attributes to the realness in the rhymes that she writes and her strength to overcome adversity. Nina spent her teenage years writing and educating herself on the ins and outs of the music industry. By age 16, Nina was offered a major record deal, which she professionally declined. By nineteen, NINA B was an active participant in Russell Simmons/Bruce Willis Art Start and Hip-Hop Project, where she met Amber Ravenel, CEO of Ravenel Records. In 2003, Nina B signed with Ravenel Records, becoming the first female artist on their roster. Since then, Nina has released six mix-tapes, did a barrage of live performances at venues throughout the New York/Tri-State area, has been featured on some of hip-hop’s most notable sites, and publications. As a female artist signed to an independent label run by a woman, Nina B and Amber Ravenel have broken down barriers in what has always been considered a male dominated industry. Nina’s song ‘Can’t Stop” has been pick of the week on Hot 97’s morning show with Miss Jones and DJ Envy. She has made four appearances on Rap City, a record for an independent female artist. She has also been highlighted on The Drhama Hour with DJ Kayslay and his Sirius Satellite Radio Show, Cipher Sounds “Don’t Quit Your Day Job” Show, and “On The Spot” with DJ Green Lantern. These are all huge accomplishments for an artist not signed to a major record deal, being represented by an independent label. Combine Nina B’s consistency, diligent work ethics, and lyrical flow, with the misfortunes of her past serving as her strength for her future, and you have a female artist whose future and success has no limits.
http://www.ravenelrecords.com/ http://www.myspace.com/ninabmusic
Straight out of Brownsville; Agallah "The Don Bishop"
Agallah (also known as 8-Off The Assassinator or Don Bishop), born Angel Aguilar, is a Puerto Rican and Filipino-American rapper who was a member of the The Diplomats-affiliated group Purple City and the group Propain Campain. He was formerly known as 8-Off Agallah, but changed the name because it was controversial; 8-Off is a variation of the name Adolf, as in Adolf Hitler. He has ghostwritten songs for many well-known artists. In addition to producing his own music, he also produced tracks for Busta Rhymes, Remy Ma, The Diplomats, Guru, Rockin' Squat, Sean Price, Saigon, Mobb Deep and Big Pun. In 1996, he finished his debut album, Wrap Your Lips Around This but it was never properly released due to label folding. The album was available for a short time and is now considered a rarity.
It was 1996, the CMJ Convention. Supernat and Craig G had just finished up their now legendary battle when they handed the mic to a young lyricist. Not just anyone could follow such a battle, but they knew Agallah was one of the few that could. They gave me the mic and really they done smashed the crowd in half, Agallah remembers so to go .. them you got to come crush it so reality is I crushed like the whole convention with some bars and everybody was like yo, that kid is the truth, when is he dropping an album? That was the question with everybody. The answer is, finally, now, with the release of Ag's solo debut album You Already Know . The fans from that night may not have enjoyed the instant gratification of getting an album from Agallah right away, but nothing in Brooklyn native's life has come easy. Agallah is from the Brownsville projects, a place he deems the worst project in Brooklyn. These parts out here, he continued these projects, they're meant to intake you, swallow you and spit you out. In the case of Agallah the projects have done just that to him, and more than once. I done got the bad hand dealt to me, he explains my whole life has just been straight chaos. The chaos for Agallah started with his family. Growing up he witnessed almost everyone that was close to him pass away. Agallah's grandfather, whom he credits as the backbone of the family, passed away first, quickly followed by an uncle who died of AIDS. The final straw came when Agallah's mother was murdered. Shit just started being a domino effect like why the fuck is this shit happening to me? My moms passed away but my own family didn't tell me, somebody that I went to school with said yo they buried your moms. Agallah remembers they didn't even tell me where they buried her, so it hurts. They tried to hide it from me because they knew I would go crazy, which I did. Agallah grew his hair long after his mother's passing and started spazzing out. His wildness almost led to his own death one night at The Tunnel, a nightclub in NYC that was notorious for its violent episodes. One night I went up in there in the bathroom and somebody pulled out a razor, pick-pocketed me, slashed me on my neck and almost cut my jugular vein and left me for dead. Agallah calls the near death experience a wake up call. Who he was associating himself with become of extreme importance. Most people, however, figured Agallah was finished. Everybody was just like he's through, he's finished, he's done, ain't nobody looking out for the cat. The truth of the matter was, however, plenty of people were checkin' for Agallah, they were just all in the music industry. While his personal life was falling apart, his musical career was showing signs of life. Unfortunately, much like in his personal life, every time one of those signs of life came up the rug was quickly pulled out from under him. Agallah signed his first deal when he was 17, with Tommy Boy . He considered this his first invite to have his talent showcased. His talent wasn't showcased, though, as Agallah notes I was this young raw energy and they didn't know how to market or promote me so I lost the deal. From Tommy Boy he went to East West/Elektra and released the single Ghetto Girl. The label was in dire straights when Agallah arrived, however, and quickly went under. Working as both an MC and a producer Agallah was beginning to wonder if he'd ever get his chance to shine. I did it before Kanye or any of these producers that are out right now claiming they're rappers and producers. I've been doing it, I've just never gotten my shot with the right people, I never really got my due.
Agallah has been a presence on the underground hip hop scene for quite some time, although mainstream success has continued to elude him. Starting out as a producer, Agallah turned to rhyming and released a major label single on Elektra Records in 1995. In 1997 he made the classic duo "Till My Heart Stops" on Rawkus Soundbombing I with underground legend R.A. the Rugged Man. A collaboration with Mr. Cheeks of the Lost Boyz followed, although the album the single was to appear on, Wrap Your Lips Around This was never released. Additionally, there were production stints for the likes of EPMD, Das EFX, Onyx, and Group Home. During this time, Ag won the acclaim of top New York producers, such as Tony Touch and DJ Premier. In 2000, Agallah recorded the Sesame Street-themed single "Crookie Monster," which became an underground hit and featured production by the Alchemist.
In late 1999, Agallah teamed up with former EPMD member PMD and formed the hip hop group D.B.D. (Death B4 Dishonor). Other artists in the group were Ike Eyes, 215 and Deke O'Malley. The group was short lived but they recorded a demo album which featured artist Guru of Gang Starr, John Forté, special Ed and Lil Dap of Group Home, D.B.D. also released a single entitled "Feel This/Code Red" which was produced by KRS-One's brother Kenny Parker. The unreleased album can be found on various internet sharing sites.
A friendship with Shiest Bub led to the formation of Purple City Entertainment (also known as Purple City Productions) with Un Kasa, which attracted the attention of Dipset capo Jim Jones. Shiest had been doing promotional work for Cam'ron and Juelz Santana. For the new Purple City project, Agallah was christened "the Don Bishop", with Shiest as "the Emperor." Jones' enthusiasm for Ag's track "Gangsta" garnered the producer/MC a slot on the Diplomats Volume 4 mixtape.
Poised to take over the booming mixtape circuit, Purple City signed to Babygrande Records in late 2004. The following year, the label released a "greatest hits" collection that collected Purple City's best mixtape gems. Even as Purple City reached newer heights in 2006, Un Kasa departed the outfit due to business disputes, among other reasons.
Agallah's profile as a solo artist has also expanded in the wake of Purple City's rise, with the release of You Already Know (featuring appearances by dead prez and Nappy Roots, with production by DJ Premier and Alchemist) on Babygrande coupled with the release of the mixtape Propane Piff on Koch Records.
In mid 2007, Agallah stated in a Myspace bulletin that he is no longer signed to Babygrande.
Agallah also contributed the song "Risin' To The Top" to the smash hit and controversial video game Grand Theft Auto III, appearing on the "Game FM" radio station, Agallah teamed up with Rockstar Games once again to record the soundtrack for Midnight Club 2. Gamers can also hear Agallah's beats on EA Sports basketball game NBA Live 08.
The rappers third album, A.N.G.E.L. (A Nigga Gotta Envision Life), is due to be released in 2008 on his own label Propian Ent, and will feature productions by DJ Premier, Havoc, 9th Wonder and Agallah himself.
www.myspace.com/agallahdonbishop
www.wikipedia.org
November 02, 2008
Charles Hamilton.
Charles Hamilton is music. He's often stated that's all he does and hes in the studio more than anywhere else. Musician. Producer. Songwriter. Lyricist. Psycho. Hippie. Genius. These words all connect through one name: Charles Hamilton.
Born in Cleveland, Ohio, Charles Hamilton was exposed to music at an early age. "My mother was an entertainment journalist for the Cleveland Call and Post, so she would take me with her to events when I was just a baby."
His mother always made sure he had an instrument around him. She put different kinds of instruments in the basement of their Cleveland home, but he naturally gravitated to the keyboard. "At first, I was just playing the rhythm of the songs I would hear," says Hamilton. "The older I got, the more proficient I got at hearing the notes." For most of his life, he was self taught, picking up the lead and bass guitar in his teenage years, as well as the drums and harmonica. He says listening to other genres of music, being exposed to different cultures and experiencing life helped mold his musical sound.
Most of his music is sample-driven. Though he catches quite a bit of heat for his sampling, he insists it is for the good of music:
"When I sample, I'm not just doing it to sound good. I'm trying to tell a story. To convey an emotion. If I sampled it, there is a reason I sampled it. I believe that music is based on moments, and that there are some moments that people may have missed back in the day. They may have even missed it a year ago. When I sample, I'm giving the artist their respect, while simultaneously creating something new."
His influences read like a Lollapalooza bill.
"I'm a HUGE Incubus fan. I love Incubus, Eminem, N*E*R*D, Jay-Z, Modest Mouse, Korn, Dr. Dre, Thelonius Monk, Aerosmith, 50 Cent, Mariyln Manson, Alchemist, The Isley Brothers, Kanye West, Nine Inch Nails, Hi-Tek,... I just love good music. Good music that tells a story."
Utilizing a studio built in Frederick Douglass Academy (also in Harlem), Charles Hamilton spends countless hours in the studio, perfecting his craft and his signature sound. "The Lab (FDA's studio) means so much to me because when I literally didn't have anywhere else to go in the world, I can just go into my beloved alma mater and purge myself creatively." In this studio is where most (if not all) of Charles Hamilton's music is made. "Don't get me wrong," continues Hamilton. "I can do my thing in other studios. It's just something about home that makes my music breathe."
All the people that worked with Charles Hamilton or have seen him in the studio all say the same thing: phenomenal. Ted Wheeler, manager for hard-core rapper C Nellz (of whom Charles Hamilton produces for) affectionately calls him "Charles Grammy-ton". "It has always been my dream to win a Grammy," says Hamilton. "I study the categories, I study the winners and try to figure out how and why they won. If they won it, they deserved it." As a producer, he is currently working on several different projects, ranging from spoken word, to blues, to alternative, to hip-hop, to his own project, "The Pink Lavalamp." "I want to show the world that I, a Black kid from the hood, can connect the whole world through music. I also want to show the world that my hood is Harlem, the home of the Harlem Renaissance, which gave birth to most, if not all of modern-day art. Harlem is where art lives. The Greek god of Apollo was the god of entertainment. Where's the Apollo theatre?"
At his July 19th, 2007 show at the Bowery Poetry Club dubbed "Night of the Living Lavalamp", Charles Hamilton was on stage with his DJ (producer/turntablist Halo), alternative/blues band Mad Cow, hip-hop producer Black, and live painter Sarah Kolker. All of which are personal friends of Charles Hamilton.
"My man Halo and I met at a cookout me and my man Sciryl threw in the summer of 2007. That's like my twin. We had only known each other for a few weeks before we did the show. That's how much we hit it off on a creative level. I actually met Viktor from Mad Cow in the summer of 2006 when I was in a rap duo. We had been talking about working together for ages, and we finally did it at my show. I grew up with Black. He was the first person I knew when I moved to Harlem. Ironically enough, I taught him how to play the piano. And Sarah, I met her through my poet friend Aja-Monet. We hit it off very well" Aja-Monet also performed at "Night of the Living Lavalamp". "I hope to make 'Night of the Living Lavalamp' an ongoing thing at the Bowery. The Bowery is where I got my start when it comes to on stage experience when doing hip-hop. I love them for that."
It was at "Night of the Living Lavalamp" that Charles Hamilton met Rainmaker, spoken word artist and President of VinylPop (Charles Hamilton's company). "Rainmaker is just off the chain. We vibed at the show, but I was doing my Charles Hamilton thing on stage so I didn't get a chance to have a serious conversation. I met him again at an open house that Abiodun (from The Last Poets) has every Sunday. We just talked for hours about everything from music race relations to relationships. He exposed me to the most profound spoken word artists in the world. I am thankful to God for introducing me to him, among other things I thank God for."
Charles has a theory that god is a woman. He also is a avid fan of the color pink, which he also has a philosophy behind. "God is a woman and pink is the inside of a woman's womb and thats where life comes out of, so wearing pink is a way of showing respect to god." He has been approved by some of the biggest names in rap including Eminem, Dr Dre, Kanye West, The Game, and the list goes on. Charles has stated numerous times however that hip hop was not his first music love, rock was. He's said his uncle, ministers at church, and musicians as such as Eminem, Jay-Z, Dr Dre and Incubus were a big part of his life growing up. Charles is one of the only artists in the game who connects with his fans on a personal level via his blog, email, and even Myspace. Hamilton is a self-proclaimed Sega fan. The sonic has to do with his philosophical views such as sonic meaning sound. His music often references classic Sega games such as Sonic the Hedgehog, even sampling level BGM in "November 10". He owns a pink hello kitty guitar. He is obsessed with headphones, he uses the new Dr. Dre headphones for quality and uses Skullcandies for style.
The Pink Lava Lamp is Charles' first major album being released through Interscope and is still awaiting a release date. He blogs basically every day so for the up to the minute Charles Hamilton news, check out Charleshamilton.blogspot.com.
His debut solo album, "The Pink Lavalamp," is his way of illustrating his ideas for the future of music. "It is, without question, a hip-hop album," says Hamilton. "At the same time, I embody different genres of music to express different feelings and emotions that I feel in my everyday life. My music is ALWAYS based on my life. My happiness, my sins, my heartbreak, my anger, my quirkiness, my everything is given in my music. The music I grew up listening to told a story. So I'm taking the music I grew up with, as well as my story, AS WELL as my musicianship, to bring about a new sound. I don't want to sound redundant and talk about myself all the time, but I hope my story can help someone else's life. If my life were to be a movie, it would be the Antoine Fisher story all over again, but with a killer soundtrack and without a military background."
For more information on Charles Hamilton, VinylPop, and upcoming projects, call le'Roy Benros at (518) 469-9886 or LeRoy.Benros@gmail.com
Source: www.myspace.com, www.wikipedia.org
Grafh
Grafh, born Phillip Bernard, is from the Southeast Queens section of New York. His early years were spent in a climate submerged in the infamous crack wars of the 1980s. Attempting to avoid these pitfalls, a young Phillip took on rhyming as a past time. Unfortunately, street life would take charge in a way he never expected. A neighborhood mentor was gunned down right in front of Phillip; following that, he witnessed his father’s murder. With two close and sudden losses, Phillip was caught in a blend of mourning, rage, revenge, and a sense of providing a life for him and his mother. A rough time indeed, but he believed in the adage, "God never gives a burden too heavy to carry or overcome." With the help of a friend of his father, Phillip was encouraged to stay clear of the perils of the street. The family friend asked Phillip to consider other careers with more certainty and longevity than rap music, even making him promise to finish school. But Phillip didn't exactly keep his promise; with one foot in the street, his entire mind, body, and soul were dedicated to music.
At this time he took on the name Grafh, due to his talent for graphically painting pictures with his lyrics, and to insure his father's friend didn't hear of his street exploits and neighborhood rap battles. Grafh hit the rap circuit on a mission and it wasn't long before word of Grafh’s raw talents reached the office of Black Hand Entertainment, a Jamaica, Queens based record label with strong street ties. Once the rapper and record label staff eventually met, Black Hand’s CEO was surprised: Grafh was Phillip and the CEO was Chaz Williams, the family friend who’d told the young man to stay away from trouble. He is featured on the soundtrack to Dame Dash's Ultimate Hustler.
A mixtape veteran, Grafh has propelled his way into the major league on pure skill, dedication, and strategic independent positioning. Grafh's short stint at St. John's University qualified him to become president of the indie label, Black Hand Entertainment while still remaining its flagship artist. Relentless, and prolific is the best way to describe his mission, and music, which has been featured on HBO's Entourage, Fox's Meth and Red Show, BET's Ultimate Hustler. His music also appears on a number of video games, including EA Sports' NFL Streets, 25 to Life, and most recently Saint's Row. Grafh has just begun to impact. He is the brainchild of the Myspace Jumpoff record which is soaring over the internet. The record has received organic adds on the play list at stations like New York..s Hot 97, Washington DC's WKYS, and San Francisco's KMEL, with additional support coming in from the college and commercial non-reporting radio level. MTV was one of the first to feature Grafh and his Myspace Jumpoff record on Direct Effect. The record has received over 140,000 hits on his page alone. It is a featured video on Myspace.com, and is still gaining momentum. The growing success of the Myspace Jumpoff record is the true prelude to the long anticipated AutoGrafh album. Due to the high consumer demand for a Grafh product, it is scheduled as an indie release in January, 2007. Grafh has already began to work on recording his sophomore album, and is staying busy hosting the Black Hand Radio Uncut show on XM Satellite radio, doing a national prison tour, as well as performing at traditional venues across the country. Grafh is on the move, he never stops, and you can still catch his mixtapes at your nearest bootlegger! BLACK HAND IS THE LABEL AND THE MOVEMENT!
October 31, 2008
Sizzla Kalonji Continues To Makes Waves
Sizzla Kalonji Continues To Makes Waves With The Release of Two Albums, Addicted and The Journey Plus Lots Of Upcoming Projects!
