GOOD MORNING VIETNAM!!!!!!!!
May 29, 2007 at 5:17 pm | In The Source | Leave a Comment’A.PINKS- ‘GOOGLE ME’ BLOG”‘BLACK PEOPLE….BACK 2 DA BASICS’
WELCOME ALL,
ALLOW ME TO REINTRODUCE MYSELF, MY NAME IS….PINKS. I AM STRAIGHT OUT OF RAVENSWOOD, QUEENS AND I PRIDE MYSELF IN BEING THE MOST CANDID RAPPER IN THE GAME. I RHYME LIKE THE RED LIGHT IS BLINKING YA DIG. HOPEFULLY, YOU HAVE SEEN MY NEW VIDEO ‘IF MY HOOD COULD TALK’ FEATURED ON VARIOUS PROMINENT WEBSITES VIA VIRAL MEDIA. BE SURE TO CHECK MYSPACE.COM/APINKSMUSIC FOR MORE MATERIAL…
ANYWHOO TODAY, THIS TUESDAY MORNING AT 2:09 AM I’M IN THE MOOD TO BLOG ON A TOPIC A TAD DIFFERENT THAN YOUR ORDINARY RAP BEEFS AND CELEBRITY COUPLES. “YOU MEAN, THERE ARE OTHER ISSUES AT HAND OTHER THAN “BAAALLIN!”…AHH YES. ON MY ‘I CAN DO THAT’ TANGENT, I’M GOING TO DISCUSS THE STATE OF AFRICAN AMERICAN PROGRESSION….YEAH! I WENT TO COLLEGE BITCH! HOWARD UNIVERSITY IN FACT, I’LL TELL YALL A LITTLE MORE ABOUT THAT SOAP OPERA SOME OTHER TIME.ON TO THE SHOW….
FIRST OFF, I LOVE BLACK PEOPLE, BUT CLEARLY, WE ARE IN TROUBLE. BACK IN ‘MY’ DAY, (I’M FRONTIN’ LIKE I’M OLD, BUT SERIOUSLY) WE WERE A PROUD PEOPLE; A PEOPLE THAT STRIVED FOR GREATNESS AND ACCOMPLISHMENT. WE ACTUALLY GAVE A FUCK ABOUT OUR CONDITION. WE TOOK PRIDE IN WHO WE ARE. WE WERE DOWN TO FIGHT AND DIE FOR WHAT WE BELIEVED IN. FORWARD TO 2007: NOBODY GIVES A FUCK!
WE ARE EITHER STRIVING FOR NOTHING OR LOOKING OUT FOR NUMBER ONE. PEOPLE TALK A GOOD GAME, BUT WHEN IT COMES DOWN TO IT, THEY AREN’T REALLY CONCERNED ABOUT WHAT’S GOING ON. WE ARE A RACE THAT IS PLAGUED WITH DRUG ABUSE, SICKNESS AND IGNORANCE. WHAT’S GOOD WITH THAT? I’LL TELL YOU, WE HAVE NO IDEA WHERE THE HELL WE CAME FROM. WE ARE TAUGHT THAT WE WERE NOTHING BUT SLAVES AND CREAM PUFFS.
FOR EXAMPLE, REVEREND DOCTOR MARTIN LUTHER KING, JR. IS ONE OF OUR LEADERS MADE OUT TO BE A SOFTEE. HE IS MADE OUT TO BE A GUY THAT MERELY HAD A DREAM THAT ONE DAY WE WOULD BE ABLE TO FROLIC THROUGH A FIELD OF DAISIES WITH WHITE PEOPLE. NOBODY SEEMS TO REALIZE THAT HE WAS OUT THERE FIGHTING DAY BY DAY TO IMPROVE THE QUALITY OF LIFE FOR HIS PEOPLE. HE WAS OUT CHANGING THE FREAKIN’ CONSTITUTION OF THE UNITED STATES. HE WAS RECEIVING DEATH THREATS ON THE REGULAR AND WAS LOCKED UPON A COUPLE OF OCCASIONS. NO DREAMER OVER HERE. ANOTHER THING IS, DR. KING IS MADE OUT TO BE THE ONLY ONE RESPONSIBLE FOR THE CIVIL RIGHTS MOVEMENT. HE WAS INSTRUMENTAL IN THE MOVEMENT, BUT HE WAS A SPOKESPERSON. THERE WERE MANY OTHERS THAT WERE OUT THERE FIGHTING DAILY FOR US (WE DON’T EVEN KNOW ALL THE NAMES THAT WERE INVOLVED). DON’T YOU FIND IT WEIRD THAT OUT OF A WHOLE MOVEMENT THAT SPANNED MANY, MANY YEARS IS REDUCED TO DR. KING AND ROSA PARKS. GO OUT AND READ ABOUT MALCOLM X (HE WAS MORE THAN THE MOVIE), MARCUS GARVEY, WEB DUBOIS, MEDGAR EVARS, HUEY P. NEWTON (AND THE BLACK PANTHER PARTY),ETC. IT’S TERRIBLE, BUT ONE OF THE REASONS THAT WE HAVE NO RESPECT FOR OURSELVES IS THAT WE HAVE NO IDEA WHERE WE CAME FROM. WE COME FROM KINGS, QUEENS, PHILOSOPHERS, SCIENTISTS, POLITICIANS, ACTIVISTS, RELIGIOUS LEADERS, VISIONARIES, MEDICAL DOCTORS, LAWYERS, JUDGES, INVENTORS AND SO ON AND SO FORTH. GO OUT AND LEARN YOUR PEOPLE AND SEE THAT WE ARE MORE THAN GANG BANGERS, DRUG DEALERS, PIMPS, THIEVES AND ENTERTAINERS (ALTHOUGH SOME OF THEM STOOD FOR SOMETHING AS WELL). WE ARE A PEOPLE OF ACCOMPLISHMENT AND HAVE MADE MAJOR CONTRIBUTIONS TO MANY ASPECTS OF SOCIETIES. WE ARE GREAT AND THE SOONER THAT WE ARE ABLE TO REALIZE THAT, THE GREATER WE WILL BE.
