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Hi!This site is about rap!My name`s CAPONE and i love rap so much that i decided i must have a website dedicated to Rap.im an "aspiring" cashless raper,producer....ect.Here we are going to talk about famous rapers,making your own beats,rapin....Hope we will have daily news about rapers their albums,beefs.....I hope you will enjoy your stay here and maybe learn a thing or two about rap.To show your support please vote.This is all 4 now peace |
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Tupac`s new album loyal to the game produced by eminem.Album came up very nice dough the beats aren`t so good that i thought they would be.My opinion is that dre should produced this album, anyway`s album is pretty good.here are the song that are on CD
01_Soldier_Like_Me_(Return_of_the_Soulja)_Feat._Eminem_(Prod_by_Eminem)
02_The_Uppercut_Feat._E.D.I._and_Young_Noble_of_the_Outlawz_(Prod_by_Eminem)
03_Out_on_Bail_(Prod_by_Eminem)
04_Ghetto_Gospel_Feat._Elton_John_(Prod_by_Eminem)
05_Black_Cotton_Feat._Eminem_Kastro_and_Young_Noble_of_the_Outlawz_(Prod_by_Eminem)
06_Loyal_to_the_Game_Feat._G-Unit_(Prod_by_Eminem)
07_Thugs_Get_Lonely_Too_Feat._Nate_Dogg_(Prod_by_Eminem)
08_N.I.G.G.A._(Never_Ignorant_About_Getting_Goals_Accomplished)_Feat._Jadakiss_(Prod_by_Eminem)
09_Who_Do_You_Love_(Prod_by_Eminem)
10_A_Crooked_Nigga_Too_(Prod_by_Eminem)
11_Dont_You_Trust_Me_(Prod_by_Eminem)
12_Hennessey_Feat._Obie_Trice_(Prod_by_Eminem)
13_Thug_for_Life_(Prod_by_Eminem)
14_Po_Nigga_Blues_Feat._Ron_Isley_(Prod_by_Scott_Storch)
15_Hennessey_Feat._E.D.I._of_the_Outlawz_and_Sleepy_Brown_(Prod_by_Red_Spyda)
16_A_Crooked_Nigga_Too_(Prod_by_Raphael_Saadiq)
17_Loyal_to_the_Game_Feat._Big_Syke_(Prod_by_DJ_Quik)
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NAS vs. Jay-z I must address the hip hop beef that is increasing in the hip hop world. For one is the beef real? Where did the beef come from? Finally where will the issues take some of your favorite hip hop artists? There is a thin line between reality and entertainment. Rappers claim that it is just business or all in the pure fun of hip hop. Sometimes the line is crossed and entertainment becomes real. The Tupac and Biggie feud was a good example of art carrying over into real life situations. After the incident, things were fairly quiet for the rap game. This was before Jay Z and Nas kicked off a feud, which is still continuing today. That feud started out before Tupac and Biggie died. It just wasn't confirmed until Jay Z insulted Nas at the Hot 97' concert. This made Nas furious as he went to the booth and came up with an underground song that made it's way onto many mix tapes called "Stillmatic." This title eventually led to the naming of the Nas LP, which came out at the close of last year. Jay Z then released "The Blue Print," which had a song that went into details about his distaste for Nas. Nas came back with "Ether," in which Nas questioned Jay Z's sincerity. This leads to another question: Was the feud made up to justify sells? The reality of the hip hop game could possibly be that Jay Z and Nas conspired to get free publicity. The next question I have is, when did business turn personal? When do you push the line? Jay Z made a record insulting the mother of Nas' child. Did Jay Z go too far, or was that simply business? What about Nas wanting to hang a dummy Jay Z in front of kids at the Hot 97' concert? The radio station did stop him, but he went on rival shows speaking about several artists who didn't have any involvement with the supposed beefs. I believe both incidents went past business matters and extended into personal issues. To make things more interesting, an artist indirectly involved is the rapper Camron. He went so far to make "Spit Bars" about Nas' child. The single barely received any air play, however, Camron eventually apologized, but seemed to be emotionally effected by Nas' comments. Rappers rap like they are hardcore, but seem quick to get red when someone speaks unkindly about them. Shouldn't they know they have a responsibility as public figures? I guess they just don't get it. Some say it's just business, but it sounds like a matter of ego. Let's move forward to Ja Rule entering the equation. Irv Gotti has now helped make alliance with Nas since the aforementioned fiasco. What does this have to do with the relationship with Murder Inc. and Rocafella? Rumors are swirling that Ja Rule and Jay Z are currently not on the best of speaking terms. Ja Rule has allegedly said that the advice in the deal came from Jay Z. Rumor claims include that Ja Rule feels the deal with Nas is Murder Inc.'s business and not