Tuesday, May 17, 2005

Michael Eric Dyson-Is Bill Cosby Right? Or Did Black Middle Class Lose Its Mind.

Michael Eric Dyson.


Yeah, this nigga speaks the real. Takes that sell out Bill Cosby who suffering from Alzheimers and exposes his self hating bullshit. I just read this book and listened to his interview, and damn, this nigga can talk. He like Don King and teaches at Ivy League University. Gotta love that. Now, I'm always bored with all these ramblers but the way people like Bill O Reilly, Sean Hannity, Michelle Wacklin jumped on Cosby and praised him showed be that racism is still around. They praised this condescendin shit. Also, hopw the fuck Bill Cosby gonna clown a nema like Muhammad. Er, dont let Muslims holla at him, and one of the greates black heroes Muhhamad ALi. Come On, cosby dont play yourself you a legend but not on ALi level.

Also, Cosby has shamed Redd Foxx, JJ frm Good Times, The Jeffersons, Richard Pryor.

Eddie Murphy exposed this clown Cosby in RAW, Cosby was a prudish preaching homo even then.


Cosby just mad cause he fell off.


Anyway props to Michael Eric Dyson on thsi shit.

Monday, May 16, 2005

MAriah Carey-Emancipation Of MiMi.

This shit is hot. Probably got trashed by critics when it came out beacuse loving MAriah Carey means no "street cred" for them.

This is more of a r&b album than those ballads she did back in the day. She got the neptunes doin joints on here, Jermaine Dupri proves he is real with his. JD very underrated, ask for the best producers today and no one gonna pick Jermaine. Especially aftre Chris Rock clowned him and the MTV awards a few years back, but this dude has brought some talent hrough like Usher, TLC, Kriss kross, etc.

Anyway, there is not one bad song on here, the producers kept her wordlin down to a minimun on here so is just some great r&b james. The 2nd single is great, We Should Be Together. Fly Like A Bird, I Wish You Knew, are beautiful and her duet with Snoop makes me think maybe the Neptunes haven't completely fallen off. Anyway this the shit.

Friday, May 13, 2005

.....ay yo, I like this...

Regiie Noble

http://www.hiphopgame.com/player2011.php


AZ


http://www.hiphopgame.com/player2019.php

Hopefully, Martha Bayles will die soon.

Yeah, this bitch, never heard of her before in my life. Turns out she's one of these dima a dozen cultural critics who irritate us all to death. Some are cool like Jeff Chang, Davey D, Todd Boyd, but some just need to pizzaz off. Anyway I was reading some lecture article she wrote for the Wall Street Journal about Hip Hop and how its bad, and she just str8 play hates everyone. Not just the artists, but the females who were protesting its depictions of ho's and shortys. So I aid to myself, who is this latest busy body. So I looked her name up on google thinking I would find an out of work sista trying to get by, and to my surprise, i found an old cracka. This witch is like 90. She being ding cultural analysis since the dinasoour age and actually now looks like one. So she has a new book to sell, whuich is when the bullshit articles start coming carpet bomb fashion. I was looking at the books index and its just all negative shit, all about the good ol' days these old motherfuckers keep tellin us about. Why dont she just do some Jewish shit like count her money and leave the youth alone. What is it to her, she kicks it with big lips himself, Stanley Crouch. Thats a bad omen. Anyway, she got a new book, cant tell you the name cause I forgot, cause I didnt care. Please, if you aint coming positive with it, step off. Those shorys in"Tip Drill" and "Pusshy Hoppin" dont look like they was not enjoying it do they? They looked well down. Shit, I bet when they get old they'll tell their grandkids how they got down with some rappers back in the day.

Alcemist takes over from Green Lantern at Shady

From the horses mouth:


"My job, they called on me to be Em's DJ and I'm gonna do my job to the fullest. I'm excited to be in that circle. So as far as any beef or drama, I feel like it doesn't apply to me."

Though he's shared management with Em for years, Al never took advantage of the situation to give tracks to Slim or any other artist in the camp. Yet, now that he's set to work more closely with the blonde lyricist, he hopes the future holds plenty of collaborations.