AIIGHT, I’M DONE FOR NOW. YALL LUCKY I’M EXHAUSTED. GO BACK TO YOUR AMERICAN IDOL, PLAYOFF GAMES, AND BUSTIN’ YOUR GUNS…
-GOOGLE ME!
A. PINKS.
From The Bronx to Hollywood: Robert Gosset
May 29, 2007 at 4:38 pm | In Uncategorized | Leave a CommentAs any veteran in the acting realm will assumingly attest, it takes a whole lot more history and strength to become truly established as a talent who knows their craft. Robert Gosset, who plays Commander Taylor opposite of Kyra Sedgwick on TNT’s The Closer, is no exception. He has paid his dues severely with the willingness of a professional bent on greatness and not just “stardom”. Truly an inspiring individual with an inspirational voice that is ready to offer up his story to help youngsters to become part of the acting world as well. Read below to see how he addresses the show’s success and his hopes for the future.
Max: Fans rarely get an opportunity to know the person beside the role they play on the silver screen. What is your story?
Robert Gosset: I’ m from the Bronx, Washington Ave.My old man was a cop. I went to Performing Arts High School. I was a Music Major.
Max: How did that background in music transcend into your desire to become an actor?
Robert Gosset: Music was a creative outlet for me. It brought me to LaGuardia where there I was able to see kids my age who were considering acting as a serious profession. Then there was my cousin Louis Gosset Jr., whose star at that time was beginning to rise. So couple that with the fact that there were also anti-poverty programs for kids to keep from burning down the city in the 70’s. Neighborhood youth core jobs that paid 45 dollars a week. You could clean the subway, baby-sit at summer camps, or you could do street theatre. That was actually my first paying job. It was a good way to hone your craft. At that time there were so many black theatre groups–The Everyman Theatre Company–and each borough had one, and all the companies culminated with a performance at Lincoln Center at the end of the summer. Then we had all of these older black professionals working with us. All these wonderful black men and women who were just trying to pull us up. I had Arthur Wilson as a director. It gave us a great opportunity, kind of like the idea with Dance Theatre of Harlem and Arthur Mitchell–same type of idea–it was a really great experience for kids from the inner city to perform. I was able to from there go to the Afro American Studio for Acting and Speech founded by Ernie Mcklentok, Hazel Bryans’ Afro American Total Theatre, The East River Players, whose artistic director was Michael Whittaker who is now a professor at Georgia Southern; also there was the Negro Ensemble Company founded by Douglas Turner Ward–and all these people helped to train me.
Max: Amazing—this was all history in the making and you were a part of it.
Robert Gosset: So many of us came through those people’s hands, Denzel and so forth. Kids always ask me how do you get into acting? I tell them that you just start—you find a theatre company, build a set, make the costumes, sell the tickets, and you go out and perform. When the performance is over you clean up the theatre and put everything away, go home sleep and come back the next day and do it all over again. And you do it for no money.
Max: At first right?
Robert Gosset: (Chuckle) Yeah at first. Hopefully!
Max: So is that your advice to the youth–if you want to get into acting just do it?
Robert Gosset: Yeah just find a theatre company. You’ll know if it’s for you cause if you’re not willing to put that kind of work into it then you don’t love it enough. You might want to be a star or something else but you don’t want to be an actor. Cause I used to have friends that were styling and they would say,” man come on and hang out…why you want to this for?” The performances at the theatre were Friday, Saturday, and Sunday. Those are the party nights…I wasn’t doing a lot of partying at that time.
Max: Yeah but I’m sure it kept you out of trouble too.
Robert Gosset: It also kept me among highly minded people who were well studied and well motivated–people who just want to be creative. Being creative is a wonderful thing. I think creativity is the reason why were all here. It transcends our planet, our humanity. Everything we see, touch, and feel was created. Everything was an idea in someone’s mind at some point and they sought to create it. Electricity was an idea—someone sought how to create it and bring it to the masses. Creativity is the lifeblood and essence of our humanity. So anything where people would sit around and be creative is a wonderful thing.
Max: The second season finale of the closer captured 7.6 million viewers alone, how do you feel about that?
Robert Gosset: I’m honored–its great to see our work being accepted and validated by the public at large….but when you have that kind of writing and that kind of talents it’s only fitting and proper that people come in droves to see it. I’m thankful they do. It would be a shame if they didn’t. There are many great shows on television that just did not get the viewership they were supposed to get with those kinds of numbers. The talent and writing is just that good. We are your veteran actors who know our craft. You put good actors with compelling stories and vibrant characters then people are supposed to come in watch, and thank god that they have.
Max: What can fans expect from the third season?
Robert Gosset: More of the same; more great writing and good acting. The squad is coming together in more of a family way. They are starting to accept one another, as any good family must do, no matter your personal feelings you begin to accept people for who they are and deal with that. That’s going to be one of the arches of the season. And viewers will decide who Taylor is whether he is the uncle you hate to invite that shows up every Christmas dinner but he’s still part of the family.
Max: Will he ever get along with Deputy Chief Brenda Jackson (Kyra Sedgwick)?
Robert Gosset: Well, will she ever get along with him? Why is it always Commander Taylor’s fault? He is who he is…he came up in a way where he is not accustomed to woman being there. He didn’t make the world like that; it was given to him. He loves being a police officer, he has gone the political route but in his heart he is still a police officer that respects good police work. Certainly she has done really exemplary police work. He’s never wanted to be anything else but a cop his whole life. He came up in a working class community where you either became a cop or a criminal. He grew up with these people. He attends church with the mothers of these criminals. It’s a really weird thing when working class people become cops. They don’t have that many choices. A lot of the choices left to them are crime. At a certain point he puts all the chauvinism and misogyny aside because it comes second to the work that he loves to do.
Max: So how are you reflected in Commander Taylor’s character?