Sizzla Kalonji Continues to make waves with the release of two new albums, Addicted and The Journey, plus lots of upcoming projects. The Journey is currently the number 1 selling album on Greensleeves. Upcoming projects include his first time performing in Africa which will be held in The Gambia, West Africa on December 25th, 27th, and 29th 2008. A documentary highlighting his work and talent will also air on Bet J on November 1st at 2:30pm
Addicted was released in the United States in September through a collaboration between himself and an American20production team called MBIG Music from Florida. They released two riddims featuring Kalonjiʼs vocal cuts (No Bed A Rose on the dancehall Shaolin Temple riddim and Watch Over Me on Rootal riddim) and the Exceed Of Love single in 2007. Kalonjiʼs new album features 14 tracks, from dancehall to hip hop vibes, including three combinations with female singer Ca libe and three others with Spragga Benz. Check out The Addicted Video, http://www.youtube.com/watch?v=IhYew9AP2Ns
The Journey Album is a combination of hits from some of the 55 albums Sizzla Kalonji has released over a 10 years period and DVD. This album compiles 22 of his career highs giving new buyers & dedicated fans something very special. It includes the lead track 'Take Myself Away' from the recent Damon Dash released album 'The Overstanding' & 3 brand new killer cuts 'The Solution', 'Africa Prepare' & 'Sow More Love'. There is outstanding production from Bobby Digital, Xterminator, King Jammys, Don 'Vendetta' Bennett & Maximum Sound. & features the cream of Jamaican musicians, Sly & Robbie, Firehouse Band & Jazzwad. Currently itʼs the number 1 selling album on Greensleeves. http://www.greensleeves.net/products/7793
On November 1st check out a documentar y on Sizzla Kalonji which will air on BET J at 2:30pm, "When The Walls Talk." The highlight of the year will feature Sizzlaʼs first performance in Africa on December 25, 27th, 29th 2008. Itʼs an African Explosion, Rise To The Occasion with Betts Promotion, Rebel T Music, and Kalonji Records at the Bakau Independence Stadium featuring Jesse Jendah and Princess Menen. Part portion of the proceeds will be donated to Wesley Primary School in Banjul and Bakau Primary School where 50 children will have tuition scholarships for 1 year. For press related questions contact, publicist Olimatta Taal 1-876-437-2889, 011-220-931-9869, 1-347-280-7872, Jerrejef2@yahoo.com. For information on Kalonji Records contact 1-876-620-9073 or www.myspace.com/sizzlakalonji.
Super Producer Computer Paul Continues To Make Hits
When you have worked on several gold and platinum selling hits as a producer or musician what have you become? A super producer/musician is the answer to the question. Very few Jamaican producers or musician might fit into the super category. However Paul Henton otherwise known as Computer Paul is one such producer and musician, he has worked with the who’s who of reggae and dancehall music, including Sean Paul, Shabba Ranks, Beres Hammond, Beenie Man, Bounty Killer, Buju Banton, Maxi Priest, Shaggy, Jimmy Cliff, Inner Circle, Tanya Stevens, Monyaka, Baba Maal and a host of other top reggae and dancehall music stars. In a career spanning over two decades Computer Paul has lent his talents to projects that have spawned several international hits such as I Can See Clearly Now by Jimmy Cliff, Mama Africa by Akon, Bad Boys and Sweat (a-la-la-lo-long) by Inner Circle. He has also played the beats on some of the most memorable Dancehall hits including Sizzla’s No Time To Gaze, Buju Banton’s Rampage, Richie Spice’s Grooving My Girl, Louie Culture’s Gangalee and Capleton’s Critics. In recent times Computer Paul has set up his Boot Camp recording studio which is located in Harbour View. Since setting up Boot Camp he has continued to work on a number of projects for established acts.
He has also dedicated himself to working with a lot of emerging acts as well such as Stevie Face, MBC (Make Boyz Cry), Timmi Burrell, Patriot, Nature and 14K. This decision has already began to began to bear fruit as Stevie Face has scored a big hit with Tell It Like It Is on the Boot Camp label, this song has been getting massive rotation on radio stations locally and abroad since its release. Tell It Like It Is has also hit all the major Reggae charts in Jamaica and overseas. MBC has hit the charts both locally and abroad with songs such as Busted and One More Try.
Torie-Shae’s Production
Mobile 876 - 409 – 0848
bigrallo@gmail.com
Mobile 876 - 409 – 0848
bigrallo@gmail.com
Christopher Martin
A star has risen. Christopher Martin, the talented singer/performer from Back Pasture in St. Catherine who shot to instant fame and recognition shortly after winning the coveted Digicel Rising Stars title in 2005, is fast becoming one of the most sought after performers on the Jamaican music landscape.
With a slate of singles permeating radio and the Jamaican music charts including Giving It and Jamaican Girls, Christopher created history when he became the first Digicel Rising Stars alumni to score a hit single on any chart in Jamaica.
‘It has been a wonderful journey so far, filled with new and promising encounters. It is also challenging but I love what I am doing, so it makes that much easier’, Christopher remarked when asked about the journey from being an unknown to a popular personality.
Christopher’s growth as an artiste and an individual ever since he shot onto the scene in 2005 is quite evident. His vocal chops have improved drastically, he is now under the guidance of the Big Yard label which is one of the most prolific musical entities in Jamaica, and he has gained a lot of respect from his peers.
‘I’ve grown tremendously and I am more confident in my performance. My voice also seems more richer and I know exactly what it is I am capable of. I think I have gained the respect from others, due to the amount of work that I have been putting in’, said Martin.
Martin was born on Valentine’s Day in 1987 to parents Cleveland and Maxine Martin. He attended the Watermount All-Age School and later the St. Jago High School. It was during his high school years that his love for the dramatic arts and sports developed. He participated in various sporting activities including football and he even participated in the School’s Drama Festival where he was awarded the best actor award in 2003. That same year he was named Mr. St. Jago High and he also earned the sectional prize for Most Talented.
Additionally, Martin has won numerous awards for singing, throughout his high school years. In 2005, he was awarded the Gold Medal in the Jamaica National Skills competition in singing.
Christopher graduated from St. Jago High school in 2003. After winning the Digicel Rising Stars competition, Martin participated in Digicel’s Christmas promotions in 2005. His debut single Love is all We Need formed part of the promotional campaign.
Martin’s subsequent releases included Conscience, Christmas in Jamdown featuring the Katalys Crew, My Love for You, Take My Wings, Tonight, Giving It, and Jamaican Girls. He has worked with a number of top producers in the reggae/dancehall arena including Robert Livingston (Big Yard), Arif Cooper, Shane Brown and Christopher Birch.
He has performed on a number of stage shows, events, functions and entertainment events across Jamaica and even overseas. One of his major accomplishments in 2006 was signing a contract with Blue Cross of Jamaica. He will make appearances on the behalf of the company until June 2006. Martin’s parents have been the source of his motivation to pursue his musical ambitions. ‘My parents and my peers at school really motivated me. They always said that I would be a star’, he said. He said his main objective is to bring the music and his interpretation of the music to farther heights. ‘I want every household across the world to know and love my music and where I come from’, Martin added.
Martin is presently studying Business Management and Accounting at the University of Technology (UTECH) in Jamaica. His lifelong goal is to become an entrepreneur.
Martin lists singing, reading, socializing and baking among his hobbies. His website which can be seen by logging on to www.chrismartin.com.jm is up and running. His fans can interact with him via that medium. Very soon, a fan club will be officially launched where fans can get closer to him.
Source:http://www.bigyardmusic.com/index.php?option=com_bigyard&artist=48&show=biography&Itemid=20
October 29, 2008
Sen I Sennon
To wahch video Click Here: http://link.brightcove.com/services/link/bcpid1544453258/bctid1805615662
As people of culture we want music for every moment in our lives, when music touches our soul we tell others about it and when music touches our culture we embrace it. With great anticipation we welcome to our culture of music, Sen I Sennon. Hailing from Quinam Road, Saparia and one of Trinidad’s most versatile artist is Mr. Ray Sennon as he is known to his family and friends. Sen I Sennon grew up in a very musical home, his mother taught him to sing, as well as his 3 brothers and 2 sisters who also express their talents musically.
At the young age of 16 Sen I made his impression on the entertainment industry with his first Soca song written by his mother and himself. He then made a decision to broaden his horizons by introducing Reggae and Pop to his genres. To master his art he listened to the styles of Bob Marley, Garnet Silk, Anthony B, Sizzla, Capleton and Johnny Clark to mane a few.
In 2006 Mr. Sennon took incentive and moved to Jamaica the home of Reggae music for a year and six months, where he was blessed to work with Dean Fraser and Bobby Digital to record songs like Broken Love and True Man a Rasta. These hits will be part of his album entitled Fire Lion Project.
When asked how he feels about the music he makes Sen I stated “I don’t make music for myself, I make music for poor people, people that need music to just get thru the day”. He has inspired many youths thru music urging them to be aware to the changing times and stay in school, because knowledge is power. The best advice came from his brother Kemau who told him “when your break comes make sure you are ready for it”, and we are all awaiting Sen I Sennon’s Album.
Mr. Sennon is currently recording at Yaiquab Studios, alongside producers like Micey Moore, Yaiquab, FX, Ade Jones to name a few, he is adding the finishing touches on his debut album, which will be available this fall. His first single entitled ‘Jahlisa’ was inspired by his encounter with young lady and her name stuck with him all day so he decided to write a song about a girl named Jahlisa. He has been fortunate to bless the stage with artists like Luciano, Tarus Reiley, Determin, Marlon Asher, Jahspa, Khari Kill, Jah Bami, Purple Man and many more. He has taken music to another level with his diverse style and eclectic persona.
In 2008 Sen I performed at Dat Nah Mek It where he met his current management team Empress K Inc. Now we can see him up close and personal at events such as Higher Heights, Jahspa Unplugged, Obama Fest, Reggae on the Water, Fashion in d Yard and much much more.
Sen I Sennon resides in Pensylvinia with his family, and as most artist on the rise he said “I’m single now but Jah has the right, overstanding empress for me”. Look out for his debut album Fire Lion Project this fall for Empress K Inc.
Empress K Inc.
www.myspace.com/empresskmanagement
www.myspace.com/senisennon0
A.G (Andre The Giant)
Both New York and San Francisco have professional sports teams named the Giants. So it shouldn’t be a surprise that legendary MC AG—aka Andre the Giant—recorded his latest album, Get Dirty Radio, 3,000 miles away from his South Bronx birthplace, in California. What is a surprise, however, is that while longtime collaborators Lord Finesse and Showbiz appear on Get Dirty Radio, the majority of the tracks were crafted by producers the rapper’s never worked with before, including Jake One, Dabrye, Tommy Tee, Oh No, Look Records head honcho DJ Design, and—representing somewhat of a hip-hop head’s wet dream—Madlib and J Dilla.
“That’s gonna let em know right there,” AG predicts. “Those are two guys who carried the tradition of digging in the crates, and DJ Design linked me up with them, so it’s like the old legend with the new kings … The album is crazy.”
On the Madlib-produced “Frozen” (the album’s first single), AG proves he’s still got the verbal skills that made him a legend: Niggas say we real cause the way we got down/ From the streets to the industry locked down/Plot now on the world that’s the next stop/ Ladies listen cause I’m known to hit the wet spot. The DJ Design-produced “Triumph” bears much personal significance for AG, who’s overcome many trials and tribulations in his life, from a murder charge (since overturned), industry-related politics and the tragic death of his good friend Big L. On the track, he pays homage to his fallen comrade, declaring Big L will never be forgotten, then goes on to say, the Big Apple, I eat it rotten/ Just to keep it poppin’. Another unquestioned highlight is one of J Dilla’s last production credits, “Hip Hop Quotable (feat. Aloe Blacc), a brilliant track which traces the history of hip-hop through its more memorable lyrics over the years, and finds AG up in the lab, stabbing that pad with a pen again.
Get Dirty Radio’s emphasis on lyrical skills, classic concepts, and innovative new music might just change people’s minds about the current state of NY rap, which in recent years has followed trends more than it has set them. “If music is pumping, Imma get into it,” AG says. “But the message, the lyrics, and the content are horrible right now.”
The album marks not only a return to form for East Coast-style rap, but a new beginning for AG, a member of the fabled Diggin’ In the Crates (DITC) crew, still fondly remembered by hip-hop heads for such classic tracks as “Soul Clap,” “Runaway Slave,” and “Party Groove.” AG says making Get Dirty Radio “revitalized” him as an artist, to the point where he feels he’s at the “peak” of his game, 17 years after releasing his first record. “If I’m gonna be in it, I gotta live it,” he explains. “And Imma a live it to the fullest.”
Growing up in the South Bronx’s infamous Patterson projects, AG was exposed to both street life and hip-hop at an early age. He remembers excitedly watching parties thrown by the likes of Grand Wizard Theodore, Grandmaster Flash, and the Cold Crush brothers, and being introduced to freestyling by his cousin, LB (currently a graffiti artist and graphic designer with his own clothing line.) While in high school he battled metaphor/punchline master Lord Finesse; the two hit it off, and after meeting producer/DJ Showbiz, he became a full-fledged member of DITC, along with Show, Big L (R.I.P.), Finesse, Buckwild, Diamond D, Fat Joe, and OC. Show and AG’s first EP came out in 1990; an LP, Runaway Slave, followed in 1992; both are hailed as Golden Age gems which currently demand a pretty penny on eBay.
Show & AG’s 1995 album Goodfellaz got caught up in industry politics after their then-label Payday was bought by Universal. “The people in charge didn’t know anything about music,” he explains. “They didn’t do music, they didn’t live in the clubs.” Despite the setback, which cooled their momentum considerably, AG and his brethren continued to make records. 1998’s independently-released DITC album, Full Scale, moved a reported 30,000 units on vinyl and was hailed by the Source as one of the top underground albums of that year; in 1999, AG dropped his first solo album, The Dirty Version. Since then, the rapper has been sought out for guest verses on records by Dilated Peoples, Blacksheep, DJ Greyboy, Casual, and Handsome Boy Modeling School. He’s also toured numerous countries, including Germany, Austria, the Netherlands, and Japan. “I’ve been overseas a lot,” he says, noting that he’s been embraced by international audiences who appreciate hip-hop culture beyond just the current fad or trend. “They keep the real movement alive.”
In 2002, AG came across DJ Design backstage at a show in Germany. This was the first time the two reunited since 1994, when Design promoted a show in Seattle headlined by none other than Show & AG. The two discussed working together on an AG solo album, and soon after that, the rapper flew out to San Francisco to write what would become Get Dirty Radio, staying in a condo rented by Look Records, and getting inspiration from the change of scenery and California’s celebrated greenery. “It ain’t no dirt weed out there,” he says with a smile.
Initially skeptical about working with new producers, AG has come to realize that even veteran MCs have to remain relevant and contemporary. The cutout bins are littered with scores of albums by formerly great rappers who fell off or just couldn’t adapt to the current state of the hip-hop artform. Yet that’s not likely to happen with Get Dirty Radio, an album which deserves to be seen as a modern-day classic by a classic artist.
For AG, to “Get Dirty” means to take control of not just the music, but the artistic direction of his career. “We had to get our hands dirty,” he explains, adding “I think when we do it ourselves… it’s just a better result.” Dropping science, as is his custom—AG became a member of the 5% Nation while a youth, and still maintains 360 degrees of knowledge—he explains, “there’s an angle in everything you do. You just gotta find your angle without sacrificing your integrity in the music.”
With Get Dirty Radio, he says, “I think I found my angle. I figured out how to give them what they want by giving them what I want to give them, without bringing down the music. I think the music is coming back around to what we do.”
Source:http://www.lookrecords.com/?page_id=21
October 08, 2008
Roc Climber Boots: Latest Creation From Jay-Z and Rocawear
Roc Climber Boots: Latest Creation From Jay-Z and Rocawear Now Available for Pre-order at Roc-Climber-Store.com
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October 07, 2008
Don't Rhyme for the Sake of Riddlin': The Authorised Story Of Public Enemy
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Public Enemy are one of the greatest hip-hop acts of all time. Exploding out of Long Island, New York in the early 1980s, their firebrand lyrical assault, the Bomb Squad's innovative production techniques, and their unmistakeable live performances gave them a formidable reputation. They terrified the establishment, and have continued to blaze a trail over a twenty year period up until the present day. Today, they are more autonomous and as determined as ever, still touring and finding more ingenious ways of distributing their music. Russell Myrie has had unprecedented access to the group, conducting extensive interviews with Chuck D, Flavor Flav, Terminator X, Professor Griff, the Shocklee brothers, and many others who form part of their legacy.He tells the stories behind the making of seminal albums such as their debut Yo! Bum Rush the Show , the breakthrough, It Takes a Nation of Millions to Hold us Back , and multi-million selling, Fear of a Black Planet . He tackles Professor Griff's alleged anti-semitic remarks which caused massive controversy in the late eighties, the complexities of the group's relationship with the Nation of Islam, their huge crossover appeal with the alternative audience in the early nineties, and the strange circumstances of Flavor Flav's re-emergence as a Reality TV Star since the turn of the millennium.Urgent, incisive and definitive, Don't Rhyme for the Sake of Riddlin is the ultimate guide to the group that tells it like it is, and insists that hip-hop is a lethal weapon for the social and politically conscious. Russell Myrie shows how, in a time of rampant profligacy and meaningless posturing in hip-hop, their diatribes still cut to the heart of the American dream, and they are as important and necessary as ever.
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Offers an access to Public Enemy , conducting interviews with Chuck D, Flavor Flav, Terminator X, Professor Griff, and the Shocklee brothers who form part of their legacy.
Amazon: HIP HOP and R&B
September 07, 2008
Its' Been "A long Time Coming " For Wayne Brady
Color Heritage Reggae Wear Apparel
The Ganja Farmer ‘Marlon Asher’
September 04, 2008
Stadium Ent & Nappy Boy Digital Presents "True To the Game"
Stadium Entertainment Corporation, the full-service entertainment company founded in 2006 by longtime music industry veterans Gary Katz, Camille Barbone, and Jerome Mas has formally announced that they have inked a licensing agreement with the multi-platinum-selling rapper T-Pain's digital-only label, Nappy Boy Digital.
Under this new licensing agreement the first single from Stadium Entertainment's upcoming CD release is "Beam Me Up," featuring T-Pain, Rick Ross and introducing Nappy Boy artist Tay Dizm. "Beam Me Up" will also appear on Stadium's debut compilation CD, TRUE TO THE GAME, which is being released on October 21, 2008. A portion of the proceeds from the sale of TRUE TO THE GAME will benefit the fundraising initiatives of the Kansas City-based Negro Leagues Baseball Museum.
