Archives for 2009

The Spin of Reality Radio-Lisa Fager Takes on Cathy Hughes

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The Spin of Reality Radio
by Lisa Fager, Industry Ears 

Lisa Fager of Industryears breaks down many of the arguments put forth by Cathy Hughes of Radio One. Personally i am in opposition to her support of HR 848 and will hit this in a future column

Lisa Fager of Industryears breaks down many of the arguments put forth by Cathy Hughes of Radio One. Personally i am in opposition to her support of HR 848 and will hit this in a future column

Cathy Hughes, founder of the  Radio One media conglomerate, calls it “Reality Radio”.  In actuality, it’s a series of brief monologues describing her fierce opposition not only to House Resolution 848 – the Performance Rights Act – but also to the Black members of Congress who support it.

And what, exactly, is her “reality”?  That HR 848 – the Performance Rights Act recently introduced in the United States Congress – “could put many black owned radio stations out of business.  And force others to abandon their commitment to provide free music, entertainment, news, information, and money losing formats like gospel.” Unfortunately, this couldn’t be further from reality.

Plainly put, HR 848 will allow performers to get paid when their songs are played on the radio.  The United States is among only a handful of nations — including China, North Korea and Iran — that do not pay royalties to performers. All other nations pay royalties to both the songwriter and performer of music.

Hughes has crafted arguments that lay out superficial reasons for why HR 848 is “not in the best interests of Black people”.  However, a closer inspection of her arguments indicates that the issue is much more complicated than Hughes makes it out to be.

“Reality Radio” claims that if HR 848 is passed, then “the RIAA will get paid and only half will go to artists.”

The truth: If “Reality Radio” has a problem with performance fees, then they should be working to increase the artists’ revenue.  If HR 848 is scrapped, as “Reality Radio” suggests it should be, then artists will get absolutely nothing.  The internet, cable and satellite radio stations already pay performance fees to artists.  What the Performance Rights Act will do is to stop giving special treatment to AM and FM radio by allowing them to play the artists’ music for free. 

 “Reality Radio” claims that HR 848 will “kill Black radio”.
 

The truth: Black radio was placed on life support long before the advent of HR 848.  It’s demise, ironically, began when large corporate entities like Radio One and Clear Channel began to consolidate what were once local radio stations and transform them into cookie-cutter templates.  Additionally, stations with less than $1.25 million in annual revenues — which is 75 percent of all stations nationwide — would pay just $500 a year for all the music they play. Smaller stations would pay $100 a year and public radio, college radio and nonprofit religious radio stations would pay less or nothing. 

“Reality Radio” also argues that defeating HR 848 will “save black radio”. 

 The truth” this is such a contradiction, it isn’t even funny.  Urban radio is the most syndicated format in radio and no longer serves local communities.  For every city in which syndicated programs like the Tom Joyner Morning Show or the Michael Baisden Show airs, that is a city that keeps its local talent unemployed during the hours that these nationally syndicated shows are on the air.  That doesn’t sound like its saving local Black radio to me.  In fact, it’s actually helping to eliminate local news and public affairs programming.    The radio efforts around Jena 6 were commendable; however we have had many more “Jena 6”, Ravaugh Harris’, Sean Bells and Oscar Grants since then, but lack access to public airwaves to mobilize and inform local communities.  How about a Save Black Communities campaign?

As social justice and media activists, Industry Ears is certainly no fan of either the National Association of Broadcasters (NAB) or the very influential RIAA.  However, the reality is that performing artists must be taken care of if we want to remain entertained by their music.  It is illogical to think that the RIAA wants the radio industry – especially Black urban radio – to go belly up.  This notion is just nonsense because radio helps sell records and records help sell radio. 

On July 9th, Congressman Conyers will hold a hearing on HR 848.  People need to become more informed about this important piece of legislation and make up their own minds on whose interests are best being served by it.

Paul Porter, co-founder Industry Ears will testify on HR 848 and radio consolidation at tomorrow’s Judiciary Hearing 10am @ Rayburn

source: http://www.industryears.com/blog.php?subaction=showfull&id=1247069265&archive=&start_from=&ucat=2

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Philadelphia Private Swim Club Forces Out Black Children

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Philadelphia Private Swim Club Forces Out Black Children

Update: The public email and phone number for The Valley Swim Club is 215-947-0700 and info@thevalleyclub.com. The President of the club is John Duesler.