a concern of Jay Z's. That sounds like more than a little tension. Another claim is that Ja Rule asked why Jay Z backed out of the tour with Murder Inc. before eventually touring with Sprite. Jay Z has allegedly told him that it is his business and not Ja's concern. Ja Rule also has supposedly received some heat from DMX after he made a song called "Ruled Out," which DMX dissed as being too commercial. This is the same man who did a song with Mase! Ja Rule has a song waiting when DMX drops his song. That is not the only problem for Ja Rule, as an artist named 50 Cent is now back on the hip-hop scene, who was signed to Columbia and is known for criticizing Ja Rule a few years ago. The heat between the two had led to confrontations up until the point where it actually got physical. He is now signed to Eminem's label, which is categorized under Dr. Dre's Aftermath. Ja Rule has allegedly made comments that if 50 Cent comes at him he would do everything to take Dr. Dre and Eminem down. This is where things get more interesting as Murder Inc. has formed an alliance with Suge Knight. It is a known fact Dr. Dre doesn't want any contact with Suge Knight, and Ja Rule recently gave a shout out to Suge on "The Pledge Remix" featuring Nas and Ashanti. Why have Irv Gotti and the crew made an alliance with Suge? Do they think that is the best way to get at Dr. Dre? That would be a smart move if they want to stop 50 Cent from ripping on them. In reality, the motives could be business or personal, but the issue is these artists are playing with fire. I believe nothing good can come from this kind of hip-hop tension. In the end, everyone loses, especially the fans. This is a case of fame going to the stars' heads. Some of these artists need to think before taking action. The very action they take can cost them severely. Hopefully these beefs will not get too serious |
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TUPAC BIOGRAPHY Tupac Shakur grew up around nothing but self-delusion. His mother, Alice Faye Williams, thought she was a "revolutionary." She called herself "Afeni Shakur" and associated with members of the ill-fated Black Panther Party, a movement that wanted to feed school kids breakfast and earn civil rights for African Americans. During her youth she dropped out of high school, partied with North Carolina gang members, then moved to Brooklyn: After an affair with one of Malcolm X's bodyguards, she became political. When the mostly white United Federation of Teachers went on strike in 1968, she crossed the picket line and taught the children herself. After this she joined a New York chapter of the Black Panther Party and fell in with an organizer named Lumumba. She took to ranting about killing "the pigs" and overthrowing the government, which eventually led to her arrest and that of twenty comrades for conspiring to set off a race war. Pregnant, she made bail and told her husband, Lummuba, it wasn't his child. Behind his back she had been carrying on with Legs (a small-time associate of Harlem drug baron Nicky Barnes) and Billy Garland (a member of the Party). Lumumba immediately divorced fer. Things went downhill for Afeni: Bail revoked, she was imprisoned in the Women's House of Detention in Greenwich Village. In her cell she patted her belly and said, "This is my prince. He is going to save the black nation." By the time Tupac was born on June 16, 1971, Afeni had already defended herself in court and been acquitted on 156 counts. Living in the Bronx, she found steady work as a paralegal and tried to raise her son to respect the value of an education. From childhood, everyone called him the "Black Prince." For misbehaving, he had to read an entire edition of The New York Times. But she had no answer when he asked about his daddy. "She just told me, 'I don't know who your daddy is.' It wasn't like she was a slut or nothin'. It was just some rough times."When he was two, his sister, Sekyiwa, was born. This child's father, Mutulu, was a Black Panther who, a few months before her birth, had been sentenced to sixty years for a fatal armored car robbery. With Mutulu away, the family experienced hard times. No matter where they moved-the Bronx, Harlem, homeless shelters-Tupac was distressed. "I remember crying all the time. My major thing growing up was I couldn't fit in. Because I was from everywhere. I didn't have no buddies that I grew up with." As time passed, the issue of his father tormented him. He felt "unmanly," he said. Then his cousins started saying he had an effeminate face. "I don't know. I just didn't feel hard. I could do all the things my mother could give me, but she couldn't give me nothing else." The