By: Serge In the late 70′s, when disco was on its last legs, a new form of music was just beginning to take off. Filled with larger than life characters, they would address the social issues going on in their own neighborhoods; by using an unorthodox style of singing. They would rhyme out their words repeatedly, and throughout the whole entire song. Many thought this new genre of music would meet its demise, just as its disco counterpart ultimately did. But to the chagrin of the non believers, it survived for almost 40 years and counting. Sometimes its hard to think that Hip-Hop has been around for this long; but not without its fair share of black eyes in the process. To the tragic murders of some of its brightest stars, to political leaders using Hip-Hop as a scapegoat to catapult their own careers, by saying "all it does is increase crime", to the censorship of its content. Nowadays, the phrase "keeping it real" has to be one biggest clichés in Hip-Hop. When artists have big corporations knocking at their door to promote their product; why keep it real when you can keep money in your pocket instead? For those that reminisce over Common’s 1994 ode to Hip-Hop, "I Used To Love H.E.R.", he explains all the transformations this historical genre has gone through. But for an art form that’s forever changing, there’s always been one constant. There’s always been that one person who so-called "kept it real", that one person that epitomizes the true essence of Hip-Hop, that one person that’s always been an outspoken voice, in a sea of many. It’s difficult to talk about Hip-Hop as a whole, and not associate this particular person with the culture. This person has brought us timeless "food-for-thought" classics like "Love’s Gonna Get ‘Cha", "Self Destruction", "My Philosophy", "Black Cop", "Stop The Violence", and "13 And Good." With a career spanning over 24 years, and an unprecedented 19 albums to his credit, he returns in 2007 with his latest offering, "Hip-Hop Is Alive", alongside fellow iconic Hip-Hop legend Marley Marl. Now, to his biological family, they know this man as Lawrence Krisna Parker. But to his Hip-Hop family, he’s known as "The Blastmaster", "The Teacha", or just simply; KRS-One. CrackSpace.com: So what can we expect off your new album with Marley Marl, "Hip-Hop Lives"? KRS-One: Well you can expect focus. The focus of this album is to put the focus on our community, and on the things that are real and important. Some of the songs like "Kill A Rapper" and the title track itself, "Hip-Hop Lives", are songs that should plague our community this year toward a more mature Hip-Hop. We’ve seen the "bling", we’ve blinged ourselves out. We’ve seen "thug", and we’ve seen the "sex", we’re just coming out of the sex right now. We’ve been sexed out, and now I think it’s actually time. When you look at James Brown passing on Christmas Day, and when you hear Nas say "Hip-Hop Is Dead", like when he says things like "well, if you continue to do things like this, Hip-Hop will be dead." When you look at the whole Imus thing, and that whole debate, you really notice the intellectual movement of Hip-Hop growing. You get more and more people asking questions. CrackSpace.com: So you in your opinion, Hip-Hop is far from dead? KRS-One: The entire Hip-Hop culture isn’t dead. A lot of us are reading, a lot of us are writing, and a lot of us are still rapping. So I would hope that this album, "Hip-Hop Lives" puts the focus on what’s really important. I’m hoping to change the graphic of Hip-Hop in a lot of minds. Right now when you think about the word [Hip-Hop], you think of guns, you think of drugs, you think of crime, you think of thugs. You don’t think of "KRS", some do [smiles]. But to those that actually live the culture, they think about Big Daddy Kane, and all the real MC’s. CrackSpace.com: So what’s the definition of Hip-Hop to you? KRS-One: Well the word "Hip" means to know, its a form of intelligence. The word "Hop" is a form of movement; to keep you up. So when you put it together as the word "Hip-Hop", you have an intelligent movement. So people should learn from that and be like "ahhh okay, now I know what this is." "It just hit me; now I know what its about." "I know what the actual term means, so now I want to learn more about it." CrackSpace.com: Did you ever feel the need to reinvent yourself? To capture the attention of younger fans that aren’t too familiar with you? KRS-One: Not at all; not at all. I have to reinvent myself anyway, in fact the [body] reinvents itself every six weeks. We all have to reinvent ourselves, that’s actually the meaning death; is when you stop creating yourself. Its not just for the young kids coming up today, I have to reinvent myself for the 38 year olds [laughter]. Its not so much as to reinvent myself, but its about reinventing us. The "MC" should give their listeners