Robert Gosset: I’m a quiet guy. Commander Taylor is not shy but he’s quiet. He’s a watcher. I like to understand what motivates people and try to gage people…I think we cross there, I have a strong sense in write and wrong and I believe in hard work and perseverance and I think he does too. Integrity…we should all have moral compasses that push us to acts of integrity and decency. But then on the other side of that I am on some levels overly judge-mental and unyielding. I have to be corrected, as my wife could attest, there is room for me to grow and learn and I think that Commander Taylor in the heat of battle might contend that two wrongs do make a right. He might bend a rule to get a bad guy. He might do something criminal to take that criminal out; so that is part of him.
Max: What do you think will be the overall reaction to this 3rd season?
Robert Gosset: I hope that viewer-ship doubles. I hope the reaction multiplies itself. People really respect the show and I’m proud to be part of a show that people respect. It isn’t a silly show. People genuinely get something from The Closer; they look forward to it and escape. Our fans take the time to invite us into their homes and watch us–I think it is an honor and a privilege and I hope that more people do that.
Max Achille
Until The Casket Drops: USDA
May 28, 2007 at 5:22 pm | In Found At Other Sites | Leave a Comment
When Atlanta rapper Young Jeezy first came on the scene around 2004, he was nearly impossible to avoid. With guest appearances on numerous albums and a mixtape catalog larger than most rappers’ discography, Jeezy finally managed to cultivate his street buzz in to a deal with Def Jam records. However, some fans might not even know he’s signed to Def Jam, as a result of the constant promotion of his own label CTE through his songs and music videos. The hardcore Jeezy fans also became familiar with his capo, Slick Pulla, through his mixtapes with DJ Drama and his countless appearances alongside the boss on different songs.
The seeds of a group project were planted early on, however it wasn’t until Bloodraw came along that USDA became official and work on the album would begin. Bloodraw, a Florida native, was the final piece to the puzzle and after he and Slick Pulla generously decided to put their solo careers on hold, USDA became a “family,” as he describes it. The album, Cold Summer, only took a few weeks to make and after the first two singles, “Check” and “White Girl” hit the streets, the buzz started to build immediately. I had a chance to speak with USDA members, Bloodraw and Slick Pulla, to get their take on the controversy surrounding their second single “White Girl”, as well as what sets them apart from other southern groups, and what it takes to record a solid group effort.
AF: How was it being on the Street Dreams Tour? Was that your first time doing the arenas and stuff like that?
Bloodraw: Actually, not really because I’ve been here for a minute. We did the Georgia Power tour before that and that was a big thing. A lot of artists that were on that tour ended up being on the Street Dreams tour. We switched it up a little bit. We had new people like Jim Jones and Rich Boy, but that wasn’t my first time around. The tour was crazy though man. It ended up being very successful. Everything was good.
Slick Pulla: I couldn’t make the Georgia Power Tour, because I was on some intense probation at the time. Let me tell you something though. It feels good to walk out there and get that same love like you’re in your hood. Everywhere we’ve been, they’ve accepted us and it’s been a hell of an experience. It’s definitely one of the highlights of my whole life. We’re on a tight schedule so we don’t have much time to reflect on it until we get off stage. They tried to shut down some shows, because of that gang shit, but we also had people from all sets and all hoods at the show. The media don’t talk about that. I can’t wait to go back out again though man.
AF: “White Girl” and “Check” started blowing up for you towards the end of the tour.
BR: “White Girl” is still buzzin, you know. That song is real controversial and right now it’s the Jam of the Week on MTV. And what cats do you know that drop two hot videos before the album even come out? So, the label is really excited about the project and everything is a go. It’s a big team.
AF: I know you’re from Florida, but Slick and Jeezy are from Atlanta. How did you all originally get together and start working?
BR: Well I was on the road doing my thing, doing shows, and I had a tremendous buzz in the state of Florida. Everybody knows how big Florida is, so it’s tough to get that buzz, but I was doing shows in some parts of Georgia and Alabama. Jeezy had heard about me in the streets and on the music. Me and him were on the ticket at a show in Alabama and I opened the show and he couldn’t believe the performance. Him and Kinky B came on stage and the crowd went wild. They were telling me how they heard that I was getting calls from all different people, but they wanted me over there. You know, at the same time, I was getting calls from a lot of different people like Asylum, Warner, people like Trick Daddy and T.I. So, we exchanged numbers and everything and Kink called me the next morning asking me to fly out to Atlanta and kick it with them. Three days after I got there, there was nothing else to talk about. The deal was done in about a week.
AF: So, having that buzz and all those labels trying to get a hold of you as a solo artist, what made you want to get involved with USDA and the whole group situation?
BR: Well, the thing about it is that me and Slick already have solo deals. People don’t know that we got a solo deal and a group deal, so that’s just more money man.
SP: From day one we had planned on doing USDA, because that’s just going to rock the whole label. My solo coming ASAP, but I figured this would be a better way to get ready for everything. I’m trying to get exposed to those people that didn’t know about 4th Ward Day. They also got the mixtape, Slick 4 Prez at [url]Datpiff.com[/url] . Somebody got a hold of it and put it on the internet, but I felt like this was the best move. Once people hear this, even the ones that was already fuckin with me and Bloodraw, everybody’s gonna want to fuck with us.
AF: When can we expect to hear those solo projects?
BR: Well, we’re already working on ‘em right now but hopefully somewhere around the fourth quarter.
SP: The Trapublican, man. Hopefully that’s coming around late summer. When we’re wrapping up the USDA stuff, we’re going to be hittin’ you with the first single.
AF: Did you ever have any doubts about trying to stand out from the pack when you all were recording?
BR: Nah, I wouldn’t say it was difficult, because at the end of the day we’re like three brothers. You know, we’ve been together everyday all day on the road and lived together and everything, so when you’re used to being around people then you know how to react to what they do. So, it’s almost like having a biological brother.
AF: On the promo for the album, there were a couple tracks with just you or just Slick Pulla. Is the album going to have more tracks like that or are all of you going to be on most of the songs?
BR: Man, all three of us are on every track except for like two tracks that me and Slick did together. Other than that though, all of us are on every song.