In 2009 and the age of Obama we still have blatant discrimination as Black kids in Philadelphia were told they would pollute the water if they swam at a private club

In 2009 and the age of Obama we still have blatant discrimination as Black kids in Philadelphia were told they would pollute the water if they swam at a private club

NBC reports that more than 60 African-American campers from Northeast Philadelphia were turned away from a private swim club because — according to John Duesler, President of The Valley Swim Club — “there was concern that a lot of kids would change the complexion … and the atmosphere of the club.”

It may surprise some Americans to learn that not only do certain private clubs still refuse to admit African-Americans, women, and gay people, but that this kind of enrollment discrimination is considered perfectly legal.

While the total number of private clubs is unknown, there are around at least 4,000 private golf clubs, according to Golf Digest. Of course, since these clubs are private, their exact enrollment standards aren’t part of the public record, so there is no way to know for sure if they discriminate against ethnic minorities, women, or homosexuals. Furthermore, even if they do adopt official “white males only” policies, these practices are considered “legal” in some jurisdictions, though many clubs have been sued for discrimination.

Because of the shroud of secrecy surrounding enrollment at private clubs, these discriminatory practices usually only come to light when the media catches a prominent politician on the fairway. Katon Dawson, South Carolina GOP chairman and former candidate for the RNC chair, was forced to resign from the Forest Lake Club after members made public the fact that the club has a whites-only restriction and no black members. Then there was Saxby Chambliss (R-GA), who hosted a golf fundraiser at a whites-only club back in 2000 along with then-lawmakers Bob Ney and Tom DeLay.

Back in 1992, Bill Clinton was accused of attending an all-white private golf club, though Mark Grobmeyer, the Little Rock lawyer who played at the club with Clinton, denied there was a “no blacks” policy. Why were there no black players then? Mr. Grobmeyer replied, “None have applied.”

President Kennedy was once challenged by future Supreme Court Justice Arthur Goldberg, over his membership at the Links Country Club because the club excluded Jews from membership. President Kennedy reportedly chuckled and replied, “Hell, Arthur, they don’t even allow Catholics.”

This recent case of discrimination at the Philadelphia club is merely a continuation of discriminatory admission standards. Such official bans on non-Anglo Saxon men may seem superfluous considering outrageous membership fees are usually enough deterrence to keep non-white people off the golf courses and out of the pools, but when The Creative Steps Day Camp managed to pay the $1900 for their young campers to enter The Valley Swim Club, the staff resorted to drastic measures.

“When the minority children got in the pool all of the Caucasian children immediately exited the pool,” Horace Gibson, parent of a day camp child, wrote in an email. “The pool attendants came and told the black children that they did not allow minorities in the club and needed the children to leave immediately.”

Remarks like that make it difficult to remember that it’s 2009. According to attorney Benjamin Leedy, another shameful episode occurred a little over a decade ago when Hall Thompson, founder of the all-white Shoal Creek club in Birmingham, AL (site of the 1990 PGA Championship,) declared that his club would not be pressured into accepting African-American members. “This is our home, and we pick and choose who we want,” he said.

Leedy cites another recent example in 2003 at the Augusta National Golf Club, home of the Masters, where Martha Burke, head of the National Council of Women’s Organizations, demanded that the club allow women to become members. Hootie Johnson chairman of Augusta National, responded “There may well come a day when women will be invited to join our membership, but that timetable will be ours and not at the point of a bayonet.”

In 2001, Birgit Koebke and Kendall French, a lesbian couple registered as domestic partners under the California Domestic Partner Rights and Responsibilities Act of 2003, sued Bernardo Heights Country Club alleging that the club discriminated against them on the basis of sexual orientation. The club’s membership privileges were only available to members’ spouses and children, but not to members’ domestic partners. In 2005, the California Supreme Court concluded “that since, under California law, registered domestic partners have rights equivalent to legal spouses, the question of whether the club’s practice of granting playing privileges to members’ spouses but not to members’ registered domestic partners constituted unlawful discrimination under California’s anti-discrimination law must be left to a jury decide.”

This most recent case of discrimination in Philadelphia is particularly sinister because it involves banishing children. “I heard this lady, she was like, ‘Uh, what are all these black kids doing here?’ She’s like, ‘I’m scared they might do something to my child,'” said camper Dymire Baylor.

What a terrible lesson to teach two children — one white and one black. The white child learns to fear those who are different from them. The black child learns there is something “wrong” and “dirty” about their very existence. Hopefully, another more enlightened swim club will welcome the campers from The Creative Steps Day Camp, who are now looking for a place to keep cool during the summer.