the opportunity to grow with him/her. So in this instance, "the reinvention" comes with "okay, let me flash some new styles on you, let me show you what else I can do." Its like let me inspire you with my career. I’m 42 years old, and I’m spitting mine, WHAT! [smiles] CrackSpace.com: So do you believe older acts should automatically gain respect because they’ve laid the foundation? KRS-One: Well I’ll say this right now, I’m not an advocate for respecting the old school because their the the old school. I’m an advocate for respecting the old because they’ll kick your ass [laughing], that’s what I’m an advocate of. Don’t respect Crazy Legs because of who is, and he’s the reason that you know what a B-Boy is. Respect him because its 2007, and the Rock Steady Crew Anniversary in July is going to be off the chain. Don’t respect Grand Master Cas because he’s the greatest MC of all time. Don’t respect him because he’s part of the Cold Crush Crew, which basically invented RUN DMC and everybody else. Respect him because if you hand him a microphone TODAY in 2007, he will spit something out his mouth that will blow your mind. I don’t want anyone to respect me for "Criminal Mined", even though I appreciate it. But if you ask me, I know I did the "Stop The Violence" movement [saying "sure" sarcastically], "Love’s Gonna Get ‘Cha" [saying "sure" sarcastically], "You Must Learn" [saying "right" sarcastically]. That was 15 years ago, what am I doing today? If you see me at show, I’m going to do all the classics, BUT "where’s the new single?" where’s the new album?" CrackSpace.com: Some people say that the spot light left New York because of too many internal beefs within the city. Do you find that to be true? KRS-One: Uhh… I would reluctantly say yes [reluctantly], because I see what that is. Yes there is internal beefing in New York. If you’re the best and you say you’re the best; then show me. If you’re the king of New York, then show me you’re the king of New York. But I’ll back off that a little bit and say this is why I represent New York. My soul will never leave New York, I’m a New Yorker everywhere I go, even in places where people don’t want to hear it. I don’t think people are sick of New York, I think their still looking up to New York. Because if you’re into Hip-Hop, The first thing out your mouth is "New York." You can be a graffiti writer, and your reference is "New York." CrackSpace.com: What’s one of the biggest things that bothers you about modern day Hip-Hop? KRS-One: The fact the old school artists aren’t not paying enough attention nor are they paying homage to the younger cats coming up today. CrackSpace.com: What keeps you motivated after all these years in Hip-Hop? KRS-One: What keeps me motivated is the fact that I’m still hungry. I’m not rich, I don’t want to be rich, I want to be wealthy. I just want to pay my bills and live, I don’t need to be rich to do that. I just need to have enough, so I rate myself with a certain level of hunger; its called "discipline." I stay with MC’s on the streets, and on the corners. I try to stay within the ciphers, I just to keep myself involved. CrackSpace.com: Right now it seems Hip-Hop is all about beats and hooks. Aren’t you get worried that true messages like yours will fall on deaf ears? KRS-One: Well yeah it will fall on deaf ears, it will fall on "Def Jam" ears [laughing] no pun intended. But it will fall on deaf ears, and I like that. Because our album doesn’t have to sell a million copies to be successful, its not about that. I don’t give a f**k if [you] don’t want to listen to "KRS-One." This album has nothing to do with that, this album is not trying to make a younger audience understand who I am. I think they do, and I hope they do, but this album is about maturity focus. This is about Hip-Hop. So if it doesn’t excite [you], then fine. That goes back to 1987 when I was asked "are you scared that people won’t understand Criminal Minded?" "A teacher with a gun in his had, don’t you find that to be contradictory?" My answer was "I’m a teacher, I’m here to blaze the trail not follow the trail." But to answer you, "knowledge" ALWAYS falls on deaf ears, the "truth" ALWAYS falls on deaf ears. For me, I’d rather sell 100,000 records to the right people than 1,000,000 to wrong people. So let this album fall on a million deaf ears, and let at least 10,000 of the right people get this album. People like the future president, the future head of the board of education, or the future chief of the police. I hope and I pray something like that happens.
By: Hot Gossip Gal Turns out Jeezy and his sister and a couple more were arrested in ATL outside some strip club for making a nuisance of themselves. I mean we all know going to the strip club is like going to the mall in the ATL but having your sis with you…hmmm not quite sure what to make of that people.