SP: We did the shit in three weeks. After we heard the beats, we would go and lay the hook. The shit was fate. I can’t explain how it went down. Once we got in the studio, we just knocked it out and it was history. Now it’s going crazy. It’s Chewbacca. This is some new slang for you, but you gotta say Slick said it. Chewbacca. That means you have gone fuckin crazy. Like whatever you do, you can say you went Chewbacca with this interview. That means you went in for real. That’s how it was. There was no point when we were stuck or felt like something wasn’t possible. Every song we did is on the album. I’ll put it to you like that. That’s how focused we were.
AF: What do you think sets you apart from some of these other groups we’ve been seeing in the south lately like Boss Hogg Outlawz and the Chopper City Boyz?
BR: You know, no disrespect, but we’re out to just make good music and good songs, and we’re us. We don’t change for nothing. We’re trendsetters. We don’t follow no fads or none of that. Our music is something that you’ll still be able to listen to 10 years from now. One thing about all three of us, is that me, slick, and Jeezy, we always tell the truth. Whatever we bring to the table, it’s going to be the truth and I think everybody’s gonna find that out by the end of the day.
SP: Chopper City been doin it for a minute, but we’re a group that’s almost like family. It took us 3 weeks to record this album. We all had our own situations going on at the time and right before it, we weren’t even sure it was about to happen. So, once we got the green light we went ahead and knocked that shit out. They’re my big brothers and them niggas keep me calm. I’ll be on some other shit sometimes and they tell me “Man, you can’t be like that. It’s different.” So, I listen to them and once we got our minds together collectively and everything, we cooked up a classic. We’re all on the same page, like even when we apart from each other. The big homey kind of told me to loosen up, because I’m used to not fucking with people I don’t know. It’s different now. Those moves are still in me, but at the end of the day, I’m going to walk away from this as a better general and just more of a man.
AF: With the whole “White Girl” thing, did you expect all of this controversy over it in the media?
BR: Well, the one thing about it is that whatever you do as a hip-hop artist, people are going to look back and try find out if it’s the truth. When they find out you’re the truth, then they respect it. So that’s why I say that everything adds up. The streets already know, so once people find out what it is with us, they’ll accept it because it’s real.
SP: The media is always going to do what they do. We just gotta make sure we’re in the kitchen making that music for the streets. We let the media do what they do. We in the hood every day, so the people there know what we’re about regardless of what the media’s saying. It’s different from when the media says some crazy shit about you, and people don’t know you and don’t know about you. They ain’t gonna know how to react. It’s like if you and your boy fall out and you ain’t in the hood no more and he is. If he’s in the hood talking about you and you ain’t there, then they’re gonna believe him. The media can’t tell the hood that I’m an evil person or nothing like that, because they know Slick ain’t like that. I have no control over what people take out of context. That’s USDA having a good time. We’re just trying to show the world that we know how to hit the club and kick it like anybody else.
AF: Do you ever feel like you have to tone it down at all because people are saying the lyrics are too raunchy or violent?
BR: If you don’t know what certain slang means, then you’re automatically going to take it our context and you’re not going to understand what it mean. Once you find out what it means, it’s different. That’s the whole thing about “White Girl” is that we just like to go the club and have a good time. They’re really isn’t too much negative about it. It’s like “My jewelry too loud, I can’t hear ya.” That basically just mean I don’t want to talk to you right now, because I’m shining. The whole thing about Christina Aguilera is that she’s just a bad chick. She’s beautiful. That’s what it is.
AF: I heard you all were trying to get some up-and-coming producers on this album as well. Can you talk a little bit about that?
BR: Yeah, the whole thing is that CTE is a label that is gonna be here for years to come. We’re building a dynasty like the Chicago Bulls with Michael Jordan. What other way to open that door than with your own producers? Everybody wants a new sound or a new producer. When everybody heard Cash Money, they knew that Mannie Fresh kind of created that sound. So, that’s what we’re trying to do with our up-and-coming producers. It’s a CTE sound that you’re going to be able to identify later on. Arnaz “the Nasty One” got about 4 or 5 beats on there. He’s probably got the most out of anyone on there.
AF: All of you worked with Drama in the past. Was it weird at all not doing a mixtape before the album dropped this time?
BR: To be real, Indictment Papers was pretty much an album for me. I was ready for this. I had been waiting years to do this, so this was my first break and being able to share that with one of the biggest artists in the game is cool, and I know Slick feel the same way. You can’t even really express it.
SP: Nah, it wasn’t weird, because we were still getting freestyles out on the internet and we were still serving the DJs. But shouts out to Drama, we’re about to be on his Gangsta Grillz album. I love mixtapes. They’re essential, because I think that’s what got me where I am now. If it weren’t for mixtapes, everyone would just be finding out about me now. I know the whole world don’t know me, but the streets and the trenches already know me. That’s a good look.
AF: Did you all ever figure out where the rumors of the White Girl street team originated from?
BR: Nah, I don’t know nothing about that, but it’s a good idea though.
50 Cent’s New Album, curtis, Moves From June 26th To New Release Date September 4th
May 25, 2007 at 5:22 pm | In Uncategorized | Leave a Comment50 Cent’s new album curtis, which was previously scheduled to be released on June 26th, will now be released on September 4, 2007. With the album near completion and unable to make the original June date, a simultaneous worldwide release necessitated a push until September.
“I’m an international artist. My fans worldwide deserve to receive my album at the same time as my fans here in the
US. Taking that into consideration moving the album to September was a necessary course of action,” states 50 Cent.
50 Cent is by no means taking the summer off. His first major performance will be June 26th on the BET Awards. For the first time ever, BET will let the fans decide which song 50 Cent will perform on the show. Text BANK to 23898 to vote for ”Straight to the Bank” or text PARK to 23898 to vote for “Amusement Park”. Tune into the show to see the winning performance.
Essobama: The Champagne Campaign
May 25, 2007 at 2:41 pm | In Interviews | Leave a CommentWritten By JawZ
What’s up, if you haven’t heard yet, the next hottest thing out of NY is here. Esso is a native of the world-renowned Harlem (Uptown) part of New York and is a graduate of Howard University. He hit the music biz by storm 2 years ago with his sudden popularity amongst music business insiders and media alike. Esso says “The way my buzz is looking, you got to call me Obama”, that should let you know in a nutshell that his hustle is very serious.