Stadium Entertainment Corp. was created because "we recognized the need to construct a new paradigm in an industry that often forgets that its reach and power comes with certain responsibilities," stated founding member Barbone. Stadium Entertainment Corp. is uniquely different from other emerging independent record and consumer entertainment entities in that each release, with the Stadium Entertainment Corp. imprint,will create a revenue stream that is pledged to the fundraising efforts of a wide-variety of politically-correct, grass-roots, philanthropic organizations. With this mission and its focus on philanthropic efforts, Stadium Entertainment will generate projects featuring like-minded artists, such as T-Pain who share a socially-conscious perspective, and who desire to "give back" to the community-at-large. As Gary Katz describes: "We've created a new business model where the artists, their music and worthy charities can come together to participate in projects that have a profound impact on the lives of others."
David Abram, one of Nappy Boy Digital's founders added: "We embrace out-of-the-box thinking, and we felt that Stadium Entertainment exemplifies this. Gary, Camille and Jerome have developed an incredible vision that calls upon their collective intellectual currency and practical experience. We knew, almost from the start, that working with them and helping to further Stadium Entertainment's philanthropic thrust would result in creating an exciting new business model and we're excited to be a part of it all."
TRUE TO THE GAME, in addition to this first single, will feature new tracks combining the talents of successful and prominent recording artists with new talent such as GLC featuring Kanye West, Chingy featuring Ziggy Nina, Raiyn featuring Talib Kweli, Sam Chris featuring Big Boi of OutKast, Tone BlacQ featuring Snoop Dog, and Yung Joc, which Stadium Entertainement believes will capture and engage the music-buying consumer's attention.
Currently, "Beam Me Up," is receiving more than 500 spins each week at urban and mix radio formats and the indie digital label has yet to formally seek "adds." Distribution of "Beam Me Up" is handled solely via digital sales, and Nappy Boy has sales agreements with major online digital music retailers such as iTunes, Napster, LaLa and Liquid Digital, among others. In addition to single sales on the web, revenue streams are being created with ringtones and licensing agreements such as the one created with Stadium Entertainment Corp.
Stadium Entertainment's mission is to aggregate the varying elements of unique entertainment projects that will attract consumer support, involve viable and practical corporate participation, and utilize the unique creative talents of award-winning, platinum and multi-platinum-selling performers in order to generate sales that will support a wide range of innovative creative projects, raise funds for worthy charitable causes, and bring new and talented individuals to the public's attention.
The company has offices in Santa Monica, California and New York.
Robin Thicke's "Something Else"
Something Else is aptly titled. "It's time for hope and change," Thicke says. "It's in the air. And I'm speaking on the times around me." Thicke echoes the change with mesmerizing Superfly-era vocals, Gamble and Huff-inspired horn arrangements ("Hard on My Love"), unabashed lyrical optimism and an irresistible invitation to the dance floor ("Side Step"). "I don't want to be a preacher, but I do think at the core of every great existence is an abundance of love and joy, and the only way to create that is to give it," he adds.
Born in Los Angeles, Thicke grew up with an ear trained squarely at R&B and hip-hop. "I was listening to Kurtis Blow at 8, NWA at 12, Jodeci and Mary J. at 14 and Boyz II Men and Babyface soon after," Thicke says. "I didn't even listen to rock and roll music until I was 17. And I find myself thinking that's more normal than it is." André Harrell (then president of Bad Boy Entertainment and mentor to Mary J. Blige, Puff Daddy and Thicke) heard the lanky white kid and was dumbstruck. "I heard what Martin Luther King, Jr. described in his dream of a new America: a place where a white man in the San Fernando Valley can feel Detroit, Harlem and the blues," he says.
The spirit of Michael Jackson looms large throughout the new release. "Michael is the epitome of celebration, and the core of this album has that: It's celebratory, healing, loving music," Thicke says. To deepen that connection, Thicke employed the same horn section used on Jackson's "You Wanna Be Starting Something," from the 1979 classic, Off the Wall. "André Harrell told me, ‘When God is singing loud, that's the sound of horns,'" he says. Gary Grant and the Jackson horn section contributed to the album's trans-generational appeal. "I kept the kids on some songs and the adults on others, so it's the sound of young and old coming together."
Something Else also benefits from writing sessions that took place in different cities, a tactic employed by several of Thicke's idols, including Marvin Gaye. "New York is the center of information, so I took a few trips there and set up a big studio," Thicke says. Songs like "Sidestep" and "Something Else" with their heavy, insistent grooves, were the result. "Paris is the center of romance," he says, "and I went there, and found ‘Sweetest Love,' ‘You're My Baby' and ‘Miss Harmony.'"
The first single, "Magic," draws all of Something Else's influences together into one blast of disco-infused dance pop. Robert Hales, director of Gnarles Barkley's "Crazy" video, was tapped to add visual balance between downtown dance couture, references to Fred Astaire's Mr. Universe and Stanley Kubrick's 2001: A Space Odyssey, one of Thicke's all-time favorite films.
Melding the retro and the modern across 12 tracks, Robin Thicke leads his international fanbase into inspired, sexy and refreshing new territory.
Robin Thicke's first album, A Beautiful World, released in 2003, yielded the hit song, "When I Get You Alone," and paved the way for his breakthrough second release, 2006's The Evolution Of Robin Thicke. Now on the way to double platinum status, Evolution's mega hit "Lost Without U" became the #1 most played song in Urban Adult Contemporary BDS and topped four Billboard charts simultaneously: #1 R&B /Hip Hop album, #1 Hot R&B / Hip Hop song, #1 Hot R&B Hip Hop Airplay, and #1 Hot Adult R&B Airplay. TV appearances included the unprecedented distinction of two appearances on Oprah Winfrey – within two weeks.
The year 2007 concluded with the VH1 Soul/ Vibe award for "Best Breakthrough Artist" and nominations from BET ("Best Male R&B" and "Viewer's Choice"), Soul Train ("Best R&B Soul Album, Male"), MTV VMA ("Male Artist of the Year"), MOBO (Best Song, "Lost Without U"), the American Music Awards ("Favorite Breakthrough Artist") and "Lost Without You" was named ASCAP's ("Song Of The Year"). Robin will begin a run of dates with his longtime friend and fellow musician, Mary J. Blige beginning 9/19.
Source:http://www.thinktankmktg.com/home
Raphale Saadiq - "The way I see It"
"Every record I've ever made has had those influences…The Temptations, Al Green, The Four Tops and so on," Raphael explains from the L.A. studio where he recorded his latest illustrious work. This album is the culmination of a life time of experiences informed by the music i grew up on."
Indeed. Listening to The Way I See It, it's immediately obvious that it could have been recorded thirty years ago. Musically cohesive in the same way that soul music albums were recorded back in the day, Raphael's third solo album and first for Sony BMG is not merely a throwback: it is as close to the kind of record made in Detroit, Chicago, Memphis, Miami or New York by any number of super R&B hit makers to anything recorded since. While other contemporary artists may attempt to emulate the sound and flavor of ‘70s soul music, Raphael Saadiq brings real emotion, real feeling and production values that are simply (to borrow a popular phrase from back then), right on.
The inspiration for singer/songwriter/musician/producer and arranger Raphael's follow up to 2004's critically-acclaimed "Ray Ray" set came from an unlikely destination. "I was out of the country, cooling out, in Costa Rica and The Bahamas. I was surfing and ran into people from all kinds of places…and I noticed everybody was listening to this classic soul music and when I came back home and the music for this album flowed organically, naturally. Since I have my own studio, I was able to perfect it, take my time to make it right. I was able to live with it, day after day and I think that had a lot to do with how the album turned out. In all, it took about four months to put it all together."
The result is that The Way I See It has the kind of smooth musical flow associated with great records made by pioneering producers at famous R&B companies like Motown, Invictus and Brunswick. From the foot-tapping opening track, "Sure Hope You Mean It" to the head-shaking reflective closer "Sometimes," Raphael delivers a present day potent ode to a bygone era. Talking about the songs, he notes, "The first track shows my deep connection to The Temptations. The vocal has a David Ruffin ‘feel': I pictured how it was when Eddie Kendricks, Paul Williams and the guys in the Temps were first introduced to the world. I looked at a lot of their album covers so I could immerse myself in the characters. I think of the track as vintage Motown with a Stax guitar line factored in…it's like a melting pot of the two sounds…"
Loyal Tony! Toni! Toné! fans will particularly appreciate "100 Yard Dash," which Raphael describes as "a juke joint, Booker T.-type groove. I reflected back to my first T!T!T! albums when I was singing in a high tenor voice." British R&B fans – specifically ‘Northern Soul' lovers – will dig "Keep Marching" with its insistent driving beat and Raphael notes, "That's the kind of song that can drive people crazy at my live shows…it's a performance piece." Cognizant of the strong respect and appreciation that UK audiences have for authentic soul music, Raphael adds, "I can't wait to get to Europe to perform the songs on this album!"
Speaking of the love Brits have for old school R&B, Grammy-winning Joss Stone (with whom Raphael worked on the best-selling 2007 set "Introducing Joss Stone") is a special guest on the Smokey Robinson-inspired "Just One Kiss," which also invokes memories of The Temps' "Just My Imagination." Says Raphael, "The track reminds me of early ‘70s soul songs and getting Joss to sing on it wasn't hard because she has a profound appreciation for great classic music."
That same love for real music is exactly what has created a solid and loyal audience for traditional soul sounds among a whole generation of Latino concert-goers and record buyers: "Callin,'" with its Spanish language lines and pronounced doo-wop flavor is, Raphael notes, "a jump back to the music of the ‘50s. I wanted to make a track that would get the low riders. People talk about the division between Latinos and blacks but we all grew up together loving the same music. This song is a reminder of how we do when we get together…"
Hearkening back to the Hot Wax and Invictus records made in Detroit by Holland-Dozier-Holland (soul music buffs, think Freda Payne and The Honeycone), "Staying In Love" is a nifty dance floor gem: "It reminds me of a Jackson 5 record, with that James Jamerson bass line, the kind of energy folks love from those Motown tracks." And the lyrics? "I wrote it with my ex in mind…some of it is fabricated and some of it is true to life!" Raphael doesn't fess up about the lyrics for the catchy "Let's Talk A Walk" (opening line,
"This place is crowded/Don't know bout' you/I need some sex/Some sex with you…") only commenting that it's "self explanatory!"
As self-explanatory is the fact that Raphael Saadiq would make an album so satisfying for both old school heads and today's hip music buyers: his background as a musician, singer and songwriter is steeped in a love for R&B married with a commitment to making his own brand of expressive soul music. Born and raised in Oakland, California learned to play guitar, drums, and bass at the age of six, making the bass his preferred instrument. Singing with a professional gospel group by the time he was nine, Raphael's musical education encompassed classical music, ‘40's spirituals, hymns, jazz and, of course, R&B. Shortly after high school, Saadiq won a chance to join Prince and Sheila E. on their 1984 "Parade" world tour.
As the lead vocalist and bass player with late ‘80's/early ‘90's group Tony! Toni! Toné!, Raphael experienced his first taste of mega-success, kicking off with the hit single, "Little Walter" in 1988 through the now-classic slow jam "It Never Rains (In Southern California)" and the club/dance party of "Feels Good," resulting in total sales of over six million copies for the band.
After leaving the group, Raphael recorded two singles for hit movies (1995's "Ask of You" from "Higher Learning" and "Me & You" from "Boyz in the Hood"). In 2000, he created the supergroup Lucy Pearl (with En Vogue's Dawn Robinson and A Tribe Called Quest's Ali Shaheed Muhammad) and the team's much-appreciated sole self-titled album received Grammy, American Music Awards and Soul Train Music Awards nominations.
Production credits for artists like Macy Gray, TLC and the Roots followed: in 2000, Raphael won a Grammy for the song "Untitled" from D'Angelo's "Voodoo" and in 2002, he released his much-anticipated first solo album. Released on his own Pookie Entertainment imprint, the soul-infused "Instant Vintage" made history when Raphael became the first artist nominated for no less than five Grammy Awards without having a major record label deal.
In 2003, Raphael released the live CD, "All Hits at the House of Blues" following it in 2004 with "Ray Ray." In demand as a producer, songwriter and musician, Raphael's impressive list of credits includes Whitney Houston, Mary J. Blige, Anthony Hamilton, Devin the Dude, Kelis, Q-Tip, Lil' Skeeter, Ludacris, The Bee Gees, Nappy Roots, T-Boz from TLC, Young Bellz, Earth, Wind & Fire and many others: in 2006, he was the main producer and co-writer of seven songs for the "Introducing Joss Stone" project.
Now comes The Way I See It, a masterful collection of new material that speaks to Raphael Saadiq's deep love for rhythm and blues. "While I was making the album, I watched videos by Gladys Knight & The Pips, Al Green, The Four Tops…and fused them all together," Raphael says speaking of the further inspiration he found for creating the album, which truly showcases the rich diversity of funky grooves and smooth balladry that is Saadiq's calling card.
The standout "Oh Girl" (not the Chi-Lites classic but an original Saadiq composition) stirs up images of famed Philly soul harmony groups like The Delfonics and The Stylistics: "I love the ballads by those groups, they're among my favorite songs. When I listen to them, I wonder where did that sound come from. "Oh Girl" is like the kind of slow jam (director) Quentin Tarantino has use in his movies…" Another director, Spike Lee provided the impetus for the fast-moving "Big Easy," with its notable New Orleans flavor: "I watched Spike's DVD on the Katrina disaster and watching the people stay in the water for three days, man, wow …"
Raphael grins when talking about the hypnotic "Love That Girl": "Man, that's all about the swing…the way girls swing their hips! It's the type of song that will make people move and that shuffle beat reminds me of those ladies I used to see playing drums in church!" With its Motown-flavored tambourine-featured beat, "Never Give You Up" is what Raphael calls "my three generations song. It includes C.J., this youngster from Baltimore that I'm working with and Stevie Wonder. When we first did the track, I had this spot where we said, ‘Please invite Mr. Stevie Wonder to my album' the way Stevie did with Dizzy Gillespie on one of his records. Originally, Stevie wasn't on it but I felt like he should be there. I ended up calling him and he came over to the studio in an hour! I still can't used to Stevie Wonder being my friend."
The Way I See It ends appropriately with the Sam Cooke-influenced "Sometimes" which Raphael explains is "the story of my mother and my grandmother who have always been such an inspiration to me through this journey. It felt right to close out the record this way."
Concluding, Raphael Saadiq – whose most recent studio excursions have included work with Keisha Cole, Snoop Dogg, The Grouch and Dave Young – says his latest album was "harder to make than "Instant Vintage." Once I got into this, I got almost stuck ‘in character,' the character of the old school singers I listened to. But I'm happy and excited it's done. I put in a lot of work and I feel like I achieved something really great." As longtime R&B historian and expert David Nathan of Soul Music.com says, "Raphael Saadiq's latest album is the closest I've heard to a genuine, feel good R&B record since the ‘70s! Unlike others who copy or attempt to recreate the sound of soul from those days, Raphael Saadiq delivers the real thing." ‘Nuff said.
Kenny Lattimore's "Timeless"
"Songs have so much power," states Kenny Lattimore. "Great songs are universal, and a great song can transcend time and speak to people all over the world. A great song can be interpreted in so many different ways and still communicate emotionally. That's what we set out to achieve with the new album, Timeless."
Indeed, Kenny Lattimore's new album (and Verve debut) Timeless is a testament to the transcendent properties of classic songcraft, as well as a vehicle for the performing talents that have long made Lattimore one of the most popular and respected vocalists in contemporary rhythm and blues. Although he's known for his own songwriting skills, Timeless finds Lattimore reaching into the past to apply his interpretive abilities to a compelling set of familiar—and not-so-familiar—material drawn from a wide range of sources from the worlds of pop, R&B, rock and jazz.
The eleven songs that comprise Timeless cover a broad emotional palette, inspiring Lattimore to deliver some of the most sensitive and technically accomplished performances of his career. The Al Green-penned "Something", which is updated here with timely clips of news reports, combines gospel urgency with righteous outrage. Lattimore's remarkable ability to convey tenderness and intimacy is displayed on his deeply-felt recordings of the Beatles standard "And I Love Her", Jeff Buckley's "Everybody Here Wants You", and the Norman Connors/Michael Henderson '70s hit "You Are My Starship", which is the first single from the album. Lattimore is equally persuasive when channeling the raw intensity of Aretha Franklin's "Ain't No Way", Otis Redding's "I Love You More Than Words Can Say", and the Donny Hathaway/Van McCoy cult classic "Giving Up". With the artist delivering equally impassioned performances of songs by Marvin Gaye, Terence Trent D'Arby, Elton John and Stevie Wonder, Timeless is possibly the most personal musical statement Kenny Lattimore has ever made.
"I wasn't interested in covering the same songs that have already been covered a million times, and I wasn't interested in just doing remakes. In some cases, it could be a little intimidating, and it felt like I might be treading on sacred ground. But I just kept asking myself, 'OK, what can I bring to this?'
"Some of these are songs that I've loved since I was a kid," he adds, "but others I discovered in the course of doing this project. I wasn't familiar with Jeff Buckley before, for example, but I loved the song so much that I really got into his life and career and went back and discovered how amazing he was. So that aspect of it was educational for me, and I like the idea that I can pass that on to my audience."
According to Lattimore, the experience of recording Timeless with veteran producer/arranger/musician Barry Eastmond taught him some valuable new lessons. "It really pushed me to expand as a singer," he states. This album really pushed me to just be more free, to throw caution to the wind and just go for it, to express whatever I was feeling at that moment. Sometimes in the past I've over-thought things and tried to make them perfect. But this project forced me to realize that Otis Redding wasn't thinking about making it perfect; he just went in and hit it and expressed how he was feeling. That was a major realization for me. After that, it became more like singing in church, because when I sing in church I sing completely free. The whole situation was very organic and natural, because Barry and I would sit down at the piano and build up the arrangements from there. It was really liberating to work that way."
Growing up in a musical family in Washington, D.C. area, Kenny Lattimore began singing early in life, winning junior-high talent shows and singing everything from R&B to classical, during his high school years. After studying architecture and city planning at Howard University, he became lead singer of the R&B group Maniquin, which released an album on the Epic label. After leaving that act, he concentrated on developing his songwriting skills, resulting in his compositions being recorded by Glenn Jones and Jon Lucien.