loneliness began to wear on him. He retreated into writing love songs and poetry. "I remember I had a book like a diary. And in that book I said I was going to be famous." He wanted to be an actor. Acting was an escape from his dismal life. He was good at it, eager to leave his crummy family behind. "The reason why I could get into acting was because it takes nothin' to get out of who I am and go into somebody else." His mother enrolled him in the 127th Street Ensemble, a theater group in the impoverished Harlem section of Manhattan, where he landed his first role at age twelve, that of Travis in A Raisin in the Sun. "I lay on a couch and played sleep for the first scene. Then I woke up and I was the only person onstage. I can remeber thinking, "This is the best shit in the world!" That got me real high. I was gettin' a secret: This is what my cousins can't do." In Baltimore, at age fifteen, he fell into rap; he started writing lyrics, walking with a swagger, and milking his background in New York for all it was worth. People in small towns feared the Big Apple's reputation; he called himself MC New York and made people think he was a tough guy. He enrolled in the illustrious Balitomore School for the Arts, where he studied acting and ballet with white kids and finally felt "in touch" with himself. "Them white kids had things we never seen," he said. "That was the first time I saw there was white people who you could get along with. Before that, I just believed what everyone else said: They was devils. But I loved it. I loved going to school. It taught me a lot. I was starting to feel like I really wanted to be an artist. By the time he was twenty, Shakur had been arrested eight times, even serving eight months in prison after being convicted of sexual abuse. In addition, he was the subject of two wrongful-death lawsuits, one involving a six-year-old boy who was killed after getting caught in gang-war crossfire between Shakur's gang and a rival group. In the late eighties, Shakur teamed up with Humpty-Hump (a.k.a. Eddie Humphrey, a.k.a. Gregory "Shock-G" Jacobs) and other Oakland-based rappers to create Digital Underground, a band intent on massive bass beats and frenetic, Parliament-Funkadelic-style rhythms. In 1990, the group released its debut and best album, Sex Packets, a pulsating testament to the boogie power of hip-hop, featuring two classic tracks, "Humpty Dance" and "Doowutchyalike." After an EP of re-mixes in 1991, D.U. released Sons of the P and, the following year, The Body-Hat Syndrome, all on Tommy Boy Records. In 1992, Shakur entered a most fruitful five-year period. He broke free of D.U. and made his solo debut, 2Pacalypse Now, a gangsta rap document that put him in the notorious, high-speed lane to stardom. That same year he starred in Juice, an acclaimed low-budget film about gangs which saw some Hollywood success. In 1993, he recorded and released Strictly 4 My N.I.G.G.A.Z., an album that found Shakur crossing over to the pop charts. Unfortunately, he also found himself on police blotters, when allegations of a violent attack on an off-duty police officer and sexual misconduct arose. The same year, Shakur played a single father and Janet Jackson's love interest in the John Singleton film Poetic Justice. In November of 1994, he was shot five times during a robbery in which thieves made off with $40,000 worth of his jewelry. Shakur miraculously recovered from his injuries to produce his most impressive artistic accomplishments, including 1995's Me Against the World, which sold two million copies, and the double-CD All Eyez on Me, which sold nearly three million. As his career arc began a steep rise toward fame and fortune, Shakur was shot (most say suspiciously) and killed after watching a Mike Tyson fight with Death Row Records president Marion "Suge" Knight. Though his death was a jolt to his fans and the music community, Shakur himself often said that he expected he'd die by the sword before he reached thirty. Following his passing, Shakur's label released an album, The Don Killuminati, under the pseudonym "Makaveli." The cover depicted Shakur nailed to a cross under a crown of thorns, with a map of the country's major gang areas superimposed on it. In January of 1997, Gramercy pictures released Gridlock'd, a film in which Shakur played the role of a drug addict to mostly good reviews. His final film, Gang Related, was released in 1997, and Death Row is said to have several unreleased recordings in the vaults for potential future release. |