Recently, I sat down with Esso about his new mixtape “Essobama: The Champagne Campaign” hosted by Cipha Sounds. We also chatted about upcoming projects, his music and basically yall are about to find out who this cat is if you don’t already know!
So what up Esso, how you living?
I can’t complain…everything’s looking real good right now. We got the Champagne Campaign moving real strong right now. Preparing for The Champaign Convention concert coming up in NYC. Just working, getting it in.
Cool, for those few people that aren’t aware of you and your music, can you explain to them your sound and what new flavor that you bring to the game?
In a nutshell, I’m me. That’s the easiest way to describe it. I’ve probably been through a lot of the same things as a lot of people my age, so people seem to relate to what I’m saying in my music. People respect honesty, and that’s something that I bring. At the same time, I’ve had the opportunity to see a lot of things the average person doesn’t see…so I bring that to the table also.
What I liked most about you when I first read up on you, was that you went to college, and was proud of it, today a lot of people in the Hip Hop community kind of play off the whole school thing and focus more so towards the streets. Did you ever think by being a college grad and being from the streets, that your educational background would somehow hinder your chances of making it?
Nah, u know what, honestly, I’m really not even supposed 2 be here now. The reason I was so into school at the time was that I was playing baseball at The Univ. Of Michigan, and then Howard. So really I thought I was gonna be somewhere playing professional baseball right now. I never think to myself that me going to college makes me any more or less real than anyone else. I’m still from Harlem regardless of wherever life may take me, yanno? People have the concept of what’s real all wrong. Real doesn’t equal gangsta. Real just means authentic. And I would dare someone to say I’m not authentic. The streets respect people who aren’t afraid to be who they are. They would respect me much less if they never saw me bust a gun or move a pack, and then come out sounding like Young Jeezy.
Aight, So lets get into this new mixtape you got out called EssoBama: The Champagne Campaign. Why did you name it EssoBama?
I was watching something on TV, and they kept saying that Barack Obama was probably the most charismatic candidate for the Democratic Presidential nomination, but that the only thing that might hold him back was his experience level since he’s only been in the Senate 2 years. Now I’m 2 years almost to the day into the music industry, and I started seeing a lot of similarities between the 2 of us in terms of what we’re trying to do. The press loves him, and I’ve gotten a lot of press myself to be an unsigned artist. The music industry isn’t that much different than politics, so it made sense.
I get it, that’s unique man, very innovative. I listened to your first mixtape “Essocentric” , you got a song called “Being Me”, It stuck out to me, very radio friendly but still on a mixtape vibe, you ever thought about releasing that song to the public as a radio track given the feedback you got from it?
Yea man “Bein Me” was just one of those songs where everything clicked. It’s funny you ask that because the other day I was talking to my cousin about how a lot of the new artists from the South that have these huge first singles had those songs out a year or 2 before we ever knew about
them in New York. It would be crazy for Bein Me to be my first single knowin that to me it’s almost a year old now.
What’s so different about this new mixtape, EssoBama, that we didn’t hear on Essocentric? And is it still a Sickamore project?
Probably the first difference between ESSObama and ESSOcentric is that the majority of ESSObama is original music. The first time around I wanted people to get used 2 hearing me, so I used a lot of beats that were familiar (industry beats). This time around I wanted to give them a chance to see where I’m really trying to go with it, and to do that I had to go more towards original production. I got a lot of dope production this time around…Ron Browz produced this joint My City that I got Skyzoo and Stimuli on, my dudes, The Faculty, out of CT did 3 joints on there also. Out of the 15 songs on the second mixtape 10 are original. There weren’t any features on the first one, this time there are 4 or 5 songs with features. Plus my homie Cipha Sounds co hosted…and I can’t
remember the last time I saw his name attached to a mixtape.
Aight, you did a lot of press to say that you’re new to the game, I saw you on MTV Sucka Free, I know you’re doing showcases, you hooked up with DJ Sickamore and the whole “I can make you famous” imprint, and that’s just the surface of it, how did you get this many connections and
exposure so quickly?
Just grinding to be honest. It’s not just about working hard, you have to work smart. I just put myself in a position to meet good people, and never rushed into anything. I met my manager through an event I was at, met Sick through a performance, met Cipha through his show on SHADE45, and that led to MTV. Some people call it luck, but luck is only preparation meeting opportunity. I’m always ready whenever an opportunity may pop up.
What’s next for Esso? Are there any labels getting at you? I know you can’t really answer that last one, but let us know what you got planned next, is it going to be another mixtape or is the next move an album?
Most everything that’s up next I can’t really speak on, a lot of behind the scenes things being put into motion. There also a possible summer tour, which I should know about real soon. I’m thinking about doing one more solo mixtape, probably around September/October, just to close out the ESSOcentric Trilogy. I got the Azzure Denim ad campaign running right now, you can check that out on AzzureDenim.com, and we’re gonna have The Champagne Convention in NYC late May or early June. So I’m definately not sitting on my ass waiting on people to find me. The real work starts after the deal anyway.
For that kid reading this at home thinking that he doesn’t need school
in order to be a rapper or a better person, or maybe he wants to break
into the game but doesn’t understand the hustle, what advice would you
give him as a rising artists and college graduate?
The best thing I could tell anyone on their comeup, regardless of what that come up is would be to understand the game they’re getting into, have a plan, and execute on that plan. There’s no real formula anymore as far as gettin in the music game, so you really gotta know what you want, and
figure out how to get there. If you want to be a lawyer or doctor, there’s a set path that you already know about way before you get into it. The music industry ain’t like that. The grind aint glamorous, but going through what you go through on the way up really shows you if you’re built for it or not.
Thanks for your time Esso, always keeping it real, any last words? Where can we get that mixtape and what’s the myspace page/website?
Thanks to TheSource.com for reaching out, and all The Source staff. Especially Julie Als, Big Ced and Bum. My manager Ralph, Sickamore, St. Paul, Tory, Gutta, the whole ICMUF, Cipha Sounds…everyone that helped make ESSObama possible.