After moving to New York, Lattimore was awarded a solo recording deal with Columbia Records and released his self-titled 1996 debut. That album went Gold and spawned the hit single "Never Too Busy" and the perennial wedding song "For You", winning Lattimore a reputation as a dynamic and charismatic performer, with an image as a strong but sensitive romantic. The album's success earned Lattimore an NAACP Image Award as Best New Artist. 1998's From the Soul of Man documented the maturation of Lattimore's songwriting talent, and yielded the hits "Days Like This" and "If I Lose My Woman", as well as Lattimore's visionary reworking of the Beatles' "While My Guitar Gently Weeps". He moved to Arista for 2001's Weekend, and in 2003 released Things That Lovers Do, a well-received album of duets with his wife and fellow R&B star Chante Moore. The couple released a second duets album, Uncovered/Covered, in 2006.
Despite his past successes, Timeless demonstrates that Kenny Lattimore is more interested in making expressive, enduring music than pandering to momentary musical trends. "I like that Verve is a label that cares about music," he asserts, adding, "They gave me the freedom to be myself and trusted me to follow my heart. I've been in so many situations where I'd finish an album and the record company comes back and says, "We need a radio hit", and they ask you to come up with a song that sounds exactly like what everyone else is doing. With this project, I felt like the label was more interested in getting the artistry right, and then presenting it to people and allowing them to decide if they like it."
Joe Thomas - "New Man"
Teaming-up with his manager of 15 years, Kedar Massenburg, who also serves as executive producer on the much anticipated project, Joe has come back stronger than ever. Indeed, from the first listen to his soulful emancipation JOE Thomas,New Man (on 563 Music & Kedar Entertainment, distributed by Fontana Distribution), it is obvious from the looseness of his voice and the texture of his timbre that he was feeling a little different.
"Of course there is a happiness that comes with independence, but I also felt more confident in the studio," JOE explains. "I was able to work at my own pace, choose my collaborators and sing the truth. Kedar and I have been working together forever, and we know how to make a great soul record."
Yet, just because JOE Thonas, New Man is an indie R&B record, does not mean that this is a bargain basement affair. "I've developed many close relationships with some of the best in the business," Joe says. "When it came time for me to go into the studio I was able to call on my friends like Puffy, Bryan Michael Cox and (video director) Billie Woodruff to come through."
In addition, Joe was also blessed with contributions from Nas, Game, Busta Rhymes, Mario and Trey Songz, Snoop Dogg and P. Diddy. "I only like working with people who can take their art to the next level. But, believe me, getting all the right folks for this project was a blessing."
Releasing dual singles "ER" and "Why Just Be Friends," the talented balladeer is more than ready to compete with his rivals on the radio. "The track "ER" was produced by a newcomer named D'Mile, a young and eager dude out of Brooklyn (Janet Jackson, "Feedback")," Joe says. Serving as the opening for New Man, the theme of unrequited love is one that runs through the majority of the disc.
"All of us know what it's like to be feeling somebody who might not be feeling you," laughs Joe. "For a lot of guys it's not about what they have, but what they want."
With a voice that is sweet as chocolate and strong as coffee, "Why Just Be Friends" is the perfect summer record detailing the carnal blight of dudes, as Joe explains, "gets caught in the friend zone too many times." Produced by the Stereotypes, a crew hailing from Cleveland, Ohio, Joe says, "They passed along some tracks, and I was really digging what these guys were doing. I mixed the song myself in a home studio I have owned for about eight years. I call it simply, Joe's Crib Studio."
Fact is, once the various tracks were perfect, most of Joe's vocals were recorded from his home studio. "I like doing things quickly, and in the home studio I can get in the zone and work at my own pace." On the club ballad "We Need to Roll," the singer got a chance to make another musical dream of his come true.
"I recorded that song with Trey Songz and Mario, because you almost never hear R&B guys singing together," Joe explains. "I remember how hyped I was when Quincy Jones put out ‘The Secret Garden,' and I wanted that kind of vibe on the record."
A southern boy who was raised by two preachers in his hometown of Columbus, Georgia and Opaleika, Alabama Joe mastered an array of instruments when he was still a kid. "I have nothing but respect for musicians," Joe explains. "Though I don't play on this project, I'm working on something special right now where I'm playing everything in the studio."
Admiring the genius and swagger of artists like Marvin Gaye and Donny Hathaway, Joe's songs also share the sacred/profane dilemma in his music that elevates beyond the arena of his peers. From the sweet as cherry Kool-Aide lyrics on "Man In Your Life" to lonely teardrops of "Sorry" to the freaky deke of "Triple Black Room," Joe continues to dig deep into his own psyche for the best material. "The artists who are my heroes, be it Marvin, Prince or Donny, were never too proud to reveal there true selves. It is impossible to be a true artists if your art isn't honest. Although it might hurt sometimes, I have no problem baring the realness of my life in the songs."
Coming across as a protector on the lush song "I Won't Let Him Hurt You," the track has slight Asian touches in the music that is beautiful. "I spend a lot of time overseas, and those sounds are as much a part of my influence as soul or gospel. I want to experiment, and mix a little of that flavor with what I do best."
Smooth as butter and perfect as the pyramids the track "By Any Means" is one of those songs that lingers in the mind hours after you've heard it. Utilizing a cool groove laid-down by his homie Bryan Michael Cox (who has produced hits for Usher and Mariah Carey), this song is an obvious hit. "Bryan and I have worked together a few times in the past, and obviously his track record speaks for itself."
Once nicknamed "the Casanova crooner" by Hip-Hop Soul magazine, New Man proves that Joe has lost none of his spunk or flavor. If anything, dude has simply gotten better. Let's hear it for soul brother number one!
JOE Thomas, New Man is comes out on September 23, 2008 on Kedar Entertainment Group and is distributed by Universal Fontana Distribution.
Source:http://www.thinktankmktg.com/home
"I Am Alfamega" - Alfamega
Born and raised in Atlanta's Techwood housing community, ALFAMEGA learned fast that he had odds stacked against him. Techwood, the first housing project to ever exist in the United States, quickly became synonymous with crime and desperation, as did ALFAMEGA himself. In and out of jail since the age of nine, ALFAMEGA's hunger for more started with an innate hunger for childish things.
"I used to steal boxes of Twinkies," ALFAMEGA reminisces. "I was always the type to do it big. I didn't want to just steal one candy bar, I wanted the whole box. I'd eat some of them, and sell the rest."
As ALFAMEGA grew older, his life eventually rivaled that of an action movie and it was only right that Hip Hop played a soundtrack to it. Like most people his age at the time, ALFAMEGA listened to music from Kool Moe Dee, Run DMC and especially LL Cool J. In fact, it was LL that sparked ALFAMEGA'S infatuation with the culture to the point where he began not only writing raps in his spare time, but wanting to emulate the icon as well.
"I jumped into the streets because I wanted the fly shoes, I wanted to dress like LL Cool J everyday," he says in his gravely whisper. "I was getting money and after while, I got to where I didn't want to be like LL. I wanted him to be like me."
With rap still considered a hobby in the midst of his fast-lane lifestyle, ALFAMEGA didn't take the craft seriously until it wound up being the only thing he could focus on. After running the streets of Atlanta for nearly a decade, ALFAMEGA's ways finally caught up with him for the last time, resulting in him serving a sentence that he remembers as "7 years, 4 days, 5 hours, 32 minutes and 16 long-ass seconds."
Choosing to do his time and not let his time do him, ALFAMEGA made the most out his situation. Inspired by both spare time and his frustration of seeing other rappers live his life vicariously through their lyrics, ALFAMEGA began penning songs while in prison. Writing about everything from being forgotten about to looking forward to his first day back home, ALFAMEGA amassed 1700 songs that he had registered and copywritten. Word of his talent eventually spread with ALFAMEGA becoming somewhat of a star behind the wall, known for his rhymes and enigmatic freestyles.
"The first person who believed in me was Mac Dre," says ALFAMEGA, remembering his first encounter with the deceased Bay Area Hip Hop martyr. "He told me I had skills, and that if I didn't get a record deal when I got out, the game was rigged."
ALFAMEGA's reputation preceded him to the point where when he was released in 2002 he could have signed his first deal two weeks out of prison. ALFAMEGA landed an opportunity to rap for Roc-A-Fella recording artist Beanie Sigel. Off impulse Sigel offered up a spot on his State Property label once he heard him. Insisting that he was a boss just like Beanie, ALFAMEGA declined the deal.
The next opportunity that came, a deal with Universal Records, was one that ALFAMEGA did not turn down. Hoping to capitalize on the Crunk phenomenon at the time, the label pulled ALFAMEGA away from his reality rap roots to pair him with producers such as Lil Jon and David Banner for what was supposed to be his debut album, South of the Mason Dixon.
"The powers that be wanted me to go into the direction of what was popping at the time," admits ALFAMEGA. "But I did it because I wanted the deal. Plus I didn't want to go back to prison."
A long string of creative differences resulted in the album being shelved. An amicable split followed and then in 2004, ALFAMEGA ran into a childhood acquaintance, platinum-recording artist and Grand Hustle CEO Clifford "T.I." Harris. After notifying T.I. of his current free agent status, he immediately signed ALFAMEGA to his label, giving him a recording home where he can be himself. Says T.I. of his new label-mate: "ALFAMEGA is not only a good story teller; he has a unique story to tell. Not many people have experienced or have walked in the shoes that he has."
After stealing the show alongside Busta Rhymes on T.I.'s 2007 single "Hurt," ALFAMEGA is primed to show the full range of his skills on his epic introductory album I Am ALFAMEGA. Comprised of songs that he wrote in prison and songs he's written while out of prison, I Am ALFAMEGA will showcase the towering emcee's tribulations, as well as his celebrations.
Songs like "4 or 5 Ways" feature ALFAMEGA in his aggressive beginnings, painting a cautionary tale for people who think they can lie and cheat their way through the streets. With "Snakes" he offers a three-scenario story about the dark nature of people. Then on "Wouldn't Change Nothing" ALFAMEGA reveals that even with all of the pain he's encountered in his life via living in urban blight and the prison system, he feels that it has made him the strong person he is today.
Building off that strength, ALFAMEGA also enjoys the lighter side of life on the club anthem "500 Bottles" where working and living hard is rewarded by playing hard. He continues on that path with his lead single "Uh Huh" where he sprinkles his street skewered content over a Nitti-produced track, featuring T.I.
"There are songs on this album that will touch people, and even offend some people too," says ALFAMEGA. "I'm not necessarily shooting to change someone's life, but I think this is an album that will touch a lot of people."
Semi-true to its author's name, I Am ALFAMEGA indeed captures the life and thoughts of a man who had a rough start, but the chapters that follow tell a story that does not have an end in the near future. In addition to the 1700 songs he wrote while locked away, ALFAMEGA also wrote three screenplays and hopes to delve into moving making in addition to recording albums. Though ALFAMEGA has let go of his past, he hasn't forgotten it, founding KOTU Global, amongst other initiatives to help people and families affected by incarceration.
Fittingly, from beginning to end, ALFAMEGA's offering of music displays a spectrum of emotion that only a man who's been through hell to get to heaven can exhibit. So unlike your typical book that simply ends after it runs out of events, I Am ALFAMEGA shines light on a life story that got interrupted along the way and can only be done justice if sequels follow.
"I used to steal boxes of Twinkies," ALFAMEGA reminisces. "I was always the type to do it big. I didn't want to just steal one candy bar, I wanted the whole box. I'd eat some of them, and sell the rest."
As ALFAMEGA grew older, his life eventually rivaled that of an action movie and it was only right that Hip Hop played a soundtrack to it. Like most people his age at the time, ALFAMEGA listened to music from Kool Moe Dee, Run DMC and especially LL Cool J. In fact, it was LL that sparked ALFAMEGA'S infatuation with the culture to the point where he began not only writing raps in his spare time, but wanting to emulate the icon as well.
"I jumped into the streets because I wanted the fly shoes, I wanted to dress like LL Cool J everyday," he says in his gravely whisper. "I was getting money and after while, I got to where I didn't want to be like LL. I wanted him to be like me."
With rap still considered a hobby in the midst of his fast-lane lifestyle, ALFAMEGA didn't take the craft seriously until it wound up being the only thing he could focus on. After running the streets of Atlanta for nearly a decade, ALFAMEGA's ways finally caught up with him for the last time, resulting in him serving a sentence that he remembers as "7 years, 4 days, 5 hours, 32 minutes and 16 long-ass seconds."
Choosing to do his time and not let his time do him, ALFAMEGA made the most out his situation. Inspired by both spare time and his frustration of seeing other rappers live his life vicariously through their lyrics, ALFAMEGA began penning songs while in prison. Writing about everything from being forgotten about to looking forward to his first day back home, ALFAMEGA amassed 1700 songs that he had registered and copywritten. Word of his talent eventually spread with ALFAMEGA becoming somewhat of a star behind the wall, known for his rhymes and enigmatic freestyles.
"The first person who believed in me was Mac Dre," says ALFAMEGA, remembering his first encounter with the deceased Bay Area Hip Hop martyr. "He told me I had skills, and that if I didn't get a record deal when I got out, the game was rigged."
ALFAMEGA's reputation preceded him to the point where when he was released in 2002 he could have signed his first deal two weeks out of prison. ALFAMEGA landed an opportunity to rap for Roc-A-Fella recording artist Beanie Sigel. Off impulse Sigel offered up a spot on his State Property label once he heard him. Insisting that he was a boss just like Beanie, ALFAMEGA declined the deal.
The next opportunity that came, a deal with Universal Records, was one that ALFAMEGA did not turn down. Hoping to capitalize on the Crunk phenomenon at the time, the label pulled ALFAMEGA away from his reality rap roots to pair him with producers such as Lil Jon and David Banner for what was supposed to be his debut album, South of the Mason Dixon.
"The powers that be wanted me to go into the direction of what was popping at the time," admits ALFAMEGA. "But I did it because I wanted the deal. Plus I didn't want to go back to prison."
A long string of creative differences resulted in the album being shelved. An amicable split followed and then in 2004, ALFAMEGA ran into a childhood acquaintance, platinum-recording artist and Grand Hustle CEO Clifford "T.I." Harris. After notifying T.I. of his current free agent status, he immediately signed ALFAMEGA to his label, giving him a recording home where he can be himself. Says T.I. of his new label-mate: "ALFAMEGA is not only a good story teller; he has a unique story to tell. Not many people have experienced or have walked in the shoes that he has."
After stealing the show alongside Busta Rhymes on T.I.'s 2007 single "Hurt," ALFAMEGA is primed to show the full range of his skills on his epic introductory album I Am ALFAMEGA. Comprised of songs that he wrote in prison and songs he's written while out of prison, I Am ALFAMEGA will showcase the towering emcee's tribulations, as well as his celebrations.
Songs like "4 or 5 Ways" feature ALFAMEGA in his aggressive beginnings, painting a cautionary tale for people who think they can lie and cheat their way through the streets. With "Snakes" he offers a three-scenario story about the dark nature of people. Then on "Wouldn't Change Nothing" ALFAMEGA reveals that even with all of the pain he's encountered in his life via living in urban blight and the prison system, he feels that it has made him the strong person he is today.
Building off that strength, ALFAMEGA also enjoys the lighter side of life on the club anthem "500 Bottles" where working and living hard is rewarded by playing hard. He continues on that path with his lead single "Uh Huh" where he sprinkles his street skewered content over a Nitti-produced track, featuring T.I.
"There are songs on this album that will touch people, and even offend some people too," says ALFAMEGA. "I'm not necessarily shooting to change someone's life, but I think this is an album that will touch a lot of people."
Semi-true to its author's name, I Am ALFAMEGA indeed captures the life and thoughts of a man who had a rough start, but the chapters that follow tell a story that does not have an end in the near future. In addition to the 1700 songs he wrote while locked away, ALFAMEGA also wrote three screenplays and hopes to delve into moving making in addition to recording albums. Though ALFAMEGA has let go of his past, he hasn't forgotten it, founding KOTU Global, amongst other initiatives to help people and families affected by incarceration.
Fittingly, from beginning to end, ALFAMEGA's offering of music displays a spectrum of emotion that only a man who's been through hell to get to heaven can exhibit. So unlike your typical book that simply ends after it runs out of events, I Am ALFAMEGA shines light on a life story that got interrupted along the way and can only be done justice if sequels follow.
July 23, 2008
"The Greatest Story Ever Told" - By David Banner
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Let's cut to the chase: David Banner is one of the most underappreciated rappers to emerge from below the Mason-Dixon Line in the last five years. Since his SRC/Universal debut Mississippi: The Album in 2003, many have been enthralled by Banner's obvious dedication to lyrical craft, roaring tracks and b-boy stance. Still, while past tracks like the cranked "Like a Pimp" from his debut to the electro-bounce of "Play" (Certified, 2005) has helped build a loyal fan base, with the release of The Greatest Story Ever Told this country boy is finally connecting on a larger scale.
Exposed to all kinds of music while growing up, Banner's musical palette is never lacking. From the funky head nod of the Akon-produced first single "Speaker" to the dark path of "Suicide Doors," featuring UGK to the textured grooves of "Cadillac On 22's Part II," David Banner proves he can do it all. "UGK, Sun-Ra and The Police all have had their influence on what you hear in my music," he laughs.
In 1999, as a member of the Mississippi rhyme duo Crooked Lettaz, Banner became part of the dirty south revolution, releasing the critically lauded and criminally slept-on Tommy Boy Records debut Grey Skies. A year later, Them Firewater Boys Vol. 1, his introduction as a soloist, saw Banner blazing through the underground; both XXL and Murder Dog named it one of the best albums of the year. Soon the major labels were knocking on Banner's door, sparking off a bidding-war. When legendary music executive Steve Rifkind (Wu-Tang Clan, Mobb Deep, Big Pun) signed the self-contained Banner and his b.i.G.f.a.c.e. Entertainment imprint to Rifkind's SRC label, the music industry took notice.
Having recently released his first single, "Speaker," which features Lil Wayne, Snoop Dogg and producer Akon, it obvious that David Banner has concocted the perfect hip hop banger. "When people listen to my songs, I want them to consider them the soundtrack to their lives," David Banner declares. "I'm not just making songs for the moment; I'm creating material that I hope lasts in their minds forever.
"2006 was a difficult year for me," Banner continues. "So, for 2007 I wanted to come out celebrating. To me, "Speaker" is a celebration of hip-hop and what it can represent. Rap gets blamed for all the ills in the world today; I just wanted folks to know there is a lot of love in the music too."
In the last year, David Banner has also made the transition from the studio to the screen, having appeared in Black Snake Moan and the forthcoming movies This Christmas and Days of Wrath. "I started taking acting classes soon after ‘Like A Pimp' came out," Banner states. "Now, making movies is like my new love; it's hot to be able to go from one art form to the next."