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Top 10 Reasons Why Suge Killed 2Pac Below is the new top 10 reasons why Suge Knight killed 2Pac. Our infamous top 20 reasons why 2Pac is alive is very popular on the web. It has influenced many to beleive 2Pac is alive. But in my theory I state that either 2Pac is alive OR Suge killed him. So, here's the new list to prove Suge killed him! I suggest printing out this page so you can show everyone! If you think there's no kind of scandal in 2Pac's death, prepare to be convinced otherwise!!! --------------------------------------------------------------------------- 1. 2Pac was about to leave Death Row Records. His album entitled "Don Killuminati : The 7 Day Theory" was the last album he had to do for Death Row Records. He was now going to work on his new record company called "Makaveli Records". Makaveli Records is the the new record company 2Pac planned on doing with "Tha Outlaw Immortalz". (In 1995, Suge Knight bailed 2Pac out of jail with the contract of 2Pac doing a double album and single album for Death Row Records. His contract was done and that's why he was suddently leaving Death Row Records.) -------------------------------------------------------------------------------- 2. Basicly in a follow-up from # 1... With 2Pac gone, Death Row Records wasn't going to make any money off 2Pac. So, if they killed 2Pac ; everything related to him would get them a whole lot of cash! And, they would now have all of his unreleased songs which they would release under their lable on soundtracks, compilation albums and possibly even new 2Pac albums. Plus, it gets rid of the competition they'd recieve from Makaveli Records. -------------------------------------------------------------------------------- 3. Death Row Records was very uncooperative with the police after 2Pac's death. They hardly told the police anything! In many occasions, the police and newsreporters couldn't even find people on Death Row Records to question. Here's another interesting fact... ABC interviewed Suge Knight after the shooting of 2Pac. He was asked, "If you knew who killed 2Pac, would you tell the police?". Suge then replied "Absolutly Not". -------------------------------------------------------------------------------- 4. If you know about "Makaveli Records", you know about The Outlaw Immortalz. They are the rappers who would be working with 2Pac on "Makaveli Records". Anywayz, one of the members who went by the name "kadafi" was reportedly going to cooperate with the police. Well, soon after the death of 2Pac he turns up dead. Hmmmm.... -------------------------------------------------------------------------------- 5. Have you noticed how Death Row Records now goes by the name "New & Untouchable". What's with that?? This name started being used when the Makaveli album came out... Why are they so suddeny untouchable??? -------------------------------------------------------------------------------- 6. Death Row Records could have also done a lot of this stuff you're about that's proving 2Pac is Alive. They could be doing this stuff for publicity. EX : They could have made up that whole 7 Day Theory stuff. (Refer to Alive List). And, I'm almost sure they put 2Pac on the cover of the Makaveli album posed as Jesus Christ for publicity. -------------------------------------------------------------------------------- 7. Of course lets not forget the mysterious "Suge Shot Him". If you turn the volume way up...... In the first 3 seconds of the Makaveli album your hear someone say "Suge Shot Him". You hear the voice right before the first bell. (Listen Carefully) I wonder about this though... Is it someone from Death Row Records who knew what was going on with Suge Knight killing him or was it just some publicity stunt for more album sales???? Click here for the actual sound clip. -------------------------------------------------------------------------------- 8. Okay... Lets talk about that night at the Tyson fight when 2Pac was shot... You've all probably heard about Orlando Anderson and how Suge got in a fight and was caught on survalance cameras. So, I won't get into that. Anywayz... I've heard a "rumor". I've heard Suge Knight was caught on surveilance cameras at the fight telling 2Pac to take off the vest 'cause it was hot in there. If this is true, why would Suge Knight not want 2Pac wearing his vest??? (This rumor was brought to my attention when talking with the owner of Cash's 2Pac Page.) -------------------------------------------------------------------------------- 9. What about what Suge Knight did after 2Pac was shot? Well, as you know 2Pac was shot 5 times and Suge's head was grazed by a bullet. I've heard 2Pac said to Suge, "Don't worry about me. You're shot in the head". Anywayz, as 2Pac lost 22 ounces of blood Suge drove 2Pac