You can holla at me on www.myspace.com/esso or at www.essomusic.com
HIP HOP DOC’S GUIDE TO GOOD HEALTH: Volume 1, Edition 3 STROKE AWARNESS MONTH
May 25, 2007 at 2:35 pm | In The Source | Leave a CommentThe month of May is American Stroke Month, which is the 3rd leading cause of death in
America that can lead to disability and even death among its victims. African Americans are twice as likely to die from strokes than Caucasian Americans and the rate of first strokes among African Americans is almost double that of Caucasians. Although the condition is more common among men, strokes actually kill more women each year. So what’s up? What is a stroke, what are the risk factors, signs and symptoms? Why are African Americans so disproportionately affected? What are the myths about stroke and how do we combat this disease? Ready? Let’s roll!
What is a Stroke: Strokes are also known as “brain attacks,” occur when blood flow to the brain is suddenly interrupted. They are medically classified under the umbrella of heart disease, which is the number one killer of all Americans regardless of race, gender, or ethnicity. There are two major causes of stroke: ischemic (is-keem-ik) and hemorrhagic. Ischemic strokes are the most common types of stroke and are caused by blockages in an artery that supplies blood to the brain. These blockages result from cholesterol deposits that narrow the arteries; a blood clot forming in an artery (thrombus); and from clots originating somewhere else and lodging in an artery (embolus). Hemorrhagic strokes occur when a blood vessel in the brain weakens and burst, allowing blood to spill out into the very restricted space between the brain and the skull. In both types of stroke, the blood flow is decreased and some part of the brain is damaged. The ability to walk, talk, speak, swallow, and even breathe normally can be affected.
Risk Factors: Some stroke risk factors are preventable and others are not. The risks factors that we have control over include smoking, high cholesterol, high blood pressure or hypertension, diabetes, physical inactivity, and obesity. The risk factors that we cannot control include age, a family history of stroke, race, and gender. Being active has tremendous benefits, and if coupled with health eating and proper rest one can: control his/her weight, improve cholesterol levels and blood pressure, prevent bone loss, boost energy levels, improve stress levels and improve overall self image. The risk for stroke increases as we get older. African American men develop heart disease and develop it earlier, but women close that gap after age 55. Also remember that if a family member, especially your parents, brothers, or sisters have heart disease, you are at increased risk as well. So know your family history. Even though you cannot control that, it will help you and your doctor to make better choices about the way you live.
Warning Signs: The warning signs for a stroke include: a sudden numbness or weakness of the face, arm, or leg, especially on one side of the body; sudden confusion, trouble speaking, or understanding; sudden trouble seeing in one or both eyes; sudden trouble walking, dizziness, loss of balance or coordination; and sudden severe headache with no known cause. It is recommended that anyone experiencing these signs should see their doctor immediately.
The African American Factor: Medicine and research have not clearly delineated why African Americans are more at risk than other ethnic groups, but we do know that high blood pressure is the number one risk factor for stroke. One in three African Americans has high blood pressure/hypertension. Diabetes also runs rampant in the African American community and is another major risk factor for this disease. African Americans with sickle cell anemia also run a high risk for strokes. Anybody with risk factors should see a doctor on a regular basis, eat healthy, exercise, and of course take medicines as prescribed.
Dispelling Myths: There are many myths about stroke that need to be cleared up. Some believe that strokes are unpreventable. That is absolutely not true. Taking charge of your health and establishing a relationship with your doctor is one important step in stroke prevention. Also life style changes like exercising, losing weight, smoking cessation, and controlling your blood pressure and diabetes. Another popular myths about strokes is that they cannot be treated and only happen to the elderly. Wrong again! Strokes can happen to persons young and old, but if the warning signs are recognized, a stroke can be treated. There are also those that believe that once a stroke has occurred, there are only a few months of recovery. This is also not true. Stroke recovery continues throughout life and it is possible to regain bodily function when working in conjunction with your primary care doctor, specialist (such as neurologist and physiatrist) and a treatment team that include speech therapist, occupational therapist, physical therapist, and social workers.
We can take control of our health! We must learn the risk factors for stroke, see our doctors on a regular basis, learn our family history, exercise, eat healthy, stop smoking, and take our medicines as prescribed to control diabetes and high blood pressure. We have the power! You have the power! Together we have the power to end stroke!
For more information on strokes visit www.americanheart.org, www.strokeassociation.org or visit my website (www.h2doc.com) and shoot me a question at DrRani@h2doc.com. It’s Tha Hip Hop Doc, they call me H2D, come on now lets get Hip Hop Healthy. Peace, I’m out.
Dr. Rani Whitfield is a board certified Family Practice and Sports Medicine Physician who lives in Baton Rouge, LA. He is affectionately known as “Tha Hip Hop Doc” as he uses music and medicine to educate young people on health issues.
Copyright, 2006 Hip Hop Healthy Coalition
I’m Conflicted About Mike Jones….
May 25, 2007 at 2:25 pm | In Editorials/Opinions | Leave a Comment
Ok I’m conflicted.. I’m peeping 106 and Park today and Houston rapper Mike Jones flowed through… The interview starts off with him showing off these huge medallion sized pieces of jewelry. One piece he says cost half a million dollars and the other piece costs 300 thousand dollars…He showed them off and the young audience cheered enthusiastically
On the other hand dude has been doing a lot of work helping out displaced families from New Orleans who live in Houston. I think he’s looked out for like 60 families. He’s also been sinking a bunch of money in reconstruction efforts in New Orleans. I recall talking with Paul Wall last year and he mentioned how a lot of the Houston rappers were all doing stuff to help out. Sadly much of their efforts aren’t publicized.
I mean anytime cats who are in position step forth they definitely should be praised and Mike is definitely doing his part so I give him full props.. but damn why dude gotta wear a million dollars worth of jewelry and show them off when so many people around the world are deprived of life’s basic neccesities? I wonder if him flossing so hard is essential to him maintaining his fan base?