Cross-posted from Allison Kilkenny’s blog. Also available on Facebook and Twitter.

Follow Allison Kilkenny on Twitter: www.twitter.com/allisonkilkenny

source: http://www.huffingtonpost.com/allison-kilkenny/philadelphia-private-swim_b_228253.html

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Big Beef in Congress: Shelia Jackson Lee vs Peter King Over Michael Jackson

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Big Beef in Congress: Shelia Jackson Lee vs Peter King Over Michael Jackson

Texas Congresswoman Sheila Jackson Lee wants Michael Jackson to be honored and his set to battle dipshit Congressman Peter King

Texas Congresswoman Sheila Jackson Lee wants Michael Jackson to be honored and his set to battle dipshit Congressman Peter King

*Rep. Sheila Jackson Lee of Houston took the stage at Michael Jackson’s public memorial on Tuesday and pushed for a House resolution that would officially honor the King of Pop “forever and forever and forever and forever and forever.”      

 But if some on Capitol Hill have their way, the resolution will never even see tomorrow.      

Introduced on June 26, the day after Jackson’s death, House Resolution 600 lists several charitable acts by the singer over his long career and proclaims him as an American legend, musical icon and world humanitarian.

 While holding up a framed copy to enthusiastic applause from the Staples Center crowd, the Texas Democrat gave folks a taste of how the measure will be debated on the House floor.

“We understand the Constitution. We understand laws and we know people are innocent until proven otherwise. That is what the Constitution stands for,” Jackson Lee said, of course referring to Jackson’s past allegations of child molestation. 

The assertion was brought up in recent days by New York Republican congressman Pete King, who called Jackson a “pervert, child molester, pedophile” in a video he posted on YouTube.

Without mentioning King by name, Jackson Lee reminded everyone that Michael Jackson was acquitted of child molestation charges, and criticized those who “don’t understand the hearts of entertainers” and “don’t know how they heal the world on behalf of America.”

After Jackson Lee’s speech at Jackson’s service, King vowed Tuesday to do “whatever I have to do” to oppose the legislation.

According to the Associated Press, the Michael Jackson resolution is currently sitting in the House Foreign Affairs Committee, of which Jackson Lee is a member and King is not.

Usually, non-controversial resolutions honoring a person who has died or carried out a noteworthy accomplishment move quickly from committee to the House floor and then pass on a voice vote. An opponent could ask for a recorded vote, which then requires a two-thirds majority for passage. So far, Jackson Lee’s resolution has just one co-sponsor, Rep. Diane Watson, D-Calif.

 In noting the pop icon’s humanitarian efforts, Jackson Lee said he visited her Capitol Hill office in 2004 to discuss a tour with African ambassadors that would raise money to fight AIDS.  But his child molestation charges at the time prevented him from leaving the country without a court order. Jackson Lee also mentioned Jackson’s visit to wounded veterans of the Iraq war at Walter Reed Hospital while in Washington.

 

 

source: http://www.eurweb.com/story/eur54547.cfm

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Why the new Webcaster Royalty Deal w/ Sound Exchange Stinks

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“Pureplay” Webcasters Settlement Still Stinks
Posted: 08 Jul 2009 12:02 AM PDT
By Jerry Del Colliano

Jerry_Colliano-225SoundExchange, negotiating for the record labels, and webcasters struck a compromise announced yesterday that defines more reasonable royalty payments for a longer period of time — 2006 (retroactively) to 2015.

There’s no doubt that the compromise is better than the Copyright Royalty Board’s initial verdict that would have seen webcasters paying the labels virtually 100% of their revenue or more.

Hey, that kind of makes 25% — one quarter — look good, right?

Not so fast.

If webcasters were dead with the last iteration of SoundExchange’s taxation, they are only half dead now.

Dead nonetheless. Life in prison instead of death by lethal injection.

If you haven’t seen the nuts and bolts of this compromise forced by Congress and signed by the President, Kurt Hanson is my go-to man on these kinds of issues.

The compromise doesn’t cover terrestrial radio streams and broadcasters should be on their knees thanking God for that. Not that terrestrial streaming has much of a future in webcasting. It’s just that radio has enough problems already.

Kurt outlines the three main benefits for those who choose to swallow this bitter medicine:

1. It cuts the CRB per-performance rates for 2007-10 by approximately a third to a half.

2. It establishes per-performance rates for 2011-15 — with annual increases, to be sure, but nowhere near as huge as the kind of annual increases the CRB was coming up with, and without the risk and expense of participating in another CRB proceeding for that period.