By Quibian Salazar-Moreno According to a story in the Philadelphia Inquirer, Jay-Z and Dame Dash are a couple of biters. South Philly writer, Antonne Jones said that the Roc-A-Fella flick, “State Property”, is based on his novel “The Family: A Philadelphia Mob Story.” The writer said he pitched the book’s story to Jay and Dame in 1998 and offered it to the music moguls for a cool $500,000. Hov and Dash offered $50,000, but Jones rejected it and never heard from them again. “State Property” dropped in 2002 making $2.1 million, and even spawned a sequel in 2005. Jones filed a lawsuit on May 8 and is now seeking $15 million. Jay-Z is also facing a lawsuit in regards to his 40/40 Club in New York. According to TMZ.com, waitress Celeste Williams is claiming that she was paid below minimum wage and that her tips and overtime pay were withheld. Apparently 100 other employees of the club will join the suit. A spokesperson for the club says that Williams only worked there for four days and was paid appropriately.
By Quibian Salazar-Moreno They’ve been selling out of their t-shirt with their infamous logo for almost 15 years and now the Hieroglyphics crew are taking it a step further and officially launching a clothing line. The sales arm of the crew, Hiero Imperium, have announced that they will releasing a new line of high-quality denim jeans for men in August. "We can’t keep our t-shirts and other Hiero paraphernalia on the shelves – it’s time to offer fans more with high end, top-of-the-line ‘fits.” said Casual, Co-owner of Hieroglyphics and Conceptual Designer of Hiero Jeans. “We’ve received strong interest from buyers and stores all around the world. It’s an exciting time!” According to the crew, the first release, which consists of a hand-numbered, limited edition, vintage indigo “Basic” style denim, will initially be available online exclusively. This debut will be followed by four different denim jean styles including an organic jean, a resin-coated jean, a soft grey denim, and an all-black formal “Phantom” jean. After the showcase of the new jeans at the Magic Convention in August, the jeans will be available at hierojeans.
By: Hot Gossip Gal …why was Sean Penn visiting homegirl in jail the night she got busted? Anyhow the pitbull in a skirt is keeping busy shooting her new video for her joint with Swizz but she gotta be back in court on June 28th. Another Name for Kim Kardashian Yeah the notorious Hollywood socialite was seen kicking it with Scott Storch this past weekend in Miami..not quite sure what the attraction is with Mr Storch…but I guess its that old thing about money in the bank as he certainly breaks the mold on her usual type of man.
The fifth installment to our Beats & Rhymes Producer & MC showcase is also an album release party for both Philly MC iCon The Mic King and Connecticut Producer Chum The Skrilla The Guerilla. Fresh off a national tour with Cali vets Souls Of Mischief, iCon toke a ‘lil time off to make the album release party happen before he heads back on tour pushing his new album. The project iCon & Chum recently released there titled “Mike And The Fatman” on Uprising Records. The album was released nationally this past April 17th and has been getting amazing reviews from critics all over the world. Producer Chum most known for his work & membership with the Connecticut rap group Demigodz. Along with his featured production on Apathy’s “Eastern Philosophy”, where Chum held down eight out of the fourteen tracks on the album released in 2006. Chum is traveling all the way down to Philly to join the celebration and showcasing his classic and new tracks for both iCon & other MC’s to perform on throughout the night. Joining the production duties of the evening is the legendary Skratch Makanik member: DJ Jay Ski. Best known for his mixing and cutting abilities on the turntables, Jay Ski is hands down one of the most talented producers in Philly. Along with Jay Ski, fellow Bunji member; Mercury is also showcasing his production talents that he so far has given: Jim Jones on his last album “Hustlers P.O.M.E.”, Raekwon’s album “Lex Diamond