Dude does have an email askmikejones@gmail.. so I guess I’ll shoot him an email and ask him. Perhaps he might consider flipping the script and opt to wear something else like a leather medallion and say he wanted to make a stronger stand by donating his expensive jewelry to to those who don’t even have running water. The constant flossing we do does have adverse effects all over the world..
something to ponder
Davey D
Musician MIRI BEN-ARI In Car Wreck
May 24, 2007 at 4:26 pm | In Hip Hop News/Press Releases | Leave a CommentGrammy Award-winning musician, Miri Ben-Ari, best known as “The Hip-Hop Violinist” was involved in a major automobile accident at approximately 3:15pm yesterday, Wednesday, May 23rd.
Miri’s S Class 550 Mercedes Benz was fully totaled when a UPS truck hit her from behind, causing her to hit her head on the dashboard and be thrown against her seatbelt, landing her in a local hospital. She was treated for minor injuries and later released. At this time, no further serious injuries have been reported. She is currently under doctor’s orders to remain at her home in New Jersey for 48 hours for rest and recuperation.
Most recently, Miri Ben-Ari released “A Symphony of Brotherhood,” featuring Dr. Martin Luther King Jr’s “I Have a Dream” speech – the first instrumental single to chart in the Top Ten on Billboard’s Hot R&B/Hip Hop Single Sales and the first instrumental music video featured on MTV and VH1. Ben-Ari also recently released the song “Adon Olam Ad Matai” with Israeli artist Subliminal in conjunction with her Gedenk Organization, a campaign which raises Holocaust awareness with today’s youth.
Devin The Dude: The Story Behind Thirteen Stories
May 24, 2007 at 4:12 pm | In Found At Other Sites, Interviews | Leave a Commenthttp://www.prefixmag.com/features/D/devin-the-dude/561
By : Rafael Martinez
Despite having worked with kings of the East (the Roots, Nas), the West (Dr. Dre, Snoop) and the South (Andre 3000), Devin the Dude continues to be criminally underrated by fans and media alike. And he gets his features off nothing more than respect and admiration for his skills. Houston-area rappers like Chamillionare, Paul Wall and Mike Jones have blown up recently, but Devin Copeland has been laying in the cut, crafting yet another album worthy of praise — the Rap-A-Lot artist may have succeeded Three 6 Mafia as the most known unknown. But his catalog is stacked with memorable moments. We asked him to talk specifically about thirteen tracks, one by one, ranging from his 1994 Odd Squad debut, Fadanuff fa Erybody!! (a chopped and screwed version of which was released last year via Rap-A-Lot) to his fourth proper solo album, Waiting to Inhale, released in March.
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Odd Squad’s Fadanuf Fa Erybody!!
Priority [1994]
“Fa Sho” has such a great hook. Who came up with it? How did the song come about?
Fa sho [laughs]. My younger brother was in the army, and we had just started the Odd Squad group — it was like ‘93. My brother ran across this old-school cat; they was taking over their problems, drinking and stuff. And the older cat was like, “Boy, I tell you this: Don’t ever fuck ova your fa sho pussy. Tryin’ to get some mo’ pussy, you’re gonna end up with no pussy.” He told me about it, and we had nice groove for the sampled records that we was using and we just tried it. And everyone just came up with their own specific stories.
Like “Your Pussy Is Like Dope.”
Well, my first girlfriend was coming over and checking out the music and was always saying, “Why do you have to cuss and everything? Y’all don’t have any good songs. Won’t you sing a song for somebody special?” [laughs] And I thought about it and was like, Okay. So I wrote a special song — a love song in a ghetto way.
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The Dude
Virgin [1998]
“Sticky Green” was probably your first big song. You and Scarface just ripped it lyrically, professing your love for the herb.
Thanks. “Sticky Green” was the first joint for the solo project, produced by Tone Capone and a guy named Harm from Oakland — he sings and does great hooks and can rap also. We was all together. Harm wrote the hook, but at the time he wasn’t at the studio, so Tone asked if I could give it a shot, and it kind of fit and worked out. ‘Face laid a verse and it all started to come together. We all sat back together and got high.
“Do What You Wanna Do” is an uplifting sort. Listening to it makes me feel like I’m going to church, with you as the preacher.
Man, I appreciate that. That came about as I was just beginning to work on the solo project. N.O. Joe did that track and had it on a beat cassette tape [laughs] for ‘Face. He was picking out some of the tracks for his album, and he chose quite a few on the beat tape, but that was one of the ones he didn’t choose. So when I heard that, I was like, “Whoa, I hope he doesn’t take that one.” [laughs] I started writing on it, but I didn’t really know what to say. Then I went out of town to my mom’s crib in East Texas, and I got a chance to chill. I wrote the song in her crib and came back to Houston and laid it down.
I’m feeling “Boo’ Boo�n,” because it seems like the only free time and peace you can get anymore is when you’re in the bathroom.
Man, that’s the best seat in the house. You get a chance to relax, sit back and relieve yo’self. At the time, I was in the studio and it was packed. I had a lot of friends and a lot of other guys wanting to rap, and they would beat me to the studio, even though I had a session. A lot of people were there for the wrong reasons. So it was something I just wanted to get off my chest. That’s why the song starts off with “Walk up into the session with my dick in my hand.” [laughs]
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Just Tryin’ ta Live
Virgin [2002]
“Doobie Ashtray” is probably the first solo song I ever heard from you, and if I remember right it was produced by DJ Premier. I know Primo comes from Houston. Is that how you hooked up with him?
That was initially where it started. He does still have family here, and he comes to visit often. During our Odd Squad days, he was also chillin’ with a member of Odd Squad, Carlos Garza, and they was real tight, deejayed together and always kept in touch, and we exchanged music. He always gave us big-ups and let us know he was down with us. While I was working on that album, I did the song originally with a sample, and it was one of the songs he liked before the album came out. About the time we got around to mixing and mastering, we found out we wasn’t able to use the sample. So I talked to him again, and when he asked about the song, I was like, “We ain’t going to be able to use it.” He was like, “What? Send me the a cappella mix.” He started working on it and working on it, and eventually called me back and I was like, “Man, that’s it!” Primo was like, “Is there anything else you need,” and I said, “Yeah, I need one more thing. I need some Premier cuts.” Primo was like, “You want some cuts on that joint? It’s a done deal.”