A complex man who is both street-wise and book-smart, Banner has carried many burdens over the last few years. From working closely providing aid for Katrina victims (his foundation and concert Heal the Hood raised $500,000) to burying his father earlier this year, his heart has been heavy. "The world isn't a nice place. Often, my music was an outcry of my pain," he says. "But, a lot of my music has been too dark and depressing; right now I'm trying to bring some light into my life." The brightness of Banner's optimism blares brilliantly on the hypnotic "Get Like Me," a track that features collaborations with Young Joc, Jim Jones and Chris Brown.
Produced by the man himself, who has stirred massive pots of musical gumbo for T.I. ("Rubberband Man") and Trick Daddy ("Thug Holiday"), Banner has constructed his most mackadelic track to date with "Get Like Me." "Chris Brown is like my little brother," Banner says. "It's been amazing for me to watch him grow as both an artist and a man. I knew from the beginning, that I wanted him on this track." But, what about the song's production? "I'm a real producer, not simply a beat-maker," he explains. "When I'm in the studio, I'm thinking beyond just samples, I'm trying to build something special. Unlike a lot of other people, I'm still a fan of music and it's that fan in me that I'm making music for."
Combining an old-school sensibility with new-school grooves, one of the standouts on The Greatest Story Ever Told is the amazing "Hold On." Revolutionary in its execution, this sweeping song has the cinematic appeal of a ‘70s blaxploitation flick playing down at the local movie theater. Yet, instead of getting caught-up in a web of blown-out afros and leather pimp coat clichés, Banner has a deeper tale to relate. Deep as quicksand and soulful as a steaming plate of catfish, "Hold On" is social commentary at it's finest. "A lot of rappers today don't tell stories," Banner comments, "but, on that track, I went through an entire lifetime. Nobody does that anymore."
David Banner has bee busy perfecting his skills. "For me music is about honesty, pain and a willingness to cry as well as fight. As a rapper and producer, my goal is to unite with the audience, not trying to rein over them." Coming straight out of Jackson, Mississippi with a license to thrill, The Greatest Story Ever Told is a crowning achievement for a rapper whose moment of recognition has come. No longer on the outside looking in, David Banner is ready for his close-up.
Source:http://www.thinktankmktg.com
Lloyd returns with his third effort," Lessons In Love."
After making his major mark on the music scene in 2004 via "South Side," the Top 20-placing love-struck anthem on which he collaborated with Ashanti, Lloyd released his debut disc of the same title. In the years that have followed, he's proven himself as a legitimate industry player, generating hits like 2006's chart-topping "You" and the infectious "Get It Shawty," which saw Top two placement last year. The latter was spawned from his gold-selling sophomore disc, Street Love.
In June 2008, Lloyd returns with his third effort, Lessons In Love. The hard-driving lead single, "How We Do It" featuring Ludacris, a party track written by Lloyd and Wood Works and produced by Baby Boy & Superkidd, a group of promising up-and-comers based out of Inglewood, California. Lloyd says of the track, "It's pretty much reppin' where you're from and having pride in your community." The album sees Lloyd re-teaming J-Lack, the mastermind behind "Get It Shawty." Eric Hudson, famed for Kanye West's "Flashing Lights", and with beat-men Jasper Cameron & Big Reese. Lloyd also enlisted some additional heat working with, Polow Da Don and the team of Tricky & Dream ("Umbrella" & "Bed").
The level mix of club-bangers and ballads presented on Lessons In Love varies in subject matter, from physical lust to true love; Lloyd communicates with his strong fan base through terms they can relate to. He nods to the time-honored sport of girl-chasing on tracks like "Around the World" and acknowledges the realities of sexual activity on "Party All Over Your Body," a seductive ballad dropped over a fast-moving drum bass resulting in an organic, mid-tempo gem. "Lose Control," which features Nelly, dares ladies to let go of their inhibitions and embrace their wild sides, taunting, "I'm trying to find out how low can you go/Free your mind of doubt/Let love rule your soul/Take the time out so we can loose control…."
But at 22, Lloyd is ready to embrace maturity. Songs like "Lose Your Love" – which cunningly borrows the chorus from ‘80s rock band Outfield's hit "Your Love" – and "Have My Baby" touches on genuine love and relationships.
Growing up in a largely-female household gave Lloyd a deep-rooted respect for women and has helped tune his antenna to the fairer sex. His sensitivity comes through on tracks like "Treat U Good" – on which he flips his vocal style to a fast staccato – and "I Can Change Your Life," a moving, beautifully-produced piece sure to secure the cross-over potential heard on "You" and "Get It Shawty." This ladies man not only enjoys pursuing women, but uplifting them as well.
Lloyd's performing arts education not only helped him hone his natural-born talent but also gave him an important outlet to express himself that has stuck with him throughout his career. Since releasing his debut single, Lloyd has gained more confidence in his craft and his identity as an artist. His energetic performances on the Scream Tour have proven his ability to command a crowd and he's counting on his new project to further cement his brand.
Lloyd aspires to be successful behind the scenes as well; He's launched his own label, Young Goldie Music -- on which his last two projects were released –and he's prepped to sign his first artist, Bronx, New York-based Tokyo Diva. He's also taken on endeavors outside of the music world. The Atlanta-raised performer has given back to his birth city of New Orleans by taking part in rapper and New Orleans native David Banner's 2006 Heal the Hood Concert benefiting displaced Katrina victims. He donated 50 tickets for the show to children from fellow heartthrob Usher's New Look Foundation, which helps create avenues for young people to enter the business side of sports and entertainment. He also travels to speak to kids across the country with producer and musical mentor Dallas Austin in support of the fellow Atlantan's new project that builds recording studios in area public schools. All of this encompasses Lloyd the person.
With a successful recording career, business savvy and a connection to the community, Lloyd is one young person on which youth has clearly not been wasted.
Source:http://www.thinktankmktg.com/
July 13, 2008
Real Hip Hop Returns!
Hip hop maestro and the driving force behind the New York Masta Mix Records label, Traum, proudly announces the release of his debut album "Mad Dreamz". Mad Dreamz will be released august 26th 2008 Under the leadership and production of rap sensation Traum and featuring collaborations with Cormega, Lil Fame of M.O.P., Screwball, Big Noyd and many more, this release features some of the illest sounds ever to spit out of the ghetto including beats by the legendary producer Ayatollah.
Credibility is crucial in any industry but when it comes to a music scene where "real recognize real" is the overriding mantra, New York native Traum walks it like he talks it.
Bloodlines in Hip Hop's crowded family tree can be hard to explain but Traum's pedigree is nothing short of thoroughbred: born in the Bronx, the birthplace of the genre and then raised in Queens, Traum was practically destined for his current role as one of the east coast's hottest artists and most innovative independent label bosses.
After watching RUN-DMC's Rock Box video the young Traum had a feeling rap's rawness and ghetto culture would be huge, but early attempts to get into the business weren't always peaches and cream: a deal with a major label turned sour and an early experiment performing as one half of a duo saw his partner came on stage one night and drop the mike in front of a hard-assed baying crowd. That was when this artist knew he'd have only himself to rely on if he wanted to make it.
Early collaborations with the legendary Jam Master Jay – who was helping Traum with his solo album when he was tragically shot - and killed. JMJ helped shape Traum's vision: keeping Hip Hop street but retaining the style, class and intelligence that makes his music stand out from inferior products such as Dirty South – you won't find any fallacies in Traum's lyrics.
Since being recognized as one of Hip Hop's up-and-coming MC's Traum, under the umbrella of his own label Masta Mix Records, feels the time is right for the flava that Traum is spitting, the New York edge, the rawness, and ghetto-fabulous essence of Hip Hop are all here collated under the expert guidance of one of the scene's most trusted mentors.
Traum says: "What makes me different is I'm totally hands on at Masta Mix. I am one of a new breed of Artist/Label owner. I actually mix and produce most of the music"
Traum's plans for Mad Dreamz is to set off the Mad Dreamz tour later this year and just constantly promote some of the most hardcore and authentic Hip Hop around. He has the brashness of spirit that comes from growing up in one of the world's toughest 'hoods and knows exactly where he wants to take his music and artists: "Over the next year I want obtain major label distribution for my company. I like being an indie artist but I know I have major label appeal".
Traum is here to stay and the big boys are sitting up and taking note.
For more info on Traum go to http://www.myspace.com/traumthemc
Press:
mastamix1@juno.com
N.Y.OIL READIES "HOODTREASON" 2 DISC EDITION--NEW COMMERCIAL!!!!
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An unparalleled emcee and intellect, N.Y.OIL has been turning heads with his scathing commentary on the sad state of affairs in hip-hop music and culture and his shocking videos for "Y'all Should All Get Lynched" and "What Up My Wigger Wigger" that vividly address the very core concerns that precipitated his growing social movement.
WATCH the commercial for the highly anticipated 2 disc release now including shocking footage from BET's animated "Y'all Should All Get Lynched" video: http://www.ihiphop.com/viewVideo.hhc?videoId=1318
EMBED IT NOW: <object width="400" height="320"><param name="wmode" value="transparent" /><param name="movie" value="http://www.ihiphop.com/hhc_vidplayer.swf" /><param name="flashvars" value="xmlfeed=http://www.ihiphop.com/TVPlayer/video_xml.hhc?officialMiniVideoId=1318" /><param name="allowfullscreen" value="true" /><embed flashvars="xmlfeed=http://www.ihiphop.com/TVPlayer/video_xml.hhc?officialMiniVideoId=1318" src="http://www.ihiphop.com/hhc_vidplayer.swf" wmode="transparent" type="application/x-shockwave-flash" width="400" height="320" allowfullscreen="true"/></object>
AUDIO: "Soldier" feat. Chuck D. (of Public Enemy)
DOWNLOAD IT: http://burnupload.ihiphop.com/download.php?id=2848CCE41
EMBED IT: <object width="410" height="310"><param name="movie" value="http://www.ihiphop.com/players/audioplayer.swf"></param><param name="flashvars" value="xmlFile=http://www.ihiphop.com/xml/audio/feed.hhc?userid=137802&gig_lt=1214962101244&gig_pt=1214962107540&gig_g=2"></param><embed src="http://www.ihiphop.com/players/audioplayer.swf" type="application/x-shockwave-flash" flashvars="xmlFile=http://www.ihiphop.com/xml/audio/feed.hhc?userid=137802&gig_lt=1214962101244&gig_pt=1214962107540&gig_g=2" width="410" height="310"></embed></object><img style="visibility:hidden;width:0px;height:0px;" border=0 width=0 height=0 src="http://counters.gigya.com/wildfire/CIMP/bT*xJmx*PTEyMTQ5NjIxMDEyNDQmcHQ9MTIxNDk2MjEwNzU*MCZwPTI*NDczMSZkPSZuPSZnPTI=.jpg" />
For more information, music and the embeddable widget, please visit: www.ihiphop.com/nyoil www.babygrande.com
N.Y.OIL "HoodTREASON" The Deluxe 2 Disc Edition In Stores July 8th!
-- PR Department Babygrande Records 212.633.8835
A Uneek idea moves Female Emcees Babs Bunny, Lady Luck, Lady of Rage and Amil
New York, NY -- Radio personality Ed Lover of Power 105.1FM and Uneek, formerly of the Bounce Squad have joined forces to create a movement entitled Females Earning Money (FEM). FEM features four of the fiercest female lyricists the industry has ever experienced… Babs Bunny, Lady Luck, Lady of Rage and Amil.
"This is the perfect time to do a project like this", expressed co-Executive Producer of the FEM Movement, Ed Lover. "A lot of people have been wondering what happened to the female emcees, well these ladies are about to prove that they are here and they are better than ever! The FEM Movement is great for the future of hip-hop!"
Uneek, who transitioned her career from artist to manager (currently managing Babs and Lady Luck and consulting for Rage), spearheaded this movement with Ed Lover to unify female emcees in a way never seen before. "Females don't come together enough and we need to show unity and cohesiveness. Men do it all the time and now it's our time to stand up, stand together and make some money", said Uneek of why she decided to create FEM. "FEM gives these talented women an opportunity to come together as a movement to show the power that we have when we work as a team, while still allowing each member to maintain their solo emcee status."
"Women seem to have a hard time working together, but we are about to change that and make history", said Lady Luck. When asked about the FEM Movement Babs stated, "I'm excited about the project. Each one of us brings something great and different to the table and I'm ready to go in! We are all very talented and we have all worked with major artists in the industry… Rage with Dr. Dre and Snoop, Amil with Jay-Z, Luck with Def Jam and EPMD and myself with Diddy. None of us are amateurs, but at the same time we all still have something to prove."
Currently the FEM artists are in the studio working on a mixtape hosted by DJ Doo Wop. Rah Digga, as well as other female emcees to be announced will be featured on the mixtape. Plans for a tour and album are also in the works.
www.myspace.com/officialfem
For show bookings or tour information contact:
Uneek – uneekishot@gmail.com
For interviews or information contact:
Alyse Feldman, President, On the Fly Public Relations, Toronto ON,
917-674-6067; ontheflypr@gmail.com
June 23, 2008
Groundation
Groundation is bringing classic roots music into the serious times of the 21st century. Their sound is an organic fusion of Roots Reggae, heavy Funk/Jazz fusion, and transcendental Dub; their live shows are synonymous with high-energy positive communal vibrations, combining the message and determination of the best Reggae music has to offer with perpetually fresh Jazz-inspired improvisation...Truly not to be missed.
In addition, Groundation is the progenitor of Young Tree Records, a California-based Independant record label. Young Tree has put out works by the cream of the Roots Reggae crop, including The Congos, Pablo Moses, Andrew "Bassie" Campbell, Winston "Flames" Jarrett as well as the entirety of the expansive Groundation catalog.
The Groundation store is the only place to access the complete Groundation catalog as well as Groundation gear featuring the singular original art of long time Groundation- collaborator Giovanni Maki.
It is said that if you don't know your past, you don't know your future; well Groundation knows its past, and they're stepping into the future. While capturing the essence of true roots reggae, internationally renowned, Groundation aims to take the genre to a new height by blending elements of both jazz and dub in their sound.
Source:http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=33880067
Matisyahu
Known for blending traditional Jewish themes with reggae and rock sounds, Matisyahu is most recognizable for being a member of Chabad-Lubavitch, a chassidic group of Judaism, but has recently left Chabad-Lubavitch and is now a mainstream Chassid, looking into the Karlin Hasidic sect. As such, Matisyahu stands out for wearing the traditional clothing of Hasidic Jews and not performing on the Sabbath. Since 2004, he has released two studio albums as well as one live album, two remix CDs and one DVD featuring a live concert, and a number of interviews. Through his short career, Matisyahu has teamed up with some of the biggest names in reggae production including Bill Laswell and duo Sly & Robbie
Since his debut, Matisyahu has received positive reviews from both rock and reggae outlets. Most recently, he was named Top Reggae Artist of 2006 by Billboard.
Causion
A forceful and charismatic performer, singer/songwriter, musician Causion is charged with intense emotions. His deep social and conscious lyrics are filled with appealing messages that blend Reggae, soul and pop music. Born Gregory Colin Bailey in the beautiful twin-island nation of Antigua & Barbuda, Causion recalls, “I knew from an early age that I wanted to be a professional artist. I grew up in a family of established musicians and I did not have to reach far for either support or inspiration.”
Causion’s - new album ‘One Life To Live’, is definitely his best effort to date. It was self-produced with longtime collaborators Hopeton Lindo & Syl Gordon of 321 Strong Records and with the support of well-known engineer Jason Sterling from JasFar Records. The final production is impeccable. Fully equipped with the reality lyrics that make him a true contender for the title of conscious artist, Causion enlightens the masses on tracks like ‘Gang War’ and ‘Slave Addiction’. He shows us how to live a better life with ‘Give Jah The Power’. The album also includes the ballad-style ‘Keep Moving On’ and Pop sounding tunes ‘Feel The Vibes’ and ‘Hold On.’ There are several combination cuts with the likes of Hopeton Lindo and Gentleman. This collection will certainly keep hope alive. Recently Causion delivered an awesome performance of the above songs at his album launch party at the Seminole Paradise Hard Rock Hotel and Casino in Hollywood Florida. He went on to give repeat performances at Reggae Carifest, Randall's Island Park -New York, the Miami Reggae Festival at Bayfront Amphitheatre in downtown Miami and in Delaware at the Kiwanis' Reggae Festival.
Antigua’s Reggae Ambassador, Causion first enjoyed recording success in 1988 with ‘African Girl’, featuring British DJ Spider Don. From 1990, after taking up residency in New York City, he recorded four singles. Causion’s debut album, ‘Time Will Tell,’ was released in 1998, This impressive conscious Reggae album contains 14 captivating tracks. In the artist’s own words, “It’s timeless - something for today and tomorrow.”
Over the years, he has toured throughout the US and the Caribbean with some of Reggae’s best artists, such as Rita Marley, Third World, Dennis Brown, Freddie McGregor and Judy Mowatt to name a few, giving stellar performances. In 1995 he was the first Antiguan Reggae artist to perform at Jamaica’s Sumfest, sharing the stage with Buju Banton, Mikey Spice and Mykal Rose among other luminaries. Some of the other major events he has performed at are the Bob Marley Music Festival in Washington, DC, the Reggae Cari-Fest New York City, Bob Marley Day in Camden, NJ, and Cry Freedom Antigua.
In 1999 Causion relocated to south Florida, where he soon appeared at Freddie McGregor’s ‘Reggae Meets Rocksteady’ show in 2001, and in 2002 he opened for Beres Hammond at the James L. Knight Center. He made several south Florida appearances before his performance hiatus to go into the studio for the recording of his sophomore album ‘One Life to Live’. Now Causion’s self-imposed performance pause is over and it’s once again time to enjoy the captivating and exciting artist Causion. source: http://www.1causion.com/index-1.html
Kayla Bliss
Born and raised in Flatbush, Brooklyn, with Jamaican heritage, KaylaBliss fuses her backgrounds and creates an edgy but classic merger of R&B and Reggae. With rock hard lyrics and infectious melodies, you cant help but be drawn into her original style.
Ms.Bliss started singing at the tender age of 4. She began learning techniques and musical theory at the age of 10, and hasnt stopped training. While she didnt enjoy the classical music, she embraced it and used it to make her own music crisp and piercing. "I use to experiment when i was younger with different kinds of songs. I would sing classical songs like r&b, and I would sing r&b songs like classical, and so on and so forth. I developed my style that way. I guess it worked because people like it."