"It was always something I looked forward to with my relationship with Paul and my brother being there. It's been like three, four years we've been down with the company," Al revealed. "Em has [Dr.] Dre, first of all, and Em is a producer. So, they don't really need anything in that circle. So, for anybody to get beats off in that circle is a blessing. Just being down that long, I always knew one day we'd be able to collaborate one way or another. If it's the start of it, then that's a beautiful way for it to start."

In the meantime, Al is keeping busy promoting last year's 1st Infantry and staying productive in the lab. While he doesn't have immediate plans to record a sophomore album, he is presently dropping tracks to keep his name buzzing in the streets.

"I'm in the lab everyday, new beats. I don't wanna blow it up because sometimes samples don't clear and issues happen, but I have a lot of stuff now that might end up on albums this year," Al shared with SOHH.com. "I'm hitting the machine hard right now. We been starting to leak joints out instead of holding on to them cause we got so much music that we're starting to leak joints to let cats know. The fans are what it's all about. Even when we're in between deals, we're still dropping for the people."

Thursday, May 12, 2005

Petition against The Source? Let it slide.

http://www.petitiononline.com/source05/petition.html


http://www.petitiononline.com/petition.html



If you want to ban sex in the workplace, sign this women liberation shit. Me, like I said, Kim Osorio is fine so should expect red blooded males to want to hit it. The other woman is hard to belive cause she looks like a man. No one was tryin to pop that. Me, I want sex in the workplace to make the days go faster. I jyust wish some of this women would just suck a dick and get their promotion insted of this bullshit.

Also, you'll see Elizabeth Mendez Berry is part of this gang, and to me, she wants to be Che Guvera. She is always campaignin 4 shit. I bet she cant get no man thats why she's angry all the time. Women like that need to get laid more often because they become this uptight wound up women that make their neck snap. I dont need tha in my life.

I'll say iot again, and fine woman out there, i gonna try and pop that, whats wrong with that. Fine women like attention. Maybe Joan Mporgan who is 77 yrs old cant get men no more and she's angry that these Source cats are not interested. Lets stop this sexism shit, sex is good.

Great Article by Jeff Chang On Gang Of Four.

PARALYSED
War, bad faith, gender trouble, rock in crisis: The Gang of Four are back at just the right moment.
By Jeff Chang

Jon King is dressed like he just walked in from a panini-bread lunch at some Market Street shop after a market-plunging morning on the Pacific Stock Exchange—blue button-down, smart white slacks. He's reciting a British supermarket ad campaign: "The change will do you good. I always knew it would." Clearly, he is agitated.

The stage light comes up, revealing Dave Allen and Hugo Burnham pounding out a throbbing beat. Andy Gill rips at his guitar, spinning out a run of agitated chords as if he was Wire's B.C. Gilbert interpreting the JB's Jimmy Nolen. "Sometimes I'm thinking that I love you", King snarls. "But I know it's only lust." Now he twists like a stockbroker stumbling drunken out of a Broadway peepshow. This is a 25-year old video, and there can be no doubt that an aspiring guitar hero or heroine is studying this clip somewhere.

It's been 24 years since the original lineup of Gang of Four played together on the same stage, and the timing could not be better for them to return to the same stage. Rock, having weathered an identity crisis over the past decade—bucked down into an inferiority complex by hip-hop and dance music, drawn into the fashionable but dead-end revivalism of the Strokes and White Stripes, tucked away into insular post-rock, nu-metal, and emo scenes—has got its groove back by hugging up on its postpunk past. It's a great way to nod sideways to black music, to acknowledge three intervening decades of race, gender, and identity critique, and, most importantly, to remember how to rock the fuck out.

With John Lydon disappeared, Ari Up still high in the Rasta hills, and Joe Strummer left to be repped only by a growing shelf of books, where better to start the neo-new wave revival than with Go4? Their DNA runs wild through two of the best bands of the moment—Bloc Party and Franz Ferdinand—as well as pretenders like the Rapture, the Futureheads, and Radio 4. Working with a big bottom borrowed from Burnham and Allen, using moves stolen from King and Gill, these groups are only the most literal-minded of Go4 enthusiasts.

"Gang of Four was absolutely essential to pioneering independent label bands of the 80s like Mission of Burma, the Minutemen, Big Black and Fugazi," says Michael Azerrad, author of Our Band Could Be Your Life: Scenes from the American Indie Underground 1981-1991 and the liner notes for the new Rhino reissue of Entertainment! "For people who not only wanted to make a new kind of music but also think and feel in ways not imagined or permitted by rock's old guard, Gang of Four was a godsend. Also, it allowed people who couldn't dance to appreciate James Brown."