Story”, Dipset “More Then Music Vol.1”, Saigon, Tru Life, and even produced the theme song for P. Didy’s TV show Making The Band III. The forth producer is one of the most un-tapped producer talents in Philly who goes by the name of: Luke Raws. Most known for his talents for getting break dancers moving on the wheelz at the monthly events; Fat Laces and The Gathering. Luke Raws has been in the studio working hard with his group Kontra and the one and only Reef The Lost Cauze. Not much of a selling pitch really needed on this one! Just by looking at the credentials of both the hosts and producers, this is by far the biggest event we have done thus far. You may also want to personally not miss this, so email me back for a comp. Because you may need one just to secure your entry into the place! And as always thank you much for all the past, present, and future press you have given both us as a company and website. Were just trying our best to not make this city lame! 215hiphop Presents: Beats & Rhymes A Four Hour non-stop Producer & MC Showcase: ***Watch Our Previous Video’s At** September Video: November Video: January Video: March Video: COMING SOON~ Stay tuned to 215hiphop.com for video launch Sat. May 26th 2007 @ The Khyber (2nd & Chestnut St.-Philly, Old City) 21+ Cover: $10 9pm-2am Opening the night off & live remixes with: DJ Tactics (Pure Elementz Radio) Live On The Beats: DJ Jay Ski (Skratch Makaniks) Production Credits: Baby Blak/Last Emperor Chum The Skrilla Guerilla (Demigodz) Production credits: iCon The Mic King/Apathy/Army Of The Pharaohs Mercury Production credits: Raekwon/Jim Jones/Saigon/Tru Life/Juelz Santana Luke Raws Production Credits: Kontra/Burke/Reef The Lost Cauze Live Performance & Hosted By: iCon The Mic King & The Mighty Flipside Esq. (Electric City) w/some very Special Guests *Also Celebrating the release of "Mike & The Fatman" Powered By: 215hiphop Crackspace m3printing CLICK HERE TO BUY TICKETS *Please Note: If we hit capacity, please go upstairs for 15min.(FREE Cover) and come back downstairs. By then some people would have cleared out
By: Rizoh Lovey-dovey singers Tank, Ginuwine, and Tyrese have joined forces to form a new R&B group, christened TGT. The trio will release an album later this year, followed by an international trek. According to Ginuwine, TGT is “a dream come true” is geared to reshape R&B music. “With all the support our fans have given us individually over the years for our distinct signature styles, collectively we felt our fans deserved to hear great music in a way that they could never have imagined,” Tyrese explained in a statement. “I’ve known these guys for years and they truly are like brothers, so it only felt right to come together as a trio to make history,” he added. TGT is currently recording their debut album. But for now, you can catch them on Tank’s current single “Please Don’t Go” remix
By: Rizoh Brooklyn-bred femcee Foxy Brown has landed a new management deal with Black Hand Entertainment. Brown, one of the most controversial female rappers of the last decade, was excited about her new management home. “I needed to connect with a person who understood my struggle completely from where I came to where I traveled today. Chaz [Williams, Black Hand Ent. CEO] is an aggressive businessman who has overcome adversity and roadblocks his entire life, I needa person who can relate to real struggle and who has experience in moving beyondat the most difficult times.” Fox Boogie’s rap career came to a temporary halt when she lost most of her hearing in December 2005. She later underwent surgery to restore her hearing. About Foxy’s comeback, Chaz Williams had this to say:“I think Foxy is an incredible talent and one of the fiercest female MC’s of all time. Her skills and work ethic are undeniable and she has a determination to succeed that I respect. Her focus is keen, andher music speaks for itself. With the return of her hearing, I think she will have the greatest comeback story since Mimi.” Foxy Brown is currently adding finishing touches to her fourth major LP, Black Roses, due out on Neveruary 13.
