When Hip Hop Came Together to Close the Crack House w/ X-Clan-(It Was One of Many Battles Against Chemical Warfare)


People have often talked about fighting wars using biological and chemical weapons. We came after Hitler for using them. We came after Saddam Hussein for using them. Sadly no one ever came after those who flooded urban communities during the 1980s and into the 90s with Crack. If this wasn’t a weapon of mass destruction, I don’t know what was.. One thing I can say about Hip Hop is that early on it confronted the problem.. Kool Moe Dee dropped a dope song called ‘Monster Crack’ in 1986..

Before him, we heard Cracked Out by Masters of Ceremony featuring a young Grand Puba who later went on to be a part of Brand Nubian.. Of course we all know the joint from Public Enemy ‘Night of the Living Bassheads which featured the debut of a young actor named Samuel Jackson.

Another landmark song ‘Batterram‘ came from West Coast Legend Toddy Tee.. who responded to the hateful orders of LA Police Chief Darryl Gates to use an armored tank with battering ram to break into fortified crack houses in hood. On more than one occasions, police got the wrong address and broke down the wrong house..

We also cannot forget Donald D who was one of the first rap artists to come out and blame the FBI for crack in the Hood. This Rhyme Syndicate member had a song called F.B.I. which stood for Free Base Institute.  Before people got into crack, they free based cocaine..

A west coast anthem addressing this scourge was Dope Man by NWA..which gave keen insight into what was going on at the time.. http://www.youtube.com/watch?v=WqECIKQaPBk  Bay Area pioneer Too Short’s ‘Girl’ was another early joint  http://www.youtube.com/watch?v=ImviIbqI-8Q

In the same vein an anthem song that addressed cocaine and not crack was White Lines by Grandmaster Flash and Furuious Five. It was supposed to be an anti-drug song, but unfortunately many took it to be an endorsement of the popular drug.

Sadly one of the first crack songs I ever heard was one that actually came across as one that advocated smoking crack at least in the hook..It was called Crack it Up by Funkmaster Wiz. In the song Wiz says warns we better not crack it up,  and in hindsight 20 years later we clearly hear it.. At the time..this song was an all out anthem that suggested we go for it.. For many its hard to believe Hip Hop went there, but let’s be honest, back in the early pioneering days it wasn’t unusual to hear popular artist of the day shout to high school folks, ‘If you snort cocaine- say yeah”

The song that really stood out for me but was definitely underplayed was this posse cut, done in the same spirit of  ‘Stop the Violence’ and ‘We’re All in the Same Gang’. This was done by X-Clan leader Professor X. It was a 1993 joint called ‘Close the Crackhouse’ and featured an Allstar line up of  Professor X, BrotherJ, Wise Intelligent, Big Daddy Kane, Digital Underground, Ex-Girlfriend, Chuck D, Sister Souljah, Mickey Jarret, Freedom Williams from C&C Music Factory and 2 Kings and a Cypher.


 Kool Moe Dee ‘Monster Crack’


Public Enemy ‘Night of the Living Bassheads’.. This video is deep on so many levels..especially how they showed just how widespread the problem was.. from Wall Street to the Hood. I also like how they did this video as a news report..


Donald D ‘FBI’

Toddy Tee ‘Batterram’

Funkmaster Wiz ‘Crack It Up’… Can you believe there was a song that actually advocated for crack? When this song first came out the chorus was an affirmative ‘Crack It Up’.. Funkmaster Wiz claimed it was anti-crack song, but the hook left everyone believing it was a pro crack song.. People complained and Funkmaster Wiz went back in the studio and tried to clean up the song by putting the phrase ‘Ya better Not’.. Over the past year or so, the original version has been scrubbed from Youtube and whats left is the anti-crack version..


Here is a excerpt of the original version.. You can see how folks concluded it was a pro-crack song..

Mele-Mel– doing a live performance of White Lines..