Kayla always had a deep love for the English language. "I would cut all my classes for English, and my teacher didnt even snitch on me! She knew how much I loved it".
Her first song was a song entitled "Drowning" that expressed her sorrow after her parents called it quits. The song was therapuetic for her, and her desire was to effect people the same way. She wrote about everything, and from all different perspectives. "I write songs from a father speaking to a daughter perspective, friend to friend, son to mother... most of my inspiration for love songs come from my own experience with my father". KaylaBliss has become one of the most respected and requested upcoming writers over the past year.
KaylaBliss is a proud part of The Brooklyn R&B TakeOver (including Unique, 718, M.V.4, The BeleVista Boys, and Sasha). "We all chill, we all know each other. It kinda takes some of the stress off of the music game. Plus we all from Brooklyn!!!!"
No one can deny that KaylaBliss is an exceptional artist. No one can deny she's a phenomenal writer. Her music is true and personal, and her style is humble and cocky at the same time. You can try to describe it, but the first word that comes to mind will always be "bliss"
Source: http://www.myspace.com/kaylabliss
Joseph
Isreal
Joseph Isreal
Through its simple, sweet reflections of love, its headline-torn news reports, its tales of spiritual awakening and calls for unity, there is a thread running through the songs on Joseph Israel's debut disc, Gone are the Days. Combined, they quite simply point to a better way to live, to a better world.
Conscious and idealistic, they are songs that compose an album whose release marks the impressive and thoroughly independent rise of the white, Christian-born American, whose utter devotion to the music and culture of Jamaica and the messages of roots reggae can be felt throughout. If the album marks the 28-year-old, self-made musician’s coming of age as an artist, it does so through songs that, among other things, mark his coming of age as a man.
In the album's title-track, Israel preaches the need to question authority and what's been served up to us on the evening news or in the history books of our youth. It’s a song in which he recalls his own awakening, intellectually and spiritually: "So many paths, only one to choose/If you live for yourself, you will lose/In your heart, let true love rule."
Laced with Biblical imagery and featuring everything from a tender dedication to his wife ("Perfect Love") to an angry, rage-riddled lambasting of third-world oppression ("Hotta Fiyah"), the disc’s 13 tracks represent the realization of a life-long dream for the Arkansas–based Israel. And they also mark him as a bona fide member of the roots reggae community, despite his skin color or country of origin.
Recorded over several months in Kingston, Jamaica—at the fabled Tuff Gong studio (Bob Marley and the Marley family's studio), Shaggy's Big Yard studio, and others—Gone are the Days carries the endorsement of a cast of reggae vets. It finds Israel backed by a litany of such players, including saxophonist Dean Fraser, bassist Chris Meredith, lead guitarist Earl "Chinna" Smith, rhythm guitarist Ian "Beezy" Coleman, drummer Wilburn "Squidley" Cole, keyboardist Paul "Scooby" Smith, pianists Franklyn "Bubbler" Waul and Paul "Wrong Move" Crossdale, and percussionist Uzziah "Sticky" Thompson.
Israel duets with second-generation roots reggae star Luciano on "Ruff Times" and Luciano's fellow VP Records artist Mikey General on "Universal Love," while Erica Newell and Rochelle Bradshaw—backing vocalists for Ziggy Marley and Luciano, respectively—add backing vocals throughout. A devoted family man, Israel also features his wife, Kristy, on backing vocals, and their daughters, Rebekah and Chavah (they also have a boy, Cypress), add a sweet touch to the end of "Mankind" urging listeners to "Stop fighting/Love one another/Feed the mommies of little children."
"To have been able to make this record, it's very humbling to me," says Israel. "I just feel so blessed. To have been in a room with all these guys, I felt like there was angels in the room. The vibe was so high that I would just teach them the song and—boom!-in one take they had 'em."
Israel self-financed Gone are the Days, recording and independently releasing the disc in 2005. Just as Israel's songs caught the attention of everyone from Luciano to Mikey General, the disc in the months after its release caught the attention of Universal Music Enterprises, who is releasing the disc nationwide through their label New Door Records.
It's the next step in a career that has been building since Israel-born Joseph Montgomery Fennel in Tulsa, Oklahoma-was just two years old. It was then, while still a toddler, that he became smitten with Bob Marley and the Wailers' Babylon by Bus album, especially the track "Positive Vibration," his favorite song as a young child.
With his father both a reggae fan and the owner of a Fayetteville, Arkansas, club and restaurant called Jose's, and his uncle a big roots fan also favoring the likes of Burning Spear, young Joseph was surrounded by reggae. As a teen, he started delving deep into the music himself (the Marley cannon, Spear's classic Marcus Garvey, Bunny Wailer's Blackheart Man, Peter Tosh's Legalize It), and the inspirations behind it, from thinker-activist Garvey to Malcom X. At 14, his parents took him on the first of what would become regular trips to Jamaica. At the same time, he was getting into the likes of younger roots artists like Luciano, as well as genre-blending American artist Ben Harper.
A member of the varsity basketball team in high school, he quit sports, and during trips to Jamaica, began studying with Rasta elders such as Ras Bee-Bow of Negril and Bongo Hu-I, the great teacher and herbalist of Montego Bay. As the Rasta culture took root in Joseph, so did long dreadlocks. Israel felt a mystical identity to Jamaica, its people and music.
Back home in Arkansas, Israel began writing and performing. In 2000, he formed the band Kepha (translated as "the rock" in Hebrew), which released a single, self-issued disc, and opened for the likes of roots heavy weights Culture and Burning Spear. The group soon folded and Israel founded the Lions of Israel, with whom he started blanketed the American west. In summer 2003, he performed a solo acoustic set before Ziggy Marley on one stop on the latter's U.S. tour. The gig proved a pivotal one, as Israel clicked with members of Marley's backing band, including bassist Chris Meredith, who co-produced Gone Are the Days with Israel.
In the fall of 2003, Israel toured with popular roots artist Abijah, cutting the Lions of Israel's live CD on the last night of the tour. At the end of the year, he joined forces with Mikey General, who was being backed by Newell and Bradshaw. By tour's end, all four made plans to record a track together, what would become the closing track on Gone Are the Days, "Universal Love."
Co-written by and featuring General, Newel and Bradshaw, "Universal Love" was the first song recorded for Gone are the Days. It captures one of the main themes of the record: unity and kindness. Another is the need to live well, to do the right thing, to act righteously. Still another is overcoming adversity.
"We're living in, the most intense time ever, as far as I can see," says Israel. "But I think that one day very soon, the strongholds that are holding the people today that are keeping the people down, are going to be toppled-not by force, but by love and truth."
Says Israel: "This CD, what it's really all about to me, is bringing things out that haven't been said, and preserving the musical tradition that Bob Marley started, adding to the foundation that he laid, with original rhythms and real songwriting. This is not a religious album. I'm just trying to promote the truth, and hopefully other people will want to hear it. Source:"http://www.josephisrael.com/israel_bio.htm
Uriel Hamilton
Uriel Hamilton
Uriel Hamilton, born in Kingston Jamaica, has been singing reggae music as long as he can remember. After being discovered by Courtney Melody in 1994 Uriel recorded "All I Want Is To Love" with Million Records Company and Sonic Sounds Distribution. This began his professional music career.
Uriel's style is often compared to that of the reggae great Dennis Brown. His favorite artists are Anthony Hamilton and Stevie Wonder. Uriel grew up listening to Dennis Brown and contends that he has definitely shaped his career. He hopes to make a difference in music by putting soul back into music. Uriel understands that he is truly gifted and hopes to get the opportunity to share that gift with the world. As a Reggae Soul Singer he wants to deliver a formula of conscious listening love grounded sound.
After 25 Years professionally in the Reggae Music business Uriel has performed on many stages with countless well known artists such as Courtney Melody, Dennis Brown, Fred Lucks and Daweh. Congo just to name a few. His biggest stage performance to date has been the Reggae Carifest. While Uriel knows the Reggae Music Business that is not currently his primary focus. Uriel ultimately has a genuine love of music and getting his message across to the people. Which is that the rhythm of music today is very poor and animated. The element of the culture and the love in the music has been lost and its Uriel's plan to bring it back. Uriel's goal for the Reggae Music Industry and his career is to reach out to the youth and lead them in good ways to free their minds from the evils that currently perpetuate the culture.
Within the next 5yrs Uriel would like to start asking for JAH to give life everywhere and allow him to grow to love and build in Reggae Music. After experiencing his fathers talent as a guitar player and watching his brother perform for a short while but never pursuing his music career professionally Uriel realized his dream of being a musician. His relaxed style of listening music that sets a tone and speaks a message of peace and love and social consciousness of today's strife in the world.
Uriel will begin working on his debut "Soul of NY" with the first single "Sirens In NY" coming soon. source:http://www.myspace.com/urielhamilton1
Meta
& The Cornerstones
Meta and The Cornerstones
When you first meet Meta, of Meta and the Cornerstones, he emits pure musical talent and a humble spirit in his 6.3ft slim frame. Then, when you meet the band members of the Cornerstones you realize that you are in the presence of a group that is about to change the dynamic of Reggae music forever.
Born in Senegal, West Africa, Meta Dia grew a deep love and true appreciation for all types of music. As a child, while listening to his mother play Gregory Isaacs and Bob Marley on the radio his appreciation for Reggae music was founded and the desire to be a musician. In Dakar, Senegal, Meta is known as a pioneer for the voice and culture of Hip Hop. He began performing on the streets and stages of Dakar at the age of 14. In the year 2000, Meta formed his first group, YALLA SUUREN (God Bless) and gained celebrity recognition by the media. YALLA SUUREN was nominated as the BEST HIP HOP/REGGAE group by the French Cultural Center in 2000.
Moving to the USA in 2002, he began to collaborate with artists such as Sean Blackman, hip hop pioneer Toni Blackman and many others. He formed the band Meta and the Cornerstones with some of the best musicians in New York City: Adrian Djoman(bass); Shahar Mintz (solo guitar); Andre Daniel (Keyboards) and Ian Joseph (Drums), Daniel Serrato (Guitar) who brought their musical influences of the Caribbean, Africa, America and Middle East into the mix.
Meta's powerful writing skills, his phenomenal singing voice takes you back to the roots of Reggae music as he infuses his songs with hip hop, rock, soul and African influences performing in English, French, Wolof and Fulani. Meta and the Cornerstones have gained great respect and recognition in the USA and internationally. In 2006 he made a roaring statement when he performed alongside Steel Pulse & Luciano at the 2006 Annual Reggae Salute. In 2007 he was personally invited by International Superstar and Senegalese born artist Youssou N'Dour, to perform at his Annual ‘African Ball’ concert at the Nokia Theater, NYC.
The afro-fusion reggae of The Cornerstones and Meta's soulful, soaring voice creates a soul-pounding spiritual experience for the audience. Meta is creating something bigger than music, transcending oceans, borders, and languages. The power of what he is contributing is unifying and humbling. Meta and The Cornerstones have something big to offer whoever is listening.
Independently-produced, full-length studio album, Forward Music, was released May 29th, 2008. The album consists of 13 tracks that are electrifying and soulful. Avaiable on Cd Baby, Digstation and Myspace.
More Stores to be listed soon.
FOR MORE INFORMATION CONTACT KALAB BERHANE kalab.berhane@gmail.com 757-339-5252
source:http://www.myspace.com/metaandthecornerstones
Midnite 
Hailing from the Island of St Croix, Midnite is one of the most promising roots reggae bands of the millennium. They are vanguards of conscious reggae who represent the King's and Queen's music to the fullness of Jah. Midnite's profound and innovative lyrics are sincere and deeply rooted to present the other half of the story. Their cd recordings and live performances will have reggae and non-reggae listeners open to the messages they bring.
Lead singer Vaughn Benjamin's electrifying voice seems an amalgamation of many great voices in reggae-soulful, chanting, edgy. Vaughn's potent lyrical style and his brother Ron's exquisite production, keyboard and bass musical directorship form the nucleus of this musical sextet, which includes Christian Molina (drums), Wayne Andreas (keyboards) and Edwin Byron and Edmund Fieulleteau (guitars). Midnite weaves the cultural lyrics of "old school" roots music with modern day experiences to create a unique listening encounter. Reggae - naked and raw is an apt description for Midnite's musical style, in which they forgo the frills of extensive remixes, overdubbing and other musical refinements.
"Unpolished" is the suitably named title of their debut album which includes such classics as "Don't Move", "Mama Africa", and "Love the Life You Live". Originally released in 1997, while the band was located in Washington, D.C., this crucial album has recently been made widely available on Rastafaria Recordings.
In 1999, Midnite linked up with Wildchild! Records for their second release "Ras Mek Peace". Incredibly, this album was recorded using only two channels and was mastered without any reverb, filtering, compression or equalization. Songs like "Hieroglyphics", in which graffiti is likened to ancient Egyptian hieroglyphics, showcase the intelligent songwriting that pervades all of Midnite's works.
Following the release of Ras Mek Peace, Midnite returned to live in St. Croix so that they could work with the local musicians and make recordings at their African Roots Lab without any outside interference. The fruits of these labours can be found on their third album "Jubilees of Zion", which was released on their own independent Afrikan Roots Lab record label. The expansive, hypnotic rhythms continue, alongside the messages of peace, universal brotherhood, and cultural resistance to Babylon.
In 2002, Midnite made their Northern California debut at the 9th Annual Sierra Nevada World Music Festival. The combination of Vaughn's searing lyrics, raw roots music and the warmth of the sun beating onto the masses at the village stage made for a potent and memorable experience for all who were present. That same month saw the release of Midnite's fourth album "Seek Knowledge Before Vengeance". Released on the Afrikan Roots Lab record label, this album raises the bar of cultural roots reggae, as we know it today.
Midnite explodes in live performances with sets that often exceed 3 hours. Their vigorous, weighty sound, driven by the punchy bass lines creates a vibe that penetrates straight to the heart. These epic musical communions have earned Midnite an enormous following throughout the roots community. This is especially true in St. Croix, Puerto Rico, France, Brazil, St. Louis, New York, Martha's Vineyard, Boston, Vermont, Asheville and here on the West Coast where they have toured extensively including another rousing appearance at the 10th Annual Sierra Nevada World Music Festival.
In the fall of 2003, Midnite released their first dub album "Intense Pressure" on the Rastafaria label, which includes some tracks from their prior releases along with some dubs of forthcoming albums. Midnite has released studio albums "Ainshant Maps" on their Afrikan Roots Lab record label and "Scheme A Things" on the Rastafaria label.
Midnite has also collaborated with I Grade Records for five releases: "Nemozian Rasta", "Assini" "Vijan", "Let Live" & "Jah Grid" Vaughn Benjamin lead singer of Midnite has also released albums under the name Midnite Branch I and collaborations: "Cipheraw", "Geoman", "He Is Jah" "Project III", "Full Cup", Thru & True, Aneed, "Sun's Of Atom", "New 1000", "Bless Go Roun", "Better World Rasta" and "Infinite Quality" on the Lustre King label.
For the first quarter 0f 2008 Midnite has recently recorded a brand new studio album "Maschaana" & pulled from the vaults a rare never released recording titled "Kayamagon" and a first ever Live to disc CD "Midnite Live" Vol.1, all of these new releases will be available in February 2008 to support the Midnite Winter 2008 Tour.
By breaking all the rules, Midnite is setting a new standard. Armed with a firm foundation in Jah Rastafari, their natural talents, and a strong and uncompromising musical vision, Midnite champions a unique sound that is on the cutting edge of modern roots music.
Source:http://www.midniteband.com/bio.html
Lee Scratch Perry 
Lee Scratch Perry
"I’m an artist, a musician, a magician, a writer, a singer; I’m everything. My name is Lee from the African jungle, originally from West Africa. I’m a man from somewhere else, but my origin is from Africa, straight to Jamaica through reincarnation; reborn in Jamaica..."
Lee "Scratch" Perry (born Rainford Hugh Perry, on March 20, 1936, in Kendal, Jamaica) is a Grammy award-winning reggae and dub artist, who has been highly influential in the development and acceptance of reggae and dub music in Jamaica and overseas. He employs numerous pseudonyms, such as "Pipecock Jaxxon" and "The Upsetter". Arguably the first creatively driven, "artist-producer" in modern recorded music, Lee "Scratch" Perry occupies the highest level of music making - standing comfortably next to pioneers like George Martin, Phil Spector, and Brian Wilson.
Perry's musical career began in the late 1950s as a record seller for Clement Coxsone Dodd's sound system. As his sometimes turbulent relationship with Dodd developed, he found himself performing a variety of important tasks at Dodd's Studio One hit factory, going on to record nearly 30 songs for the label. Disagreements between the pair due to personality and financial conflicts, a recurring theme throughout Perry's career, led him to leave the studio and seek new musical outlets. He soon found a new home at Joe Gibbs's Wirl records.
Working with Joe Gibbs, Perry continued his recording career, but once again, financial problems caused conflict. Perry broke ranks with Gibbs and formed his own label, Upsetter, in 1968. His first single "People Funny Boy", which was an insult directed at Gibbs, sold very well. It is notable for its innovative use of a sample (a crying baby) as well as a fast, chugging beat that would soon become identifiable as "reggae" (the new sound did not really have a name at this time). From 1968 until 1972 he worked with his studio band The Upsetters. During the 1970s, Perry released numerous recordings on a variety of record labels that he controlled, and many of his songs were popular in both Jamaica and the UK. He soon became known for his innovative production techniques as well as his eccentric character.
In the early 1970s, Perry was one of the producers whose mixing board experiments resulted in the creation of dub. In 1973, Perry built a studio in his back yard, The Black Ark, to have more control over his productions and continued to produce notable musicians such as Bob Marley & the Wailers, Junior Byles, The Heptones, and Max Romeo. With his own studio at his disposal, Perry's productions became more lavish, as the energetic producer was able to spend as much time as he wanted on the music he produced. It is important to note that virtually everything Perry recorded in The Black Ark was done using rather basic recording equipment; through sonic sleight-of-hand, Perry made it sound completely unique. Perry remained behind the mixing desk for many years, producing songs and albums that stand out as a high point in reggae history.