Meeting on the campus of the University of Leeds in punk's Year Zero, King and Gill were soon running the school's film society while studying fine arts and Situationism. They could be comfortable in all-night bull sessions about "complicity", "overdetermination", and "totalities". Their lyrics were like a critical theory seminar, which only then was beginning to become the rage on university campuses. They packed songs with aphorisms that triangulated McLuhan, Marx, and Mao.

Simon Reynolds, whose new book Rip It Up And Start Again was recently released in the UK and will arrive here in February 2006, notes that postpunk emerged from a polarized political and intellectual climate not unlike the current North American blue-red divide. Thatcher's Tories and the racist, ultrarightist National Front and British Movement were gaining ground. At the same time, cultural studies pioneers like Dick Hebdige and Paul Willis were discovering new forms of praxis, while their students joined Trotskyist, anarchist, feminist and Marxist organizations. Reynolds says, "Thinking, talking, singing songs about these kinds of things would have been considered a very consequential activity, a form of resistance. Performing at Rock Against Racism benefit gigs or Anti-Nazi League festivals and tours was de rigeur for postpunk bands.

"In some ways I see the whole postpunk era as a gigantic riposte to the Rolling Stones “It’s Only Rock’n’Roll”—the resignation and underachievement represented by the cop-out sentiment of that song, which basically kissed the Sixties good-bye. Basically insisting, no, it’s not just good times music, it can be a vessel for all this weightier stuff," he adds. "Gang of Four would have been in the vanguard of that move to see how much substance rock could carry and still be rock."

Certainly Go4's lyrics read well as text. *Solid Gold's* "Paralysed" is still stunning, interlocking haikus on late capitalism's desperately emasculating effects. One of their best songs was called "Why Theory?" Songs like "Damaged Goods", "Ether", or "Anthrax" carried on dramatic internal dialogues; figuratively and literally, they read like theater.

But the music can't be separated from the text. Most rockcrits focused on Andy Gill's guitar, and for good reason. Like some pomo Robert Johnson at the crossroads, he brought together two kinds of rock futurism: Jimi Hendrix's explosive caterwaul with Pete Shelley and Steve Diggle's stinging attack. Zipping from horizontal buzzdrones to vertical wails almost like a turntablist, Gill's is the sound every post-postpunker will sell his soul for at the intersection.

Yet all too little has been written about the herky-jerky beat-throb precision of Allen and Burnham. The working-class Allen came to the group by responding to ad that read: "fast rivvum & blues band requires fast rivvum & blues bass player". Burnham, a close college friend who had marched with King and Gill in rallies against the National Front, became the funkiest postpunk drummer next to the Clash's Topper Headon and 23 Skidoo's Alex Turnbull.

The band proceeded from the pub-rock anti-war singalong of "Armalite Rifle" to building-block reggae not far from The Clash's distillation of Lee Scratch Perry's "Police And Thieves" to what they came to call "perverted disco" and "angular, metallic, white sexless funk". "I've always loved music which has space in it and has room," Gill told Perfect Sound Forever's Jason Gross. By 1979's classic *Entertainment*, they had attained an astounding range. "Not Great Men" offered dub logic—sounds attaching then dropping out, the sum and the difference both bringing the tension to a boiling point. On *Solid Gold*, they brought in American funk producer Jimmy Douglass (Slave, Art Ensemble of Chicago, Black Heat), who helped sharpen the band's increasingly nuanced rhythmic attack, the fragile "Paralyzed" on one end, and the blasting "If I Could Keep It For Myself" on the other. Hedrush's Tahir later pitched up "A Hole in the Wallet" and flipped it for the Roots' Phrenology magnum opus, "Water" (MCA, 2002).

The *Another Day/Another Dollar* EP tossed up as unlikely an anthem ever released by a major label, the rude and proud "To Hell With Poverty". But by the end of *Songs Of The Free*, by which time Allen had left, there was a sense that the band that had once summed up "What We All Want" was now like Chic after *Risque*, no longer knowing what it wanted. The album opened with three songs exploring more melodic territory—"Call Me Up", the Dance Fever crossover hit "I Love A Man In Uniform", and "We Live As We Dream, Alone"—while pointing toward an increasing Depeche Mode-ification.