Masters of Ceremony ‘Cracked Out’


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Wave of tragedy devastates the hip-hop community


Wave of tragedy devastates the hip-hop community

By Davey D

original article-may 19, 2006

Davey DThe hip-hop community has been hit with devastating losses over the past few months.

Fans around the world were saddened when producer J-Dilla of Detroit’s Slum Village suddenly took a turn for the worse and died in February of complications from lupus. His death was especially painful because it occurred just days before his critically acclaimed album “Donuts” came out. The previous week, an album-release party was held in Los Angeles, where numerous artists for whom Dilla had made beats, including De La Soul, were on hand.

The sudden death in March of Professor X (Lumumba Carson), leader of the Afrocentric political rap group X-Clan, sent shock waves throughout the community. His death was especially hard to accept because many had seen him at a media reform demonstration just three days earlier, where he had spoken about his determination to step up his activism and resurrect the Blackwatch organization founded by his father, Sonny Carson.

In addition, the members of X-Clan had patched up differences that had kept them apart for more than 10 years. They were set for a surprise reunion. The week Professor X died, he was supposed to visit California to shoot a video with group members Brother J and Paradise. This coast, particularly the Bay Area, had special meaning for the group because it was the first to embrace and champion the music of X-Clan, originally based in Brooklyn.

The fact that Professor X died of spinal meningitis made headlines in New York. The Professor X case underscored the music industry’s dirty little secret: Despite the billions of dollars the industry generates annually, most musicians do not have health insurance.

Weeks after these deaths, the hip-hop community was shocked to hear about the shooting death of Eminem’s best friend, Proof, leader of the group D-12. The charismatic Proof (who played the man who gave Eminem his start in the movie “8 Mile”) had announced that he was working with other artists on a tribute album for Detroit’s J-Dilla. Sadly, people are now doing a tribute album for Proof.

Over the past two weeks, California has lost three hip-hop legends, two of them on the same day. One was DJ Dusk, who spun frequently at Bay Area functions. Dusk was also a political activist in the area of education. He died two weeks ago, when he was hit by a drunken driver in Southern California as he walked a girlfriend to her car. According to witnesses, Dusk pushed the woman out of the way but was struck himself and dragged 80 yards. His selfless act speaks volumes about the kind of man he was.

His death was widely mourned in tributes around the country. He was so well loved that hip-hop pioneers Afrika Bambaataa, Kool Herc and Jazzy Jay made rare joint appearances in New York, Los Angeles and the Bay Area, where Dusk had his biggest followings. They visited San Francisco last weekend to do a tribute and raise money for Dusk’s family.

On the day that DJ Dusk was killed, Michael “Mixin’ ” Moore, a pioneer in hip-hop radio in L.A., died at age 46 from heart failure. Best known for his Militant Mix, fusing speeches and news clips over popular instrumentals, he also is credited with inventing the 5 o’clock Traffic Jam, a mainstay on commercial radio around the country.

While the hip-hop icons were paying tribute to DJ Dusk last weekend, rap legend Skeeter Rabbit of the pioneering dance group the Electric Boogaloos died. He was an innovator in “strutting” and “popping” and was no stranger to the Bay Area, where he participated in numerous competitions.

On Saturday may 20th there will be two seperate tributes and funerals for Skeeter Rabbit and Michael Mixxing Moore

With all the deaths, many in the hip-hop community have taken time to reflect. Since no one is promised tomorrow, we must learn to appreciate what we have today. Digital Underground’s “Heartbeat Props,” which encourages us to honor the living, rings especially true these days.

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Breakdown FM-Professor X was Vanglorious

In Remembrance of Professor X

original article-March 18 2006
Check out this special Tribute Mix we did in Memory of the Late Professor X .
Special Shout out to Paradise the Architect of X-Clan


By now folks may have heard the news about the sudden passing of Professor X of X-Clan.. I got off the phone with Brother J who was the lead rapper of this legendary group who delivered the sad news. We believe he died from spinal menegitas.. Tonight there will be a special tribute to Professor X on Divine Forces Radio 90.7 KPFK starting at 10pm if you are in Los Angeles. Brother J will be on as well as Paris..