to the hospital as fast as he could... When at the hospital Suge said he had a long conversation with 2Pac. But how?? Would you be talking after being shot 5 times and heavily bleeding... What's with that??? -------------------------------------------------------------------------------- 10. For # 10 I'll talk about the alive thoery. First of all, I've found a lot more reasons that prove 2Pac is alive. A lot of these could be publicity stunts or just coincedences. But there's more evidence that point to him being alive. It's really tough to make a desision. You gotta really think.... Would 2Pac spend thousands & thousands of dollars in faking his death to get all the eyez off him?? Also, would Suge Knight actually kill 2Pac for money?? Take the life of his "friend" for money??? You really gotta think. Click Here For My Complete Theory -------------------------------------------------------------------------------- NOTE : As for Suge Knight having possesion of all 2pac's unheard songs... 2pac's mom sued Death Row Records and won. She now has possesion of the tapes. Death Row Records can no longer make money off 2pac's music. All of 2Pac's unreleased singles will now be featured on new albums under the label "Amaru Records / Jive Records". |
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Not many producers, in the arena of hip-hop or otherwise, can boldly state that their sonic experiments twice (first with N.W.A, later with The Chronic) transformed the musical landscape. But, then again, every producer is not Dr. Dre. "Although I’m from the west coast, I try to make music that will have a universal appeal," says Dre, whose latest disc Dr. Dre 2001 (Aftermath Entertainment/Interscope Records) is as musically diverse as the constant sounds blaring in his brain. "It’s always been my desire to make music for the world." Although it has been seven years since the release of Dr. Dre’s groundbreaking triple platinum The Chronic, a record that Spin magazine voted the eighth best of the decade, its not like the brother has been sleeping on the job. (Spin also voted The Chronic’s "Nuthin’ But A G-Thang"the best single of the 90’s.) Indeed, having constructed such projects as Snoop Dogg’s quintuple platinum classic Doggystyle, the bouncy "California Love" for 2Pac and the bugged The Slim Shady LP disc for rapper Eminem, a sophomore solo disc was the furthest thing from Dre’s mind. "I’ve always been just a producer at heart, but my friends and family kept insisting that I do another project." On Dr. Dre 2001, Cali’s own sound scientist has co-produced with Mel-Man twenty-two lowrider soundtracks, designed to thrill the souls of hip-hop macks. "Not trying to sound arrogant, but as a fan of rap, I just wasn’t hearing much music that I thought was moving the world," explains Dre. "And that’s what I wanted to create." Reunited with Snoop Dogg, the first single "Still D.R.E." is a slow motion riot featuring wicked keyboards, Dre’s trademark vocals and a hip swaying groove that transports the track to the next level of sonic intensity. "We created almost a hundred tracks for this project," says Dre. "But, this song was the next to last song that I recorded. I needed the perfect song to represent Dr. Dre 2001." Teaming-up with his latest discovery, mid-west rudeboy Eminem, Dr. Dre 2001’s second single "Forgot About Dre" is the perfect comeback in response to those haters who were praying that Dre would fall off of Planet Rap. With an otherworldly sound and lush strings hovering in the background, "Forgot About Dre" is as flashy as a pimp and as sharp as a tack. In addition to Nate Dogg, Kurupt, Hittman, King-T, MC Ren and Xzibit, all of whom make appearances on Dr. Dre 2001, soul diva Mary J. Blige makes a cameo on the sorrowful track "The Message." Dedicated to Dre’s late brother, who was set to follow in his older brother’s giant footsteps, this is one of the most emotionally charged records in hip-hop history. "Anyone who has ever lost a loved one will be able to relate," says Dre. "And Mary’s singing just sends the song over the top." Back to once again reign supreme on booming stereos throughout the world, Dr. Dre 2001 takes the listener on a black to the future fantastic journey into wild soundscapes, blunted voices and new beginnings. |