1983's *Hard* and 1991's *Mall* were tremendous disappointments. 1995's *Shrinkwrapped* marked only a partial return to form. With Burnham's departure after *Songs Of The Free* (Allen had left after *Sold Gold*), the worst of the flaccid, derivative sound was epitomized by *Mall*'s bloodless cover of Bob Marley and the Wailers' "Soul Rebel". This was music that might be piped into the elevators rising up to luxury hotel suites, far from what the Delta 5's Ros Allen once called the "spontaneous amateurism" of the orginal Leeds street scene.

Yet *Songs of The Free's* "The History of the World" and "Of The Instant" also revealed that King and Gill's worldview had cohered. To their feminist-influenced dissection of masculinity, they had developed a biting, even prophetic critique of corporate globalization and neoliberalism. This made Go4's failure more than musical: just play *Mall*'s "F.M.U.S.A.", a sharp critique of race, gender, and imperialism set among Vietnam's brothels that told a story more coherent and haunting than the Clash's "Straight To Hell" but had the sonic impact of a wet towel, next to 2 Live Crew's 1989 cut, "Me So Horny". In some ways, the fate of Go4 paralleled the destiny of the radical intellectuals of the late 70s struggling to adapt in the 21st Century, confined to a small audience by their inability to continue to master the medium for their message.

So Go4's return—and judging by their setlists, they seem to focusing largely on their pre-83 music—occasions a kind of nostalgia for leftist certainty. They had emerged in the context of a street-level feminism and the Rock Against Racism movement, an "identity politics" that was vibrant, funny, dangerous, confrontational, never scurrred. The evidence was in the indie music of Delta 5, Essential Logic, the Au Pairs, Kleenex/Lilliput, the Beakers, and the Slits. As late as 1982, Go4's "I Love A Man In Uniform"—with its easy dismissal of big-dick imperialism: "You must be joking, oh man, you must be joking!"—was banned from the BBC when Great Britain launched its Grenada-of-my-own adventure in the Falklands. Over a low stuttering guitar, King finally spit out the stakes on "Of The Instant": "Who owns what you do? Who owns what you use?" The answer seemed despairing, "We, it seems, can own ourselves in imagination." Perhaps on a hopeful note, they did not take care to add the word "only".

Go4 imagines they might still have something to say in 2005. Two years ago, Gill produced those other postpunkers waiting to be rediscovered, Killing Joke, on a new version of their 1980 classic, "Wardance". If "Damaged Goods" was once a song about bad love, it now seems to have Bush-Blair's bad faith beating in its crooked, racing heart, a neoliberal sneer at Iraq and Afghanistan. Here the British supermarket ad pitch—"You know the change will do you good!"—becomes a truism of pre-emptive neo-imperialism, King's lyric bridging Vietnam and Vietnow. Gill's words are the bitter reprisal—"Open the till, give me the change you said would do me good." Then there's the brutal ending that ought to give any good pacifist pause: "I'm kissing you goodbye."

Greil Marcus once wrote that "Entertainment" was an album that illustrated the young First World collegiate rebel's process of coming to a very uncomfortable realization. As he deconstructs his world, he realizes he is indeed complicit with the forces that oppress him and the people he loves. Through his very consuming pleasures, he feeds the capitalist machine that slowly alienates and kills him. Certainly war and globalization—especially as seen in the restless daily spectacle of monopoly media—have made Go4's insights more relevant than ever.

But it also feels like there is more of a sense of hopelessness than there was in 1980, that the change that could do real good is so far away. By now we also know that the responses to the bitter knowledge can often be less than liberating: hipster irony as protection or shield, Napoleon Dynamite-like retreats toward a lost innocence. Jon Savage asked in his liner notes to the Go4 anthology, *100 Flowers Bloom*: "Could you imagine a contemporary major-label rock group recording a song as critical and vulnerable as 'Paralysed'?" Franz Ferdinand, Bloc Party, all you aspiring guitar heroes, the question is yours: could

Julie Greenwald proves head technique goes far.