 The passing of Professor X is sad indeed.. For those who are unfamiliar with Professor X please read the statement released by Afrika Bambaataa… X was the guy who coined the phrase “Van Glorious This is Protected by the Red, The Black and The Green“…What’s so sad and crazy is that nowadays when you talk about Professor X to today’s younger Hip Hop audience, they immediately think of the guy from the comic X-men..

Professor X aka Lumumba Carson was a good cat..who will be missed…

Davey D


Professor X Was Vanglorious
by Wendy Day

I received an email from Afrika Bambaataa and Yoda today saying that Professor X had passed. I rushed over to allhiphop.com to see what happened to him. They confirmed Lumumba Carson passed from Meningitis. I am devastated.

In 1992, I started Rap Coalition out of pure disgust after seeing how my favorite rappers were treated– specifically, Eric B and Rakim, and X-Clan. In the late 80s and early 90s, these were my favorite rappers.

Lamumba Carson was great because he stood for something. He had something to say and he said it. He was the son of New York based (now deceased) activist Sonny Carson (how difficult it must be to be the son of someone so driven, focused, and important to humanity). Lumumba always rose to the occasion.

I always avoided meeting Professor X and Brother J (who, together, comprised X-Clan and heavily promoted the organization Black Watch), out of fear that they may not be what their image portrayed. At that point, I had met so many of my rap heroes and been disappointed in the past because of the diachotomy between image and reality (a painful lesson for someone devoting a career and life to helping her heroes for free).

I found that J and Lumumba were serious about what they were accomplishing. And while I found Professor X to be human with all the human frailties (thank God!), over the years I have found both of them to be exactly who they portrayed themselves to be–strong Black men, loving and caring for a race of people often too tired to fight for themselves. They were not hypocrites like soooo many others.

Like most rappers, and certainly like the majority of rappers from their generation, they did not make much money from their art form. In fact, they had the further degradation of watching others become wealthy on what they built, and on their art form (a BIG @#%$ you to Lou Maglia and 4th and Broadway).

I just spoke with Lumumba for the first time last year. I had received an email that was making fun of him because he listed himself on eBay, and was auctioning off “a day with Professor X” to the highest bidder. How he must be struggling financially to do something like that, I thought to myself. I became the highest bidder. The fact that I could barely afford to pay my rent at the time did not enter my mind. I was determined to buy a day with Professor X.

He ended the auction before the final deadline (doesn’t matter, I would have won regardless) because of the hateful emails circulating on the web about him putting himself up for auction. I was disgusted by the reaction. It was a f*cking lunch date with Professor X. Had it been Justin Timberlake for a charity, no one would have said @#%$. But a hungry man was not supposed to eat this way, I guess.

Somehow others who have made a career from (read: pimped) Hip Hop had the right to say what was acceptable or not for one of the Legends. All of a sudden, people making money critiquing what others create had the power to say what was the proper way for Professor X to make income. It pissed me off beyond words. I received disrespectful, opinionated emails from self-appointed authorities asking me why I supported such a gimmick. I got emails from fake-ass Hip Hop “journalists” spewing negativity and condescention without having all of the facts. I was disgusted with our community for not supporting Professor X and everyone else like him who needed our support and got jeers instead.

Lumumba called me. He knew who I was. He was excited that I had been bidding on his post. I had the opportunity to tell him what he meant to me. I told him how he influenced me to go down the path I am on without ever having met me. Now THAT’S power. He shared with me some of his industry expereinces and his hopes and dreams.

The price for Lumumba was high on eBay. Not high financially, but high in negative reaction, high in lack of support, and high in the realization that this unforgiving industry has no love for those who have come before when the @#%$ VH-1 cameras aren’t running. I think my last bid was under $100. I would have bid $1,000.