By 1978, stress and unwanted outside influences began to take their toll: both Perry and The Black Ark quickly fell into a state of disrepair. Eventually, the studio burned to the ground. Perry has constantly insisted that he burned the Black Ark himself in a fit of rage, but it was most likely an accident due to faulty wiring. After the demise of the Black Ark in the early 1980s, Perry spent time in England and the United States, performing live and making erratic records with a variety of collaborators. It was not until the late 1980s, when he began working with British producers Adrian Sherwood and Neil Fraser (who is better known as Mad Professor), that Perry's career began to get back on solid ground again. Perry also has attributed the recent resurgence of his creative muse to his deciding to quit drinking alcohol and smoking cannabis. Perry stated in an interview that he wanted to see if "it was the smoke making the music or Lee Perry making the music. I found out it was me and that I don't need to smoke."
Perry now lives in Switzerland with his wife Mireille and two children. Although he celebrated his 70th birthday in 2006, he continues recording and performing to enthusiastic audiences in Europe and North America. His modern music is a far cry from his reggae days in Jamaica; many now see Perry as more of a performance artist in several respects. In 2003, Perry won a Grammy for Best Reggae Album with the album Jamaican E.T.. In 2004, Rolling Stone Magazine ranked Perry 100 on their list of the 100 Greatest Artists of All Time. More recently, he teamed up with a group of Swiss musicians and performed under the name Lee Perry and the White Belly Rats, and made a brief visit to the United States using the New York City based group Dub Is A Weapon as his backing band. Currently there are two feature length movies made about his life and work: Volker Schaner's "Vision Of Paradise" and "The Upsetter" by filmmakers Ethan Higbee and Adam Bhala Lough.
In 2007, Perry surprised the music world again when he invited "king of party music" and television personality, Andrew W.K., to produce his upcoming new full-length album, "Repentance". The album is due in 2008.
For more information about Lee Scratch Perry, read the excellent authorized biography, "People Funny Boy: The Genius of Lee Scratch Perry", by David Katz.
May 28, 2008
Jean Bayor - Testimony: my life story
As one half of the platinum duo that gave us some of the most memorable R&B tracks of the nineties, Jean Baylor, formerly Jean Norris, of the hit group Zhane returns with her first solo effort "Testimony: My Life Story". As an artist, she transports her audience to another place...delivering vocal performances so angelic that it makes you feel like you're floating on a cloud. Song after song, Baylor demonstrates her growth musically, spiritually, and lyrically from years past, and the end result is a compelling collection of songs remarkably blended in elements of hip hop, pop, and R&B/Soul. Not only is Testimony: My Life Story the personal soundtrack of Baylor's life but it's a compassionate anthology filled with hope, inspiration, and gratitude. Drawing from her own life's experiences, she pulls listeners in tight and up close with personal accounts of her journeys of love, pain, and spiritual growth.
source:http://www.blackplanet.com/Jean_Baylor/
May 20, 2008
"The Icon" Nina B
Nina spent her teenage years writing and educating herself on the ins and outs of the music industry. By age 16, Nina was offered a major record deal, which she professionally declined. By nineteen, NINA B was an active participant in Russell Simmons/Bruce Willis Art Start and Hip-Hop Project, where she met Amber Ravenel, CEO of Ravenel Records. In 2003, Nina B signed with Ravenel Records, becoming the first female artist on their roster. Since then, Nina has released six mix-tapes, did a barrage of live performances at venues throughout the New York/Tri-State area, has been featured on some of hip-hop's most notable sites, and publications.
As a female artist signed to an independent label run by a woman, Nina B and Amber Ravenel have broken down barriers in what has always been considered a male dominated industry. Nina's song ‘Can't Stop" has been pick of the week on Hot 97's morning show with Miss Jones and DJ Envy. She has made four appearances on Rap City, a record for an independent female artist. She has also been highlighted on The Drhama Hour with DJ Kayslay and his Sirius Satellite Radio Show, Cipher Sounds "Don't Quit Your Day Job" Show, and "On The Spot" with DJ Green Lantern. These are all huge accomplishments for an artist not signed to a major record deal, being represented by an independent label. Combine Nina B's consistency, diligent work ethics, and lyrical flow, with the misfortunes of her past serving as her strength for her future, and you have a female artist whose future and success has no limits.
Source:http://www.thinktankmktg.com/projects/more/216/nina_b_the_icon
"Trust Me" Craig David
HIP HOP and R&B
H ot Stuff (Let's Dance)' combines Craig David's inimitable vocal gift with irresistible funk-infused beats and a sample of David Bowie's classic track ‘Let's Dance'.
Recorded in Havana, Cuba with producer Martin Terefe (KT Tunstall, James Morrison) and writer/producer/mixer Fraser T. Smith (Craig David, Kano, Beyonce, Plan B, Jamelia), the track ‘6 of 1 Thing' emphasises how Cuban musical culture influenced his new work, whilst the ballad ‘Awkward' (highlighting guest vocals from a female west London star-to-be) features some of his most evocative lyrics to date. Other highlights include the infectious hook and insistent rhythms of the title track, and ‘She's On Fire' which combines sublime bass with Craig's fluid lyrical flow.
Since becoming a global phenomenon with ‘Born To Do It', Craig David has become a huge UK superstar with two #1 singles (‘Fill Me In' and ‘7 Days') and a further ten appearances in the Top 10. All three of his albums have been chart hits: ‘Born To Do It' (#1), 2002's ‘Slicker Than Your Average' (#4) and 2005's ‘The Story Goes…' (#5).
A multiple-award winner who has earned three Ivor Novello Awards (including Songwriter of the Year and Best Contemporary Song), four MOBOs (one of which was for Best UK Act) and two MTV Europe Awards, Craig David has worked with a talented array of artists including Sting and Artful Dodger's Mark Hill and Pete Devereux. Craig David also recently featured on Kano's Top 20 single ‘This is The Girl'.
Source:http://www.thinktankmktg.com/projects/more/213/craig_david_trust_me
Ashantis' "The Declaration" 
Ashantis' "The Declaration"
HIP HOP and R&B @ Amazon
The Declaration is an impressive rollout of A-list producers, including Jermaine Dupri, LT Hutton, Babyface, Pharrell Williams, Bryan Michael Cox and others. A sizzling snapshot of the heat-seeking Ashanti can be gleamed from the new single; "The Way That I Love You" produced LT Hutton. The song skillfully plays up the ever-present voice of the star. You can feel Ashanti reveling in her new-found independence, which she effortlessly displays with a powerful sense of purpose throughout every song on the new album. "One of the reasons I call the album ‘The Declaration,' is because I feel it's important to present all sides of what being a woman is about," she says. "Historically, we've always been relegated to the bottom of the totem pole, whether it's business or the battle of the sexes or just empowering each other. I want this album to make people feel stronger about themselves. I've always used the ups and downs in my own life as well as others close to me as a motivational tool and I hope my music comes off that way. I felt a lot of passion making this record. I loved every minute I was in the studio."
Singer/Songwriter, Actor, Author Ashanti is a native of Glen Cove, Long Island. She burst onto the music scene with her 2002 smash hit debut album self-titled Ashanti. The album landed at the #1 spot on both the Billboard Top 200 and R&B album charts, selling a whopping 504,593 units in its first week. Her first week set a Sound scan record as the most albums sold by any debut female artist in the chart's history, granting her a spot in the Guinness book of world records. Simultaneously, Ashanti also secured the top spot on the Billboard Hot 100 Singles Chart and the R&B/Hip Hop Singles & Tracks chart with her song, "Foolish." She made Billboard history by having her first three chart entries land in the top 10 of the Billboard Hot 100 at the same time. She is the first female to accomplish this feat previously only attained by the Beatles. That year she was awarded 8 Billboard Awards. Her album "Ashanti" topped the Billboard Album Chart and also won the Grammy for Best Contemporary R&B Album. In addition, that year she won 2 American Music Awards and the Soul Train Aretha Franklin Entertainer of the year Award. Her follow-up release, "Chapter II," debuted in the no. 1 slot on the Billboard Album Chart and spawned two Top-10 singles. In addition to her Grammy, she's also won an NAACP Image Award. Numerous Soul Train Awards, A MOBO (Music of Black Origin) Award, A Comet Award (Grammy Equivalent in Germany), Lady of Soul Awards and a Teen Choice and Nickelodeon's Kid Choice Award, along with many other nominations including an MTV movie award nomination for "Coach Carter." Ashanti's other albums include "Ashanti's Christmas", "Concrete Rose", and a remix album titled, "Collectibles by Ashanti".
Ashanti is hot off the #1 box office hit, "Resident Evil Extinction" staring opposite Milla Jovovich for Sony Screen Gems. Previously, she stared in the hugely successful "John Tucker Must Die" in an ensemble cast composed of Ashanti, Brittany Snow, Sofia Bush, Ariel Kebble and Jessie Metcalfe. In her feature film debut "Coach Carter," she co-starred with Samuel L. Jackson. She can be seen as an Indian Songstress who sings in Hindi and English as she dances in the film, "Bride & Prejudice." Ashanti made her telefilm debut helming "The Muppets' Wizard of Oz," opposite Miss Piggy and Kermit. She got her start in acting on "Buffy the Vampire Slayer," "Sabrina, the Teenage Witch," and portrayed Dionne Warwick on "American Dreams."
She has written her first book of poetry through Hyperion titled Foolish/Unfoolish: Reflections on Love which is currently in its sixth edition.
Ashanti is also an entrepreneur who has her own fragrance, "Precious Jewel" sold at Wal-Mart and other fine stores as well as a Dietary Supplement "Ashanti's OPC-3 Beauty Blend".
Her endorsements include: Herbal Essences, where she is the first African American to land a national campaign, Candies Apparel, as well as MUDD Jeans, "DELICIOUS CURVES".
Ashanti has performed before Presidents and Royalty. She has performed duets with the likes of Pattie Labelle, Smokie Robinson, Ronald Isley, Stevie Wonder and Kenny Chesney to name a few. She has appeared on shows ranging from Oprah, Ellen, Jay Leno, David Letterman, Regis & Kelly, Saturday Night Live, The View, Conan O'Brien, BET 106 & Park, MTV TRL, VH1 and Fuse TV among others. She has performed on virtually every music awards show from the American Music Awards to the Grammy's, the MTV Video Music Awards, MTV Europe Awards, the Soul Train Awards and the Kids' Choice Awards. She is an American Favorite, singing the National Anthem and God Bless America for major events including the World Series.
The Declaration Track Listing:
Intro
The Way That I Love You
Your Gonna Miss Me
So Over You
Struggle
Girlfriend
Things You Make Me Do feat. Robin Thicke
In These Streets
Good Good
Body On Me feat. Nelly & Akon
Mother
Shine
The Declaration
May 14, 2008
Thug Life Army Records to Release In The Shadow of an Icon 12/14
Grassroots record label Thug Life Army Records is set to re-arrange the urban hip hop landscape with the release of their highly anticipated hip hop project 'In The Shadow of an Icon'.
In stores January 15th nationwide, 'In The Shadow of an Icon' is a unique project putting artists from all across the nation together for a meaningful message filled CD, built on the 'thought process' of the late hip hop and rap icon Tupac Shakur (2Pac). The project contains no music by Tupac (2Pac), but it does reveal artists who grew out of the 'shadow' of the hip hop Icon
As we see the urban hip hop musical landscape infiltrated by corporate hip hop and what seems to be so much music with out a meaning, this unique project from Thug Life Army Records focuses on the 'real' things going on in the streets and in the lives of many in hip hop culture.
Hip Hop icon Tupac Shakur was more than a rap artist. He was also a poet, an activist, a reporter and yes a teacher. The artists put forth on this unique project have all learned and have crafted their skills out of the 'shadow' of the teacher Tupac Shakur; they too have re-taken the place of 'street reporter' to enlighten, spread the news and/or deliver true street messages in their rhymes.
This project, from Thug Life Army Records, distributed by Fontana/AMG/Universal/, was released to all the major digital download sites in mid December and is available now for on line download.
If your local record source does not have the CD ask them to order it and if your local radio station is not playing tracks from 'In The Shadow of an Icon' please request that they do. Support of this album will show that Hip Hop is not Dead, people are just not looking in the right places for it.
When asked about the direction the music takes in the CD, RB explains "The various sides and teachings of the 'man', Tupac Amaru Shakur are represented on this CD - from his street side, to his political side, to his deep inner self. A total look is taken at the course Tupac had traveled in his short life. A picture of Tupac's life is a picture of many of our lives. His up's and down's are roads many of us have shared along the way. That is why Tupac gained the respect of almost everyone in the hip hop community - we could feel his pain and joys, as he felt ours. His words and teachings remain relevant today because the situation has not changed since Pac first started exposing the real truth of hood life, and the artists on this project continue with
Pac's message of 'keeping it real' thru real talk. No spinning rims or drinking in the club, just solid true about the reality of being raised in a society that does not understand you or your situation."
"Violence has touched many in this country, not only the hip hop community. This is not only a requiem for the life of Tupac and for all the fallen 'souljahs' who have died needlessly or have found themselves in situations they cannot control, but it also emphasizes why the lyrics that Tupac spit and the knowledge he put forth is still relevant today; because nothing has really changed over the last 11 years since Tupac was murdered, and the artists on this project came together to put out a hip hop album with a 'meaningful message'."
With over 25 different artists participating in the project, there are many backgrounds and each artist has their own region where they rep from and their own experiences in life.
Here is the track list for 'In the Shadow of an Icon' and more information can be found at http://www.myspace.com/intheshadowofanicon or on the Thug Life Army Records web site at http://thuglifearmyrecords.com .
Track list for 'In the Shadow of an Icon'
Disc One
1.) Boo Kapone - KNOWLEDGE
2.) Concrete Souljahs - Walk wit me
3.) allfrumtha i - Everywhere I Go (good and evil)
4.) SUPe – The System
5.) Hustle Creed - We Live and We Die
6.) Purple Lounge "H.O.P.E"
7.) Nolan – PEOPLE
8.) 1223 - Wish I Knew
9.) Jasiri X and Franchise - 2 Pacs More
Producer: Paradise Gray (X Clan) and GM3
10.) Page 1 - Fallen
11.) Ebony Burks – Choice
12.) G Luv - Revelation
13.) FAME – Next 2 Kin
14.) U.N.D feat. Teeka – Understand
15.) binky mack - Conflict Of Interest
Disc Two
1.) Kemo the Blaxican - Breathe
2.) Celly Cel - No Tomorrow
3.) Dolo - So Much Drama
4.) Qwiccshott - Never
5.) Sammy B feat Big Dee – No Half Steppin
6.) 3RDegree – Broken Home
7.) allfrumtha i - Me & My Dawg
8.) K – Loron – Speed of Life
9.) Concrete Souljahs - Related to the Undergroud
10.) Tommy Danger - Run for Cover
11.) Wize-Fool – DANGEROUS FREE THINKER
12.) binky mack - Taken Over
13.) Malign20 - Hopes and Dreams
14.) Queen Josie - Young Men of Today (Spoken Word)
Web Site - http://thuglifearmyrecords.com
And on MySpace at - http://www.myspace.com/intheshadowofanicon
and http://www.myspace.com/thuglifearmyrecords
Press Contact
RB Riddle
ThugLifeArmyrecords@gmail.com
Cell – 513-673-3144
For radio mp3's and/or a press promo copies of the album for review or banners to help promote this project on your site please contact RB Riddle or Thug Life Army Records at Info@ThugLifeArmyRecords.com
TWISTA RELEASES FIRST GROUP FROM HIS LATEST KOCH RECORDS VENTURE OF GET MONEY GANG (GMG)
SPEEDKNOT MOBSTAZ
MOBSTABILITY II: NATION BIZNESS
IN STORES MAY 27, 2008
New Video "Money To Blow" Playing on MTV Jams Now!
Chicago, IL (May 12, 2008) Multi-platinum rapper, Twista launches his Get Money Gang (GMG) Imprint via Koch Records, with yet another anticipated Speedknot Mobstaz album entitled MOBSTABILITY II: Nation Bizness, set to release Tuesday, May 27, 2008. With new single "Money To Blow" both radio and MTV Jams are strongly supporting group members Liffy Stokes, Mayz and Skooda. "No lie, this album is on some real street shit, none of that Ringtone shit. This music we're putting out is for the everyday Hustla on the grind. Its been a long time coming for me and the crew, now that everything is in place we can finally give the fans what they want," says Speedknot Mobstaz member Liffy Stokes.
Surrounding all of the hype in regards to the release of the new album, the Speedknot Mobstaz recently accepted the offer to perform on the Rock The Vote Tour scheduled to hit over 20 cities throughout the United States . In addition to that, the Speedknot Mobstaz will introduce their video "Money To Blow" on BET's Rap City next week. In 1998, the Mobstaz released their first album entitled MOBSTABILITY: Nation Bizness which ultimately certified them RIAA gold status with over 700,000 in sales. Strategically, prepped with a half a million copies sold from three compilations, the group feels they are ready and set to really jumpstart their career and never look back.
Rolling out the red carpet for the team he believes in, Twista is on a mission to expand his music and entrepreneurial vision with Get Money Gang. The Speedknot Mobstaz are just one of the many artists that will be unveiled from the GMG imprint through other label deals. "Expect to hear real music coming from the heart of the Chi. I am dedicated to making this GMG label a movement first in Chicago , then nationwide. If you got real talent and about getting money, then you got a spot at my label," says Twista. The release of this album promises to set summer radio on fire!
View "Money To Blow" Video Here:
Hi-Bandwidth: http://kochent.edgeboss.net/wmedia/kochent/twista/money2blow512k_stream.wvx
Brandon Moore
Echoing Soundz
Lifestyle Marketing | Public Relations | Event Production
www.echoingsoundz.com
www.myspace.com/buziness
818.787.7633 Office
818.787.8748 Fax
310.259.5973 Cell
thebiz@echoingsoundz.com
ILL BILL, KILLAH PRIEST, DEFARI (DILATED PEOPLES), APATHY, OUTERSPACE, RA THE RUGGED MAN, SMIF-N-WESSUN, C-RAYZ WALZ & MORE JOIN WITH GERMAN PRODUCTION TEAM SNOWGOONS FOR THEIR SOPHOMORE SET "BLACK SNOW"
May 12th, 2008 Album hits streets June 24th on renowned indie Babygrande Records; first video premiered featuring Reef The Lost Cauze
Amidst critical fanfare and a rapidly expanding US profile, The Snowgoons, the renowned German production team of Det, DJ Illegal, Torben & DJ Waxwork, prepare their sophomore offering, "Black Snow," featuring a veritable who's who of the independent hip-hop scene.