By: William Ketchum III Don’t sleep on Wu-Tang affiliate Mathematics. While RZA is the group’s more well-known producer, the man born Norman Porter has been putting in work with the Clan for years, both as the beatsmith behind classic Wu gems “Wu Banga 101” “Rules,” and with several solo albums and instrumental LPs under his belt. Lately, Mathematics has been even more busy. He takes a shot at journalism by interviewing legendary hip-hop producers on the new “Beat Kings” documentary DVD, and he compiled old Wu tracks and newer remixes for Mathematics Presents Wu-Tang Clan & Friends: Unreleased. In an interview with HipHopCrack, Mathematics talks about his latest projects, the nature of today’s hip-hop production scene, and the impending new Wu-Tang Clan album. HipHopCrack: How’d you come up with the idea for the DVD? Mathematics: Basically, being a producer, I wanted to go around and interview other producers. I do interviews with certain cats, and they ask good questions or whatever, but being a producer, sometimes you want to get more out there. I thought that I could get a lot of good information out of producers that the average cat couldn’t really get. That was the whole premise of it, really. Also, you’ve got a lot of up and coming producers and people who want to be producers, so I felt I could get some good information to them and they could learn a little something. It turned out to be a real great project, I learned a lot from it. That’s how it all started though. HipHopCrack: When did you start putting it together? Mathematics: I first started putting it together a while ago. Kanye, he was one of the first cats we did, and that was maybe close to two years ago or something like that. Then we were just getting everybody involved, and doing it. I also DJ, so a lot of times I was on the road travelling or producing, so it was kind of hard to really just knock it out. But it all came together. I had it for a while too, because I had a lot of labels that were interested in it, but they came with real disrespectful deals. So it was like, I’ll hold onto it myself and put it out on my own before I let them take advantage of me like that. HipHopCrack: You make beats, but as far as I know, interviewing people isn’t exactly what you do. How much of a challenge was it taking on an entire project like this? Mathematics: It wasn’t hard, because I’m a fan of music. Hip-hop music has become so diverse and everything. You’ve got your foundation of hip-hop, which is that raw hip-hop, and you branch out your different forms: your crunk music, your midwest, your west coast, and even reggaeton is a form of hip-hop. That’s why there’s so many type of producers on here, too. You’ve got David Banner, Trackmasters, Swizz Beats, Marley. The whole thing is about learning, and me personally, I learned a lot from it. HipHopCrack: You said there are a lot of people who want to be producers. While the dream used to be to become a superstar rapper, people want to be producers more and more nowadays. Where do you think that comes from? Mathematics: Everything goes in phases. People are attracted to (get involved in) what they like, especially when you can make money doing it. Even when you can’t make money doing it. When I first got into hip-hop, I wanted to be an MC too. I tried to rhyme, there wasn’t any money involved. When I first become a DJ, it was because I saw another DJ at a pong jam. That right there was like, “Yo, I want to do that.” So I became a DJ. But we took it a lot more serious. There wasn’t no money involved, and it was all fun. And everybody wasn’t trying to do it at the time, but those who it was attracted to, they did it. So I think it all goes in phases. It went from the DJ, back to the MC. If you look in the 80s—DJ Jazzy Jeff and Fresh Prince, Eric B. and Rakim—it was still about the DJ. But them MCs took it to the next level. Cats like Rakim and Kane, they took it to the next level. But behind the MC was always a producer. Marley Marl was holding down the whole Cold Chillin crew. Then you have cats like Prince Paul comin, and RZA came with Wu, Dre was doing the damn thing—eyes start focusing back on the producer. It was a strong transition, and it’s still a transition right now from MC to the producer, but right now, everybody wants to be a producer. Plus, there’s big money involved, too, and everybody wants to get the big money. But you’ve got to work hard and be dedicated, and every producer ain’t gon see it, so you’ve got to do it for the love of your art, too. HipHopCrack: Producers get a lot more shine nowadays too, as far as their public personas. What do you think contributes to that? Mathematics: You get a lot of cats that want to put they name in, or (say) “mention me here.” Because if you’re a producer, and your name gets mentioned, a lot of people want to work with you, whatever. But me, I say that the music has to speak for itself. To me, music is emotional, it’s a feeling. So when I make beats, I do it the way that I feel, and at the same time, I want the people to feel it. Personally, I’d rather people know my music than me. Even now, Sometimes, when you’re feeling bad…”Cobra Clutch” was a mad beat, I was mad. And when you listen to it, you can tell. I don’t really want people to really know me like that, like, “What is he mad about? Why does he feel so sad?” So I had to put that aside, and just go to work. I learned this from the DVD. A cat like Dre, he has a signature sound, but he can always step out of bounds and still be