We quietly disrespect our artists for not being Billionaires, and then we disrespect them if we perceive them to “sell out” (read: earn a living). They can’t win. We bemoan artists today for selling misogyny, crime, violence, and materialism, but we didn’t support the ones who had a positive message once they were no longer perceived to be “hot!”

And God forbid they try to earn a buck on eBay selling the opportunity to spend time with them before they pass.

I wanted to spend a day with Lumumba. He would not take my money. We spoke at length about the industry and Afrocentricity. We discussed his father and his legacy. We discussed a lot. It was the first, and last, time we spoke.

I never got my day with Professor X. But what I did get was far more priceless. I got the real Professor X, and he is and was what he always said he was. He was REAL. And he loved people. Especially Black people. He will sorely be missed!

Please understand if the next time you see me I am stomping in my big black boots.


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To the East Blackwards-The Story of X-Clan

The story of  X-Clan
To The East, Blackwards
(1990, 4th & Bway)
by Brian Coleman
March 16 2006


When a young New Yorker named Lumumba Carson became immersed in the hip-hop world of the mid-’80s to help bring the sound to even more of the masses, his family wasn’t happy about it. But it had nothing to do with fears that he was staying up too late, out partying. Lumumba’s situation was a different one, since his father was Brooklyn-based black nationalist leader Sonny Carson.

 The pro-black side of my world thought I was stumbling from my mission in life,’ says Lumumba, aka Professor X, today. ‘I wasn’t being appreciated by them. I was torn between two lives.’ Elder Sonny eventually came to realize the power of hip-hop in spreading black nationalist thought, after his son formed X-Clan, who released their funky, intelligent and powerful debut in 1990. Their Blackwatch crew (with Isis, Unique & Dashan, Queen Mother Rage and others) came before the X-Clan, and it was much more than a fan club. X explains: ‘I always watched how music groups became successful and I knew that fanbase was very important. My idea was to make our fan club base into a movement.’

The seeds for the four-member X-Clan ‘ rapper Brother J, DJ Sugar Shaft and producers/elders Professor X and Grand Architect Paradise ‘ were planted when X and Paradise met in the mid-’80s, introduced by Russell Simmons’ right-hand-woman Heidi Smith. At the time Paradise was working a computer job in Rush Management’s first offices on Broadway, and X was interviewing Rush clients there for a radio station in Detroit, also road-managing Whodini.

Eventually Paradise began managing the famed Latin Quarter club in midtown Manhattan and the two friends started a management company called Scratch Me Management, working with artists like Stetsasonic, King Sun, Just Ice and Positive K. Their touch spread over much of the New York hip-hop world during the years 1985 to 1987. ‘We were very serious when we did X-Clan,’ says Paradise. ‘We were really trying to do something new, after being instrumental in the careers of so many other cats. Back then we knew everybody in hip-hop, but once we focused on X-Clan we kind of became reclusive, because we wanted it to work.’

In 1985 Paradise and X had met two young men who would complete X-Clan as a foursome, although they didn’t know it at the time. ‘I first met Sugar Shaft at the Latin Quarter, and Brother J was his best friend,’ recalls Paradise. ‘But back then we hadn’t ever even heard J rap. His affiliation with us was just as one of the young brothers in the [black nationalist] Movement.’ Sugar Shaft was a DJ on the rise back in the early days, and a member of Red Alert’s Violators crew. Brother J soaked in the teaching of elder Black Nationalists and also continued to perfect his MC skills. But J’s skills got pushed to the side for a year or more, because of the fact that X and Paradise were working with so many other top-level MCs at the time. In 1987, Paradise recalls taking J and Shaft to Ced-Gee’s ‘Ultra Lab’ home studio in the Bronx, where they cut a demo for a song called ‘It’s a Black Thing.‘ With the beginning of Blackwatch, put in motion with Unique & Dashan’s debut album Black To The Future in early ’89, their plan to start X-Clan was about to hatch.