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Nowadays if you ask most people to give a definition of "rap", they're likely to state that it's the reciting of rhymes to the best of music. It's a form of expression that finds its roots imbedded deep within ancient African culture and oral tradition. Throughout history here in America there has always been some form of verbal acrobatics or jousting involving rhymes within the Afro-American community. Signifying, testifying, Shining of the Titanic, the Dozens, school yard rhymes, prison 'jail house' rhymes and double Dutch jump rope' rhymes are some of the names and ways that various forms of rap have manifested. Modern day rap music finds its immediate roots in the toasting and dub talk over elements of reggae music. In the early 70's, a Jamaican dj known as Kool Herc moved from Kingston to NY's West Bronx. Here, he attempted to incorporate his Jamaican style of dj which involved reciting improvised rhymes over the dub versions of his reggae records. Unfortunately, New Yorkers weren't into reggae at the time. Thus Kool Herc adapted his style by chanting over the instrumental or percussion sections of the day's popular songs. Because these breaks were relatively short, he learned to extend them indefinitely by using an audio mixer and two identical records in which he continuously replaced the desired segment. In those early days, young party goers initially recited popular phrases and used the slang of the day. For example, it was fashionable for dj to acknowledge people who were in attendance at a party. These early raps featured someone such as Herc shouting over the instrumental break; 'Yo this is Kool Herc in the joint-ski saying my mellow-ski Marky D is in the house'. This would usually evoke a response from the crowd, who began to call out their own names and slogans. As this phenomenon evolved, the party shouts became more elaborate as dj in an effort to be different, began to incorporate little rhymes-'Davey D is in the house/An he'll turn it out without a doubt.' It wasn't long before people began drawing upon outdated dozens and school yard rhymes. Many would add a little twist and customize these rhymes to make them suitable for the party environment. At that time rap was not yet known as 'rap' but called 'emceeing'. With regards to Kool Herc, as he progressed, he eventually turned his attention to the complexities of djaying and let two friends Coke La Rock and Clark Kent (not Dana Dane's dj) handle the microphone duties. This was rap music first emcee team. They became known as Kool Herc and the Herculoids. Rap caught on because it offered young urban New Yorkers a chance to freely express themselves. This was basically the same reason why any of the aforementioned verbal/rhyme games manifested themselves in the past. More importantly, it was an art form accessible to anyone. One didn't need a lot of money or expensive resources to rhyme. One didn't have to invest in lessons, or anything like that. Rapping was a verbal skill that could be practiced and honed to perfection at almost anytime. Rap also became popular because it offered unlimited challenges. There were no real set rules, except to be original and to rhyme on time to the beat of music. Anything was possible. One could make up a rap about the man in the moon or how good his dj was. The ultimate goal was to be perceived as being 'def (good) by one's peers. The fact that the praises and positive affirmations a rapper received were on par with any other urban hero (sports star, tough guy, comedian, etc.) was another drawing card. Finally, rap, because of its inclusive aspects, allowed one to accurately and efficiently inject their personality. If you were laid back, you could rap at a slow pace. If you were hyperactive or a type-A, you could rap at a fast pace. No two people rapped the same, even when reciting the same rhyme. There were many people who would try and emulate someone's style, but even that was indicative of a particular personality. Rap continues to be popular among today's urban youth for the same reasons it was a draw in the early days: it is still an accessible form of self expression capable of eliciting positive affirmation from one's peers. Because rap has evolved to become such a big business, it has given many the false illusion of being a quick escape from the harshness of inner city life. There are many kids out there under the belief that all they need to do is write a few 'fresh' (good) rhymes and they're off to the good life. Now, up to this point, all this needs to be understood with regards to Hip Hop. Throughout history, music originating from America's Black communities has always had an accompanying subculture reflective of the political, social and economic conditions of the time. Rap is no different. Hip hop is the culture from which rap emerged. Initially it consisted of four main elements; graffiti art, break dancing, dj (cuttin' and scratching) and emceeing (rapping). Hip hop is a lifestyle with its own language, style of dress, music