respected. Salaam Remi’s another cat, but he’s not as known as Dre. It’s like a bakery. My specialty can be a double-layered chocolate cake, but people come in and want lemon marigne pie, or a pound cake, so I’ve got to cook it for em. I can’t just try to push (my specialty) on em. I’m not just going to turn em away. And I’ve got to make sure that I make it with the same type of love, because when people cook, you can tell the difference when someone put love into it. That’s why I say that—a lot of people try to chase a persona or try to put their personality on it. I’d rather you just feel good with what you got. When you come home from a hard day of work, you put on music to relax. You put on certain music to get into a mood. I think all producers should try to do that. I learned from the old time greats too, and I think that’s what they did. That’s what made music like what Issac Hayes, Curtis Mayfield, that’s what their type of music did for people. Marvin Gaye, it woke up a lot of people. Even when you take it to hip-hop, Bomb Squad and Public Enemy, they had music that gave you a feeling, they set a whole movement. Everybody was wearing the black, green and red. I think it has to go back to the music to create movements, than to be about a person or about self. HipHopCrack: What producers have you been influenced by? Mathematics: Of course by the RZA, Dr. Dre, Pete Rock, Premier. A lot of those greats I have (on the DVD) influenced me. As well as Issac Hayes, Willie Hutchins, Norman Wickfield, David Porter, Stevie Wonder, people like that. They made good music, and good music is timeless. You can still listen to it and be like, “Wow.” HipHopCrack: What was it like interviewing these cats who influneced you for the DVD? Mathematics: It was great. A lot of them I had already admired for certain reasons, whether it’s Havoc—I always loved Mobb Deep’s music—or Trackmasters, Trackmasters did some of my favorite joints from back in the day, like “Ill Street Blues” and “Shootouts.” “Shootouts” is one of my favorite beats of all time, that’s the joint they did for Nas. Even though more people would associate them with other joints, that’s that baking the cake, they know how to bake a cake and put it where it needs to be. But it was a great feeling to go into the studio with some of these cats. Certain cats I already had history with: RZA, of course I had history with. Rockwilder, I had history with because he worked with Redman and Method Man a lot, so I’ve been aroudn him for a long time. Salaam Remi, we went to the same high school, we were in the same art class together. HipHopCrack: You said you learned a lot from them during the interviews. What are some of the things you learned? Mathematics: You’re going to see them in my music. After I did the DVD, I was going to do a follow-up album to The Problem. I had already started recording new songs. then once the DVD was finished, I had learned so much that when I started hitting the board, my music just started going to a whole different notch, it went up a level. So I was like, I need to just sit down, I need to put all this new stuff together that I’ve got. I’m going to go to the archive and get some stuff I’ve got in there. So I found some remixes I had did that never surfaced, I found some old joints, and that’s the Mathematics Presents – Wu-Tang Clan and Friends: Unreleased LP. I wanted to get all that out my system so I could hit them over the head with all this new stuff I’ve been working on. I learned a lot. It gave me a love for music again. After a while, it starts getting like too much business, it’ll bring you down sometimes. Even with the DVD, when I finished, a lot of people that were interested, but they didn’t want to give me what I wanted for it. Most of them just wanted to take it and rob me. So I’m like, ‘Naw, I’d rather hold it than do that.’ HipHopCrack: What are your top five Wu-Tang joints that you’ve produced? Mathematics: Ah, man, I’ve got a lot of joints, I love a lot of ‘em. My top five, I don’t know. “Cobra Clutch” is always one of my favorite joints, “That’s That Shit” is one of my favorite joints too, with Method Man and Reman. “Bang Thangs,” “Rules” is definitely one of my favorite joints. “Strawberries” was one of mine too. See, I could keep naming. I’m a fan of my music, because I think that you have to be. Anything you do, you have to love what you do, you can’t just be doing it just because. That was my point before. The business and everything gets you down, and after a while, you don’t even want to hit the board. After I did the DVD and spoke to all these producers, the love for music came right back. Even DJing for me got (boring) for a while…don’t do a show, everything is repititious. But now, I’m back on the board crazy, I’m loving it, I’m loving the music, I’m loving what I’m making. And I’m DJing crazy again too, I’m having fun again doing that again, like when I first started. You’ve got to have the love for it, man. HipHopCrack: With instrumental albums like Soul of a Man, do you make beats like that exclusively for the album, or were they beats you had already made? Mathematics: The majority of them were exclusively for that album. It was a couple of discs, and the second one was instrumentals that were off of some of my albums. But the first disc, a lot of them were exclusively made for that. What I was trying to do was like, when you listen to certain jazz albums, and the theme, and the way it kept going and kept moving, I was trying to do the same thing. They