After many passes through the A & R maze of Island Records and its hip-hop subsidiary 4th & Bway, X-Clan were signed for a single deal, directly by Island founder Chris Blackwell. Releasing the powerful double a-sided single ‘Raise The Flag’ and ‘Heed The Word of the Brother’ in 1989, the group became actively involved in the much-publicized ‘Day of Outrage and Mourning’ to protest the killing of Yusuf Hawkins in Brooklyn’s Bensonhurt neighborhood in August of that year. 4th & Bway knew they had a firebrand group on their hands, in certain ways akin to the controversial and popular Public Enemy, and they signed them for a full album. To The East, Blackwards was recorded in one month’s time and put on a full-steam-ahead promo track by the label.

Perfectly described by the opening track’s title, ‘Funkin’ Lesson,’ the album mixed bouncing old-school funk samples with pro-black words of wisdom, perfectly and powerfully expressed by the muscularly-voiced Brother J. Professor X offers this distinction for those who grouped X-Clan and Public Enemy, two different sides of the same struggle, in the same boat: ‘Public Enemy should always be protected, so don’t misunderstand me. But their message, what it was and how it was delivered, just seemed so complicated. We felt that blackness was easier than that. If you were a brother or sister in Brownsville, it was right up under your nose. You only needed to talk to your grandmother to know how proud you were supposed to be and who you were.’

 Although it didn’t contain any crossover smash singles to push it into sales nirvana, the album put X-Clan at the front of the list of groups addressing black struggles in cities around the world, and for that they are still respected today. Professor X says, looking back: ‘I didn’t think the album would explode like that, right away. I had planned on a two-year development process, over probably two albums. But all we needed was one. Everything that happened back then was much more than we could have ever dreamed of.’X and Paradise lovingly drive their 1959 pink Caddy past selected tracks from their debut:

Funkin’ Lesson

Paradise: We definitely combined our message with some funky music. But that’s a pretty obvious thing, since people don’t respond to @#%$ if it ain’t hot, whether there’s a message or not. We were all about walking the walk, not just talkin’. We just really wanted to be funky and put the lesson in the funk. That’s what the song was about. We were trying to redefine something, and have more culture in the music.

Professor X: I was a funk-head from back in the day. That was my contribution to our earliest music. The George Clinton vibe we brought. I mean, who would have thought that the funk explosion in hip-hop started from a group in New York! At heart we were just some funky niggas, trying to connect anything we were saying politically, to funky music. It was just natural for us. It all fell into line, we all clicked into that George Clinton spirit.

Grand Verbalizer, What Time Is It’

X: The ‘crossroads’ I mention in that song, and in other places on the album, was very important to us. We wanted to give recognition to all those who didn’t know where they were at in life. It was the point in their lives where they were trying to get clear. We were drawing a picture where you were at so you could make decisions. And decisions start at the crossroads, and you’re protected there.

Tribal Jam

Paradise: A lot of people take Brother J for granted as a rapper. A lot of the things that he said were things that we or our elders lived personally. Everything we wrote came from the cultural experience of black people. It was all real. And we used the music to build a strong movement.

A Day Of Outrage, Operation Snatchback

X: The Day of Outrage was the day when the Brooklyn Bridge was taken by 20,000 or 30,000 people, with Reverend Al Sharpton. That song is about how we were there [in Bensonhurst], fighting for the right of recognition. We were also deeply involved in the protests in Crown Heights, later on [in 1991].