and mind set that is continuously evolving. Nowadays because break dancing and graffiti aren't as prominent the words 'rap' and 'hip hop' have been used interchangeably. However it should be noted that all aspects of hip hop culture still exists. They've just evolved onto new levels. Hip hop continues to be a direct response to an older generation's rejection of the values and needs of young people. Initially all of hip hop's major facets were forms of self expression. The driving force behind all these activities was people's desire to be seen and heard. Hip hop came about because of some major format changes that took place within Black radio during the early 70's. Prior to hip hop, black radio stations played an important role in the community be being a musical and cultural preserver or griot (story teller). It reflected the customs and values of the day in particular communities. It set the tone and created the climate for which people governed their lives as this was a primary source of information and enjoyment. This was particularly true for young people. Interestingly enough, the importance of Black radio and the role djs played within the African American community has been the topic of numerous speeches from some very prominent individuals. Hip hop continues to be a direct response to an older generation's rejection of the values and needs of young people. Initially all of hip hop's major facets were forms of self expression. The driving force behind all these activities was people's desire to be seen and heard. Hip hop came about because of some major format changes that took place within Black radio during the early 70's. Prior to hip hop, black radio stations played an important role in the community be being a musical and cultural preserver or griot (story teller). It reflected the customs and values of the day in particular communities. It set the tone and created the climate for which people governed their lives as this was a primary source of information and enjoyment. This was particularly true for young people. Interestingly enough, the importance of Black radio and the role djs played within the African American community has been the topic of numerous speeches from some very prominent individuals. For example in August of '67, Martin Luther King Jr addressed the Association of Television and Radio Broadcasters. Here he delivered an eloquent speech in which he let it be known that Black radio djs played an intricate part in helping keep the Civil Rights Movement alive. He noted that while television and newspapers were popular and often times more effective mediums, they rarely languaged themselves so that Black folks could relate to them. He basically said Black folks were checking for the radio as their primary source of information. In August of 1980 Minister Farrakhon echoed those thoughts when he addressed a body of Black radio djs and programmers at the Jack The Rapper Convention. He warned them to be careful about what they let on the airwaves because of its impact. He got deep and spoke about the radio stations being instruments of mind control and how big companies were going out of their way to hire 'undignified' 'foul' and 'dirty' djs who were no longer being conveyers of good information to the community. To paraphrase him, Farrakhon noted that there was a fear of a dignified djs coming on the airwaves and spreading that dignity to the people he reached.The introduction of rap records in the early 80s put a new meaning on hip hop. It also provided participants a new incentive for folks to get busy. Rap records inspired hip hoppers to take it to another level because they now had the opportunity to let the whole world hear their tales. It also offered a possible escape from the ghetto.... But that's another story..we'll tell it next time. written by Dave'Davey D'Cook |
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THROWBACK 1. A Mitchell & Ness classic sports jersey, or any retro sports jersey 2. Another word to describe old school music 1. "See me rocking more throwbacks than Fabolous" 2. That song is a throwback from the 90's 8 definitions - LOOSE RAP Telling lies or using corny pick up lines to impress a girl or guy to get their number, get you to fall for them, or get sex. Yo whats up shorrrrty, where your boyfriend at I saw you across the room and ummm.... I was wondering if I could get your digits cuz you look good. You know..... I got a 2006 cadillac fresh on twenty inch rims, I get maaad dough and I'll shower you with all the diamonds you want. 1 definition |
BEATS AVAILABLE RIGHT NOW------>Capones rough vibes |
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