did an era where they put up a disc, and they put the two-second pause between each record. It wasn’t supposed to be no pauses, it was supposed to flow right through from the beginning to the end. At the end it got a little mixed up, but yeah, most of the stuff was made exclusively for that. HipHopCrack: Do you think there should be more instrumental albums? Mathematics: Yeah, I think so. Like I said, jazz albums, you can catch a “Midnight Love” album all instrumentals, too. I think so, but are the people ready for it? Cuz right now, it seems like all they want to hear is somebody bragging on a track. I won’t say everybody, but the way they make it seem, the majority of people, that’s what they want to hear. So are the people going to really appreciate it? The way I tried to do Soul of a Man, I was doing it because I wanted people to really appreciate it. And I hope they did, whatever the case may be. But yeah, that’s another thing, getting people to really take the time to realize what’s going on. HipHopCrack: The group recently announced they were making another album, The 8 Diagrams. How excited are you about that? Mathematics: I’m excited, like, “Yeah, let’s do it again.” Everybody’s on the same page right now, and another reason why I’m excited is because from the music that everybody’s doing right now, everbody’s in their zone once again. If you hear the joints RZA’s been doing lately for Afro Samurai, if you peep some of those, you hear how he’s coming. The Raekwon Only Built 4 Cuban Linx 2 album is off the hook, that right there alone is going to be a classic based upon the fact that you’ve got two great producers working on that, Dr. Dre and RZA. And I’ve got a track on there, so listen out for it. If you listen to Ghost, he had the Fishscale album; the Method Man album that was slept on, 4:21; the Masta Killa album. I like to throw my little shit in, I hope people feel the same way about my joint. So yeah, I think everybody’s in their zone. It’s about that time too, especially the way the music is right now. We need something right now to fill the void.
By: Hot Gossip Gal Is it me or does Mr Interscope look like he got the worries of theworld on his shoulders? I am not really feeling this cover but it is a lil better than the last couple of rambo shots we have seen from him.
By: Hot Gossip Gal Yeah man, Phillies finest is a little heated with the super dooper producers and he really is not a dude afraid to say what is on his mind. Here he is in all his glory from the up and coming Beef 4 DVD. But for some strange reason I can imagine Beenie with his chest hair out lol.
By Quibian Salazar-Moreno Now that Ciara has pretty much conquered the charts with her last two albums, she’s now ready to take on a new challenge – acting. The singer has been cast alongside soul legend Patti Labelle for the big screen production of the off-Broadway gospel classic, “Mama, I Want To Sing!” Production of the film starts next month and is looking towards a February 2008 release. "Mama, I Want to Sing!" tells the story of a preacher’s daughter, who rises from the church choir to pop stardom; the character’s based on Doris Troy, best known for the 1963 hit "Just One Look." The stage show played more than 2,400 performances between 1983 to 1991 according to Variety. Ciara will play the lead role.
By Quibian Salazar-Moreno The Atlanta Hip-Hop Film Festival is in its third year after two successful years where film inspired and based on hip-hop culture are recognized and celebrated. This year the festival’s is presented by Creative Circle Entertainment with the theme as paying homage to hip-hop’s trendsetters. "Every year we honor trailblazers who’ve made and are making a positive impact within the realm of Hip-Hop film,” said Shameka Gumbs, Creative Circle Entertainment Executive Director. ”The honorees will be recognized during the awards ceremony hosted by Malik Yoba and Yo Yo.” Taking place from August 24 to 26, the festival will also host panel discussions, workshops, special events, film screenings; showcasing filmmakers from around the globe in addition to the awards ceremony. Here are the honorees and categories: Reginald Hudlin – Ultimate Filmmaker – Hudlin will be honored for his collection of works as filmmaker, executive producer and writer Master P – Humanitarian -AHFF is extremely proud to recognize Master P’s community outreach activities such as starting his own foundation dedicated to providing jobs to inner-city youth and creating Team Rescue to assist Hurricane Katrina victims. Nick Cannon – Triple Threat – This award is in recognition of Cannon’s work as an actor, executive producer and rapper. Cindy Campbell – Jack the Rapper – Campbell is saluted for organizing and promoting the infamous “back to school party” along-side her brother DJ Kool Herc, that ultimately led to the creation of the “Block Party” – a HipHop cornerstone. House Party I – HipHop Throwback – The HipHop Throwback Award celebrates films which were the foundation of the HipHop film genre. House Party I not only launched many successful acting careers, it accurately reflected the essence of a true house party. Idlewild – HipHop Futuristic – The HipHop Futuristic Award celebrates creativity and innovation in current HipHop films. AHFF is proud to recognize a film which broke all barriers for HipHop musicals. Danny Hoch – HipHop Theatre – AHFF is excited to celebrate great work in theatre and applaud Hoch’s efforts to bring HipHop to audiences worldwide using a new outlet.