Verbal Milk

X: Ah yes, the Pink Cadillac! I mention that on that track, don’t I’ We wanted to tell people to celebrate themselves. When I think of a Pink Cadillac I think of my uncles, who were from South Carolina. Those guys had a Caddy every year. It meant something to them. We were talking about a 1959 pink Caddy because it represented a point in time. Once the elders saw that we were talking about that, they knew that we recognized the transition between a certain kind of negro into a certain kind of black man. We wanted to celebrate the Caddy, too, because we had a little pimp in our crown. We got style from that. It was a metaphor. We wanted to celebrate things that some black people wanted to hide. Corn bread, grits. In every video of ours, Sugar Shaft is eating something. Chicken or watermelon. We love that food and there’s no reason to be ashamed of it, in fact totally the opposite!

Shaft’s Big Score

Paradise: Shaft [who passed away in the mid-’90s] was my best friend. He was quiet and funny and an incredible DJ. Very quite and peaceful. A couple times when I was down he even bought pampers for my kids. Food, whatever. He was amazingly generous and we all really miss him.

X: Each person in the group was a piece of madness, that you’d never believe could get along with the other three [laughs very loudly]. You’d never think we could be in a room together. And that’s why it was magic together, too. Sugar Shaft had such an energy! We had to buy him new Technics turntables every two weeks because he destroyed them, just doing his cuts. They would literally be no good to anybody after he was through. He would sweat so much when he cut, too. He just had so much inward energy. He also cut with his left hand, so he’d have to cross one arm over the other. I think that Shaft’s influence is where the bounce in our music came from. We miss him. That particular track, which features Shaft’s DJ skills, was a very hard track to do, because back then there was no automation. We had to do it over many times to get the punches in there correctly. We heard Terminator X’s tracks and we wanted to counter them, on that level. Because we respected him so much. We all motivated each other in that way.

Raise The Flag

Paradise: That song was actually originally signed to Warlock Records, before 4th & Bway. They loved that demo we did so much that they gave us money right there on the spot with no contract. So we took that money and used it to record an album for the group Uneek & Dashan who we were managing at the time. Warlock ended up signing them and Isis, too, and then we went to 4th & Bway after paying Warlock back. Basically, once we started recording the first 6-7 tracks for X-Clan, we didn’t think that Warlock could do enough with it. We needed something bigger. That was the first studio song that we did. I got that sample from a neighbor of mine in Crown Heights. She heard Run-DMC blaring through my walls and instead of yelling, she wanted to hear more about them, and borrowed the album from me. Then one I day I heard that Roy Ayers ‘Red, Black and Green’ song blaring through * her * walls. She had a crazy loud system that put mine to shame. She was a jazz lover more than hip-hop. So I banged on her door and asked her what the hell that music was.

 X: That was our first single, the song we got signed to 4th & Bway for. When the single came out in 1989 it didn’t do good in New York, even though we had stuff like my father [Sonny Carson] putting us on a float during the David Dinkins campaign [for mayor of New York]. After two or three months there was nothing going on with the record. And we went to do a show in Detroit, with I think Kwame and Special Ed, in front of like 5,000 people. It was a talent show, I think. We went out on stage after those guys finished and the place went CRAZY, which was big news to us. So much so that they had to bring in the police to calm things down. I don’t even think that 4th and Bway knew we was that big in Detroit.


 Heed The Word Of The Brother

X: We had ‘Raise The Flag’ done and ready to go as a single but we felt that we needed something even stronger to go along with it. That was the beginning of me making enemies at the record company. They didn’t want a b-side and they just wouldn’t do it. So we financed ‘Heed The Word’ on our own, all the way through the mastering. I was right about it and the record company was wrong. It was a perfect example about how they didn’t even know what they had. On that track, other people, like Heavy D and De La Soul, had used that music already. So we made our song even stronger than what they had done. We called the 45 King and he put a string of horns at the end of the beat, and that’s why ours is different.



Paradise: That was the only song that anybody outside of X-Clan ever collaborated on with us, as an outside producer or artist. Mark the 45 King made the beat, and I produced the song. I put in the hook, and the ‘Flashlight’ stuff in the intro.


In The Ways of the Scales

X: That is definitely one of my favorite tracks on the album, if not my #1 favorite.

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