Building off of the critical and commercial acclaim of their debut release, 2007's "German Lugers," The Snowgoons once again enlist the upper echelon of independent talent for "Black Snow," including Defari (Dilated Peoples), Killah Priest, Smif-N-Wessun, ILL Bill (Non Phixion & La Coka Nostra), Outerspace, C-Rayz Walz, R.A. The Rugged Man, Apathy, Edo G., Sabac Red (Non-Phixion), Doap Nixon, Reef The Lost Cauze, Sick Jacken, Rasul Allah (Lost Children of Babylon), Scheme (The Molemen), Main Flow, El Da Sensei, Block McCloud, Pace Won, Slaine & many more. With a line-up of features that rivals (and outshines) most independent labels' rosters, The Snowgoons once again storm the US shores with their distinctive blend of beats paired with the cream of the independent emcee crop.
In connection with the announcement of the release, The 'Goons unveil the first of multiple videos showcasing the gritty underground stylings that will define their sophomore entry "Black Snow:"
"This Is Where The Fun Stops" featuring Philly's own Reef The Lost Cauze.
Check for more videos in the ensuing weeks featuring guest emcees from the album...
WATCH "THIS IS WHERE THE FUN STOPS" FEATURING REEF THE LOST CAUZE:
www.hiphopcrack.com/viewVideo.hhc?videoId=1050
CHECK OUT THE WIDGET FOR MORE INFO AND TRACKS!!!
www.crackspace.com/snowgoons
SNOWGOONS
"BLACK SNOW"
IN STORES JUNE 24th!!!
www.crackspace.com/snowgoons
www.snowgoons.de
www.babygrande.com
Hidden in Plain Sight -Positive Messages in Mainstream Rap Songs
Hidden in Plain Sight -Positive Messages in Mainstream Rap Songs courtesy of Rap & Rock confidential
rockrap@aol. com
"Hip-hop needs to find the next subject. Politics and social stuff—those are going to be the next real subjects groups get into.
"
—George Clinton-
, Detroit Free Press, summer 2007
Too many in the hip hop audience accept the big lie promoted by opportunist preachers and politicians that hip-hop is only about madness and misogyny. The truth is very different. There are many, many hip-hop songs reaching millions of people which carry a message of unity, songs whose protests and promise promote a vision of a world without war, poverty, and racism. The truth here should set us free, free of false divisions between mainstream and underground, between bling bling and backpack.
Let us know what we've missed.
"All of Me," 50 Cent featuring Mary J.
Blige—Two heavyweights talk about politics at square one, between a man and a woman in a relationship. Fifteen rounds of intense negotiation lead to the kind of "win win" outcome music manages best.
"Bendicion Mami," Fat Joe—A tribute to his mother and, just like Tupac, it resonates beyond the individual situation because our mothers are held up as subhuman by the media and by the masters of puppets in the White House. Here it's also about unconditional love for one's family and support in the face of physical illness and the sickness of the system.
"Black and Brown," Xzibit—"80% of inmates are black and Hispanic/They're trying to wipe us off of this planet/Dammit….That's why we've got to sit down/And talk about the black and the brown." A love song to brothers thrown against brothers in Los Angeles, nationwide and worldwide, with a dream of what could happen if we learned to focus on our real enemy.
"Buck the World," Young Buck—"My rent due/Baby need food and shoes/I'm flat broke/Still I refuse to lose." A song about reaching the breaking point and choosing life anyway, changing a "Fuck the World" goodbye to a "Buck the World" throwdown.
"Cold World," Xzibit—A rap that follows the money at the root of a young woman savaged by a dehumanizing job then by unemployment, of a kid locked into a losing street hustle and of an Iraqi family facing guns and bombs.
"Concrete Jungle," Jim Jones, featuring Max B, Rell, Dr.
Ben Chavis and Noe—There's power to Jones's shout out to his "political soldiers" behind bars—without romanticizing the streets, he's dreaming of the world that can come out of making the culture of those streets work for us.
"Do Your Time," Ludacris with Beanie Siegel and C-Murder—A roll call of friends and loved ones locked down by a justice system "fucked up," bolstered by details of life behind bars, suggestions for how to support these brothers and sisters and contemplating what MLK would think of how far we have to go.
"Dreams," The Game—King's dreams again, asking us to contemplate what they have in common with those of Huey Newton, Easy E, Marshall Mathers, Marvin Gaye, Curtis Jackson, Aaliyah and Left Eye Lopez.
"Gangsta Rap Made Me Do It," Ice Cube—Lays waste to the logic that blames rap for everything from selling crack to college shootings, in fact arguing that gangsta's the loudest voice against everyday violence. And the reason, Cube explains, "Lyrically I'm so lethal…Just to feed all my people.
"
"Georgia Bush," Lil' Wayne—Sums up the first year after Katrina, calling the President out for ongoing genocide. A sample of Ray Charles's "Georgia" not only emasculates the president but restores the power of that refrain free of nostalgia.
"Get Ya Hustle On," Juvenile—Life after Katrina's a lot like life before Katrina, "your mayor ain't your friend/he's the enemy," your friends are behind bars, and there's no government for the people just a hustle to stay alive. But this song's not about defeat—"It's crunch time," Juvenile declares, "It's the movement.
"
"Ghetto, Arab Remix," Ali B featuring Yes-R & Akon—This call for worldwide unity features Morrocan rappers Ali-B and Yes-R joined by R&B singer Akon, who has his own roots both in St. Louis and West Africa.
"Hangin' On (My Song)," Chingo Bling—Biggie rapped about contemplating suicide, here it's the terrorism of the immigration police that puts a man in that mind state.
"Hard Out Here for a Pimp," Three 6 Mafia—Oscar or not, this song stands strong on its own, deromanticizing the hustle of "seeing people killed and seeing people deal and seeing people live in poverty with no meal.
"
"Hate It or Love It," The Game and 50 Cent—"The underdog's on top, and I'm going to shine, homie, until my heart stop." Summons Rakim and Marvin Gaye to remind listeners that playa hatin' avoids the hard work of dealing with the power structure.
"Hip Hop Police," Chamillionaire featuring Slick Rick—Cites Snoop Dogg's "Murder Was the Case" to suggest hip hoppers not let themselves be turned against each other but, instead, stay focused on the real sources of injustice.
"Hope," Twista and Faith Evans—Twista wishes, "I could go deep in a zone/And lift the spirits of the world with the words within this song." He does just that and so much more, calling for his brother to get out of jail, his grandmother to get well, an end to drug dealing, war and poverty. Faith's refrains make it easy to "take this music and use it, let it take you away.
"
"Imagine," Snoop Dogg, Dr.
Dre and D'Angelo—In this world without hip hop, there's all the same poverty, sickness, madness and death except no music to bring people together to fight.
"Let's Get This Paper," Rich Boy—May be the angriest, hardest-hitting political statement anyone's made about the war against the poor, here at home and over in Iraq.
"Lighter's Up," Lil Kim—In English and in Spanish, Brooklyn's self-proclaimed queen of rap serves up this reggaeton-flavored rap for unity, "no matter where you from.
"
"Live Again," Yin Yang Twins—Dirty South bad boys contemplate the quiet agonies of women forced out of their homes and into the streets, taking off their clothes to feed their kids and hoping for a second chance at life. D-Roc bemoans the fact that the schools don't prepare these women for the world they face, and the preachers don't give them refuge, so their hopes and dreams only find voice in rap.
"Make Me Better," Fabolous and Ne-Yo—A Brooklyn rapper joins forces with a sweet voiced refrain to show just how much we need one another.
"Memphis," Eightball & MJG—A rally cry for unity among all the hoods of the Mid-South, calling upon the region's rich musical history and pointing toward a future where all the ghettos nationwide come together.
"My Hood," Young Jeezy—"Everytime I do it, I do it for my hood/And everytime I do it, I do it for your hood/and everytime I do it, I do it for they hood/It's understood….
"100 Years," Plies—Story after story indicting a justice system out to put every young man in the hood behind bars, asking such pointed questions as "how in the fuck can four birds get you a life sentence, but give a cracker seven years for money launderin' millions?"
"Over and Over," Nelly—Even without the video of a day in the parallel lives of Tim McGraw and Nelly, these blues suggest the strong ties that bind Nelly being "country" to country music.
"Pal Norte," Calle 13—This rap about the political vision of an immigrant to El Norte ran in heavy MTV rotation after its album knocked Jennifer Lopez off the top of the Latin pop charts in 2007.
"Ridin'," Chamillionaire—A tribute to the Undeground Kings's "Ridin' Dirty," this huge hit is the catchiest, boldest protest of racial profiling yet.
"Runaway Love," Ludacris with Mary J.
Blige—Just what it sounds like, a love song to children fleeing violence and a dream of a future those kids can live for.
"Slap," Ludacris—A working man's blues that runs through the details of a hard scrabble life, growls at the wealthy, tells the President to just shut up, and then stops and contemplates the abyss. "Troops gone and we still at war/Nobody even knows what for/Even more I'm scared to find what the world really has in store.
"
"Slippin'," Lil' Kim featuring Denaun Porter—"Fuck the law, the whole system's corrupt," Kim declares as she describes just what's universal about the dog-eat-dog situation that landed her in jail.
"Speaker," David Banner featuring Akon, Lil Wayne & Snoop Dogg—West Coast and Southern unity "busting out of your speakers," relishing a sense of power and self control that comes with others at your side.
"Stand Up," Eightball & MJG—A call to the South, East, West and Worldwide for rappers to talk straight, stay true, stand up for each other, go the distance and forget those who've got nothing better than do than hate on other artists.
"Sweetest Girl (Dollar Bill)," Wyclef Jean with Lil' Wayne and Akon—A redemption song for a high school sweetheart all but lost to that same mess that threatens to take us all down.
"The Message," Styles P—To each member of his family, to his hood, to his crew, to the poor, to the jail, to the kids, to the ladies, to the rich, to the world, the messages P leaves vary in specifics, but they're tied together by "one is all and all is one/I'm going to see us all rich before all is done.
"
"The Morning News," Chamillionaire—After the enormous success of his debut album, this Houston rapper opened his second album with this attack on the emptiness of television news, where Rosie debates the Donald and the latest gaffes by Paris Hilton and Michael Jackson are worth more time than the reality that your tax dollars just "pay for classes," CEO's are "slavemasters….and if you ain't upper class/then your opinion is irrelevant.
"
"The Way I Live," Baby Boy Da Prince—An appreciation of life in Marrero, one of the neighborhoods spared by Katrina's floodwaters but not New Orleans' neglect and devastation before or after.
"We Takin' Over," DJ Khaled (with Rick Ross, T.I.
, Lil' Wayne, Fat Joe and Akon)—Exactly what it sounds like, blasting off with tympani and some kind of outer space choral/keyboard part that says, think big and then think bigger. Arab-American, West African, Latino and African-American voices plan a takeover, "one city at a time….with enough work to feed the whole town." A manic Lil' Wayne vocal promises that those who polite society most fear will soon be heard.
"What's Going On," Remy Ma with Keisha Cole—A heartbroken prayer to an aborted child from a young mother, without money or even support from her family or the father of her child, waiting for an answer.
"Why We Thugs," Ice Cube—The original gangsta still standing spells out the tough questions gangsta's critics either don't think hard enough to ask or willfully dismiss.
"Call me an animal up in the system/But who's the animal that built this prison?/Who's the animal that invented lower living?
*****
"The turn to death themes in the spirituals was partly due to the execution of Nat Turner in 1831. Soon after, many songs included references to the coming 'Judgment Day' for the plantation regime and, later, for the Confederacy—'Can't stand the fire.' Turner's rebellion also sparked a movement that spread white Christian missionaries across the South in order to establish churches for African-Americans that used only approved songs. The battle over lyrics and music censorship, sacred and secular, has been fully engaged ever since. The day-to-day life of the plantation bloc was built around perpetual monitoring of the behavior of blacks and whites.
"— Clyde Powers, from Development Arrested: Race, Power, and the Blues in the Mississippi Delta
5:08 PM
May 13, 2008
Beres ‘Cudjo’ Hammond: The Man, His Thoughts, and His Music
Reggae - In - Motion : Beres ‘Cudjo’ Hammond: The Man, His Thoughts, and His Music |
 Beres Hammond @ Central Park NYC Photo by Stan Evan Smith Who is Beres ‘Cudjo’ Hammond? The “Reggae Role Model of The Year” in Jamaica according to the Excellence in Music and Entertainment Awards for 2008. Arguably, the most successful songwriter/composer/singer/performer in Reggae music’ since 1990, Hammond is the voice of Reggae soul power. Hammond’s effect on audiences often times defies description, but let me try. ‘Cudjo’ Hammond’ romantic rude boy love songs have women literally lose their minds, and their clothes. Males, watched with grateful anticipation awaiting the treats awaiting them at home, if they listen to him. are an exercise in liberation soul power. For women, his live concert is an ‘exercise orgasmic rapture. Hammond glides through the subtle nuances of love and romance with a sensitivity and insight rare for male reggae singers or men in general. His relationship with his audience could be described as a symbiotic synergistic electrical vibration flowing between Beres and his fans. His live shows take his audiences on journey to new heights Hugh Beresford Hammond was born in the Parish of St. Mary in Jamaica. He grew up in a large family of mostly females. These females impacted his early development as a young male and their influence his sensibilities and are reflected in the way he writes his songs. A modest but confident artist/person, his musical odyssey takes his fans as close to him as he will allow them to get. On one album he invited them to come spend “A Day in the Life” of Beres “Cujo” Hammond.
SS: Do you have a philosophy you live by and would you like to share it? BH: Love is the most important thing in life. It was here before me and it will be here after I am gone. I am not into publicly discussing politics, religion or philosophy. I realize that whatever your thoughts are about life, there are folks who will agree with you and then there are others who will be offended. Because I see no reason to offend anybody or let my beliefs be an offense, I keep my thoughts to myself. SS: Do you realize how important you are to a lot of people? BH: (laughing) when I am on stage and they ask for another song, I feel a sense of welcome. Being on stage I do get that sense. SS: Does all the responsibility of touring and spreading reggae music get to you? Beres & Buju Banton@ MSG in NYC Photo by Stan Evan Smith BH: Sometimes peoples’ expectation and the burden seem like too much at times. SS: While growing up did you ever feel that one day you would be traveling the world and bringing so much joy to so many people? BH: I always wanted to do that. Every kid growing up wants to be president. To be honest with you I always waned to do that but never thought deep inside that it would manifest.  SS: Now that it has happen, how do you feel about it? BH: It makes me feel great, but it feels normal now after doing it all these years. It has become like another day in the life of Beres. SS: As one of the premier singer, producer and song writer in Reggae what do you think of the young singers coming out of Jamaica presently? BH: To my surprise there are a whole lot of talented singers. What they need to do is to get the right songs. They need to get professional management, good songwriting to actually show the world the talent…. SS: Name some of your musical influences? BH: Sam Cooke, Otis Redding, Marvin Gaye, Johnny Taylor, in the R&B genre. Locally Alton Ellis, Ken Booth, Leroy Sibbles of the Heptones, John Holt and Delroy Wilson. I started out with R&B as a singer. I practiced to be like these guys and when I was growing up I wanted to sound like them. They had fantastic talent that I always tried to measure up to, but could not. I then realized that I could only measure up to mine. SS: Tell me about your have a record label? BH: Yes, Harmony House. It was formed exclusively for Beres as an artist in 1981. Since 1997, it has grown and I have included others acts. I formed the label not to make money but to produce great music. It is for people who can appreciate good music and effort. Beres @ Forrest Hills Stadium NYC Photo by Stan Evan Smith SS: You love to record in the studio, why? BH: I think it is my true calling. I have a passion for the studio more so than any other aspect of the business. I love writing songs whether for Beres or others. SS: What do you think is the cause of the decline in the quality music in Reggae? BH: Reggae, as a beat is out there more than it has ever been. In terms of music creativity and quality, simply nothing is really taking place. The many different sides of the music need to be presented to the international community in order to give them a choice and show the music’s diversity… S.S: In my opinion, you are on of the best songwriters in Jamaica. How do you go about writing a song? B.H. I have never thought about it. S.S. That’s what they have people like us for; we try to get you to sit down and think about it. B.H. A song to me is like an every day runnings, that’s what I'm saying now I really do not put pen to paper and sit down and write. Most of my writings go on in the studio. For some reason, anytime I enter the studio door a vibe always reach me, and I write about the things or I should say I sing about the things that I feel instantly, that writing feel now and it could be anything. S.S. You seem to write a lot of love songs about women? B.H. Yea, because women give me so much encouragement, and the strength to go on and love is a common thing with all of us, and it is about the most common thing with all of us that I can see that looks positive. Every other common thing about us is negative, and love as far as me concern; me born come see love; me live in love and when I gone I figure love will still be here as long as you have man and woman. So I'd prefer dealing with the love thing. In other words, them revolution song, that good, and me will deal with songs that deal with every day issues like pressure it nice too, but me realize that them songs don't reach too far cause what I feel is that people don't need a one to remind them of the hard situation, what them need is consolation that I can think of is love. SS: You have always had female management throughout your career – is this by design or coincidence? BH: No, it was not a deliberate choice. It just happened that way. I feel more comfortable working with women; because they tend to understand better how an artist feels. SS: Do you have any kids? BH: Yes, I have five kids and I love them. SS: How do they fit in with you busy career? BH: I function as a father. I try to not discuss my life in terms of music with them. I deal with what fathers do. SS: Any of them interested in becoming an entertainer?
BH: They have never said it to me. SS: Would you encourage it? BH: Not necessarily, I would love for one of them to be doing what I am doing. The rewards today are far better than when I started. Until one of them says I want to do this, it would not be something that I would suggest to any of them. SS: What do you do for recreation? BH: I play dominoes and Ludo. It always goes back to some more songs. I am always preparing to go into the studio. I seldom find myself with the spare time to be able to do something else. My whole life is surrounded by music. About the writer: |
April 20, 2008
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.
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."
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"
Contact:
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
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.
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.
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
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.
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
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
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
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
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
CHERISH
Their sophomore project introduces young women who have found their unique place in a field full of duplicates and manufactured stars.
"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
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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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.
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
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 SaulterFLASHPOINT 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, wealso 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.
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.comSource: http://www.flashpointfestival.com/about/index.html
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.