On “Some of ‘Em,” you’re rhyming against two great emcees — Nas and Xzibit — and run with them bar for bar. People primarily don’t recognize you as an emcee, but in this track you really went at it.
I had no choice, man! [laughs] It helped that me, Nas and Xzibit were all fans of each other’s music. It helped me out a lot, ’cause it put less pressure on me. When we found out we was all going to do it together, we tried to push each other like a relay instead of working against each other, like who got the coldest rhyme.
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To tha X-Treme
Rap-A-Lot [2004]
“Briarpatch” kind of reminds me of Slick Rick and a “Children’s Story.” You flip a nursery rhyme but not in a generic way.
Actually it didn’t come from a nursery rhyme; it was ‘hood stuff, actually. The dialogue came from the book of Uncle Remus stories, and the briar patch story was from him. It was about an old slave; he was getting older and something was wrong with his leg and he wasn’t able to work. So his job was to tell stories on the porch for all the master’s and slaves’ kids. He would talk about the slaves and the masters, but he was using animals instead of people — rabbits, foxes, you know. The dialogue was straight, negro dialogue, and you really had to know the language to read the book. It’s real funny when you read it and figure out how it really goes. I used to read that book when I was small, and when I got older I came across the book again and said, “Hmm . . . I should make this a song.”
A friend of mine said “Fight Some Other Crime” was your way of saying fuck the police. Was this song based on a personal experience or just a composite of different stories?
It was a personal story. I was stopped a bunch of times, but not with the weed. Regardless, it goes on everyday; it’s happening right now, that same situation. I just kind of wanted to make a song that was more of a soundtrack to a movie, something you would see rather than hear. It was actually like a huge skit.
“Unity” really shows your versatility. It puts to rest any claims that you are a one-dimensional artist who just talks about weed, women and drinking.
It came up from a conversation we was having in the studio. We always have conversations about race and color and what it really means. In the end, it really boils down to the person; it’s really not about no color. If we all did our research properly, we’d find out the real truth. It’s a matter of character. We shouldn’t have to distrust anybody without even knowing ‘em or not liking somebody with out saying hi. With that song, I wanted to get people to know I am aware of what’s really going on in the world.
***
Album: Waitin’ to Inhale
Rap-A-Lot [2007]
Hip-hop is all about spending money and throwing money around, but in “Almighty Dollar” you’re trying to hold onto that last dollar and not spend it.
[Laughs] The money thing, man. It trips me out a lot of times how important money is to a lot of people — how much they mention it and how much they throw around. That has always amazed me. This song kind of came from a Johnny Guitar Watson song, “Ain’t that a Bitch,” where he was like “Let me get two of these hotdogs and strawberry soda.” The song really sprang from gas prices, man. You remember when gas prices really shot up? I came to the studio after spending like fifty dollars for half a tank. I was like, “Man, I have to write something about this.”
In “She Useta Be,” you say “Seems like everything on her body melted together.” Is this song about someone you know? I think everybody knows somebody who used to be fine in high school and then all of a sudden they’re not so fine any more.
There are few girls that I know like that; every one of my homeboys knows someone like that. There is always one that was kind of hot, and she would date the popular guys — football players whatever. She was fine, but she would never give you any kind of pussy. But as she got older she gained all this weight, and now that you a fly-looking playa, she trying to chuck it at you. I just wanted to trip out a little.
“What a Job” really sums about your approach to the music. I think a lot of people look at hip-hop as a means to make quick money, but you treat it as a blessing and a craft.
That track we’ve had around for a while. Chuck Heat from L.A. produced the track, I put a verse on it and a hook, and it was just sitting around for months and months. Everybody was always asking me, “What you going to do with that song?” I thought maybe we would make it into a skit. Then, when I turned in the album, everybody was like, “Is there anybody else you would want to get on this track?” I had to really think about it, and I thought Andre and Snoop. So we started to make some phone calls, and it was a blessing every time we called.
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Roots: Thirty Years and Counting
May 24, 2007 at 4:04 pm | In Reviews | Leave a Comment
Since its inception into main stream society, television and the images it propagates has more than often been the Achilles heel of Black evolution. When ABC first released the epic miniseries, Roots, the history of slaves far from forgotten was depicted with such candor that even by today’s standards it would likely stir some controversy. The producers and writers alike took great leaps and bounds, huge chances in illustrating a history marred by great injustices. To achieve that effect, the series employed colorful language (repeated Use of N-word), showed violent scenes, and wonderfully developed characters to fuel the authenticity of the feature.
Based on Alex Haley’s book detailing his family ancestry, Roots is essentially a story about generations of a family. It chronicles the history of this family from the brutal times of slavery in the 1700’s to the uncertain yet promising periods of reconstruction. Apart from its sincerity and authenticity, this 11-hour feature excels in its casting and character development. The production enlisted the likes of LeVar Burton, whose portrayal of a young Kunta Kinte was brilliant; it also featured stellar acting by Louis Gossett Jr., John Amos, OJ Simpson and Maya Angelou amongst others. What was particularly astounding about the casting was the amount of black actors that were brought to the forefront of the screen; despite the success of the series several of these actors were not presented with adequate film or television roles. Characters like the slave ship captain, played by Ed Asner reveal a character who struggles with the validation of slavery.
To commemorate the 30th year anniversary of its initial release, Roots will be released on the 22nd of May, by Warner Bros. Apart from the main feature; the 4 disc DVD set contains commentaries, and commentary video highlights-on camera interviews as well as an intriguing special feature, Crossing Over: How Roots Captivated an Entire Nation. Furthermore, it includes artwork that reveals Alex Haley’s family ancestry in a family tree.
Without a doubt, the roots saga will continue to captivate audiences of generations to come. Not only does it offer the history of Blacks of this nation incorporated with Haley’s family lineage, it is also suggestive of the power and significance of one’s name. It offers several life lessons, and acts as reminder of how far African Americans have come and the journey that lies ahead.
Written by:
Bola “Eldorado Red” Alex-Oni
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