Lets face it, if you are a woman and want to go far in business, get your head game uop. Shit, if I was a boss, I'd hire fine dumb females over any ugly ass genius anyday. Now, Lyor Conman has made Julie GreenWald head of Atlantic Records. Now, wtf has she done to deserve that? She used to be an errand girl at defjam when Lyor headed it up and now she is head of Legendary Arista Records? lmao. These business people give rewards for lettin them pop it. All you ladies on here, forget business scchool just get your technique down and you'll go far.

Anyway, Lyor Cohen damn that is one powerful man right now, heads up the whole of Warner Music. The whole shit. I think thats where JAy Z is tryin to get to.

PS, whats Kevin Liles up to? seem to have forgot about him

Saturday, May 07, 2005

Armond White Is Bringing Down Blacks.

I read this mere movie reviewer who posing as a Malcolm X deep thinker type, but this schizo comes out with so musch garbage that u might miss the fact that he is a self hater. 2 types of brotha/sista I hate, Oreo and self haters. Armond White is a self hater. He is a black that hates black people. He sees a black doing thangs to make a move out the ghetto or move up the ladder and if it aint some righteous Sidney Poitier, who married crackas, he start hatin. Now he has hated on Lil Jon, Pharell, Snoop, Dre and now Ice Cube. I think he hates the West Coast basically. I think he just says shit to get attention from geeky white movie reviewers which is the circle he moves in. What a loser, he must be 50 and still actin up 4 attention. He called my man Michael Mann a hack for puttin black actors on, I mean this Armond White is a fuckin idiot.

He said all black directors are crap . Imagine a white person saying that? But this black says it 4 them. He moves with yuppie ny upperclass types but acts like he sees shit from th ghetto. I bet his wife is probably a cracka this guy is just like that NY Daily News fat pig Stanley Couch and his big lips.

I just read a review of his, XXX with Ice Cube. Now every thing this hack intellectual has wrote about Ice Cube in the past is some positive Speech from Arrested Develeopment type shit. He always namecheck that nigga 4 some street cred with his Woody Allen-like lifestyle. Now, because Cube probably need money to feed his kids so did this stupid film, this faggot Armond White gotta read it on a whole deeper level than it is. He said he selling out Hip Hop culture. He said Cube's music was wack, even though he said the opposite in the past. Just pure bullshit that this phony intellectuals like him and that old geriatric Robert Christgau always do. These fools should babysit their great grand kids and do zimmerphrame racing competitions or someshit cause they just wanna be hip which is corny.

Anyway there are no good "experts" around right now I basically got o rely on my own inteligence for all this stuff.

Friday, May 06, 2005

JAY Z - DEAR SUMMER - BLESSING BLEEK-

http://67.15.86.88/player1982.php

Thursday, May 05, 2005

FREE WACKO JACKO!

This Michael Jackson palave is boring as hell. I dont really follow the bullshit. Now, Mike Jax is a weird ass motherfucker. I wouldn't let myself go near him let alone kids. I just dont think he is someone you can kick it with. Now, do I think he did this shit? I honestly dont know. I hope he didnt cause he is a great artist, undoubtedly the best entertainer since James Brown. 1 thing I dont like about Jax is that people dickride Off The Wall and Thriller and act like he aint do shit before or after. I mean, Jackson did so many classics after Thriller. On The Bad album you got, Liberian Girl, Man In The Mirror, The Way She Makes ME feel, you got the History remix by David Morales? U Rock My World was a great r&b jam, but because it didnt repeat Thriller and sell 10 billion records, you had oreo's like Toure hatin on Jackson on Fox News and acting like a sell out bitch. THas shit had Butterflys. Classic ballads. It may not be what the youth want, but Jackson is 46, he shouldn't be making music aimed at youth, but at peopel who followed him in the 80's who are early 20's and above. So I never bought the idea that he fell off, sales wise yes, but music wise, no.

This case keeps taking different turns. Early on I thoght he was gonna walk, then those mexicans or phillopinos or hungarian motherfuckers started snitching on that nigga. I dont know if what they said was true, but hearing what they accused him off I felt dude should go to jail 4 that bullshit. Difficult to call, I hope he is innocent, but dont know if he is.

Wednesday, May 04, 2005

Liverpool knock Chelsea out.

Scroll down, check my brilliant insight and predictions. I said Liverpool would knock Rent Boys out. I take no pleasure in this, I wanted Chelsea to win, but whatever, Chelsea have the Premiership, Liverpool will have nothing at seasons end.