By: Hot Gossip Gal Remember Busta beat up on some guy for asking him for his autograph? Well Busta never got the papers homeboy filed as they were sent to the home of his former girl, yeah the one who is now a lesbian. Anyhow cut a long story short as we all know homegirl wasnt going to give Bus the papers when she blames him for so much, Busta has now settled out of court for an undisclosed amount. Well with all these other charges hanging over his head right now..he has to start his own clean up I guess. Paris Turns To God This pic had me cracking up man. I swear not knocking anyone who turns to God for help in their hour of need at all…but from Dolce and Dior shopping bags to The Bible..homegirl is really taking it a lil too far. If it was anyone BUT Paris I would have just kept it moving but this was just too good a pic to not comment on.
By: Quibian Salazar-Moreno The RZA leaped into Hollywood by scoring films like Ghost Dog and Kill Bill, but now he’s starting to take the acting thing seriously as well. We’ve seen his acting chops in flicks like “Derailed” but now he’s been cast in “Gospel Hill”, a drama which also stars Danny Glover, Angela Bassett, Julia Stiles and Simon Baker. The film follows a former sheriff and former civil-rights activist who revisit the 30-year-old death of another civil rights worker. RZA also just finished filming “American Gangster” alongside Denzel Washington, Russell Crowe and fellow emcee Common. He’s also putting the finishing touches on “Life is Hot in Cracktown”, a drama of various stories of how crack cocaine has infiltrated the inner-city streets. Based on Buddy Giovinazzo’s novel, the film also stars Kerry Washington, Brandon Routh, and Mayte Garcia. Master P to 50 Cent: “There are a Lot of Immature People in The World” During the BET Awards press conference last week, 50 Cent was defending his language and content in his music after reporters questioned him about it. When a reporter mentioned that Master P was going profanity-free with his new label Take a Stand Records, 50 responded saying,” Well, Master P does sell CD’s anymore.” Master P finally responded on Sunday with an open letter to 50 and the rest of the industry. “Curtis Jackson’s comment motivated me,” P wrote. “There are a lot of immature people in the world. Oprah Winfrey is absolutely right, we need to grow up and be responsible for our own actions. I paid for Curtis’s first rap tour through the south. He was such a humble guy at the time. Most artists’ mission is to sell records. My mission is to help save and change lives. There’s a lack of knowledge and false information out there. I could actually say Little Jay and Rap-A-Lot Records inspired my successful career and I will always respect them no matter what. I wrote the blueprint for this generation. The only difference is there’s no more honor and respect in the game.” Master P went on to say that not only is he going to spending time on making music, but will also make a couple of films, “Black Supaman” and “The Mail Man”, writing a book called “Guaranteed Success”, and teaching a hip-hop business class with financial expert Curtis Oakes. P also admits he was part of the hip-hop problem but wants to make a change. “There are four things that differentiate me from artists like Curtis Jackson,” P wrote. “One, I can honestly admit that I was once part of the problem. Two, I don’t want my son to grow up and be like me. I want him to be better and do better – and that is why he is taking the time to pursue a college degree. Three, money don’t make me, I make money. My goal is to educate our people in building generational wealth and knowing how important it is to own real estate. Four, I’m a TRUE entrepreneur; my boss is God not Jimmy Iovine. From one brother to another, if you misunderstand my purpose you could always pick up the phone or talk to me in person. I’m trying to be part of the solution not the problem. The media thrives on entertaining, especially the negativity no matter what the cost. I’m praying for the brothers that are lost out there.” To read the letter in its entirety, check out http://qsviews.blogspot.com/2007/05/master-ps-open-letter-to-50-cent-and.html.
iHipHop Blog Team