3. And it gives smaller webcasters a chance to grow into these rates — with a “percentage of revenues” royalty rate for a webcaster’s early years (about 14% until they hit $1.25 million in annual revenues, and 25% for about a year thereafter). (Note, however, that this provision expires at the end of 2014.)

Expect to keep more records — and I don’t mean vinyl.

Webcasters would have to provide SoundExchange with census reports — actual tunes played and total listenership — and retain server logs for a minimum of four years. And smaller webcasters can pay a “proxy” fee, skip the paperwork and be poorer yet.

This compromise stinks.

It’s barely a compromise if the net effect of it is to hamstring a potential growth industry that is beneficial to the labels.

I say that because the record industry is holding music discovery hostage by taxing businesses that actually promote their songs and artists.

And if you think paying up to 25% of your revenue is a good deal, I wonder if the labels would like to pay up to 25% of all their revenue to webcasters or radio stations in return for the privilege of exposing their artists.

Congress and your local music label — local to Washington — have ganged up on entrepreneurs who want to fully utilize the Internet for one of the things it does best — music discovery.

So, Pandora may opt for these new rates but it’s a bad deal for them — remember, 25% is the starting maximum and rates will go up.

This fish stinks the longer it’s on paper.

The labels have effectively killed off their own business by not buying Napster when it could — opting to sue it instead and encouraging clones.

Trying to tax radio stations even though every young person knows radio stations are the last place to go to discover new music. Let’s be honest.

If the labels could have gotten this deal in 1950 for radio airplay, they would have killed off their golden age of manufacturing vinyl and keeping all the profits. And after all, the record labels were the ones who screwed the starving artists they now romanticize as they lobby away.

Now the labels — through SoundExchange — have the momentum. They are getting their way. Instead of flat out killing off the webcasters of the future, they’ve hog-tied them.

Celebrate if you must, but there’s very little to be happy about.

Any agreement that starts — starts — by taxing the webcasters on one-fourth of their revenue over $1.25 million is a no-win for all parties.

Webcasters can’t sell enough Google AdSense to be viable and if they could, their viability just decreased when they accepted this offer of Hemlock from the labels.

Webcasters might argue that they were under a deadline to come up with an agreement or else have the terms decided for them. That is true.

But my answer is — if the agreement doesn’t work for webcasters, come up with another business.

Feature only music that is rights free.

Music is free anyway to the next generation — look around and see how many young people actually pay for music.

Freeze out the labels from the webcasting world — let them have up to 25% of nothing.

A much smaller, more reasonable charge is prudent but in today’s economy accepting the “pureplay” compromise is tantamount to dooming an entire emerging industry.

If you want a business model, don’t look at the record labels to come up with it. Look at their record.

So, webcasters can survive but not thrive.

Pandora can continue.

This year Pandora will do about $30 million and right off the top, 25% of that goes to the record labels under this deal.

Some economic stimulus plan, eh?

source: http://insidemusicmedia.blogspot.com/2009/07/pureplay-webcasters-settlement-still.html

For those of you who would prefer to get Jerry’s daily posts by email for free, please click here. IMPORTANT: Service cannot start until you verify an email from “Feedburner” immediately after you sign up (may have to check your filtered mail).

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Chuck D & Funk Expert Rickey Vincent Speak on the Music & Political Legacy of Michael Jackson & the Jackson 5

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logo-History-of-funk-Jackso

Listen to the History of Funk pt 1-retrospective look at Michael Jackson & the Jackson 5

1-Breakdown FM-History of Funk pt1-Michael jackson & the Jackson 5

2-Breakdown FM-History of Funk pt2-w/Chuck D How MJ influenced Hip Hop & Politics

 
Professor Rick Vincent-author of History of Funk drops a lot of insight about the musical legacy of Michael Jackson  and his brothers

Professor Rick Vincent-author of History of Funk drops a lot of insight about the musical legacy of Michael Jackson and his brothers

Michael Jackson and the Jackson 5 are considered steller musicians and entertainers who changed the game in major ways. Oftentimes when we speak of them they are presented as if they came out of nowhere and their musical prowess came out of a vacuum. We wanted to give people some deeper insight into their music and what it meant to Soul, Funk and the Black community.

We sat down with Professor Ricky Vincent aka the Uhuru Maggot, author of the landmark book The History of Funk. We sat down and walked through the history of MJ and the Jacksons and talked in depth about their influences ranging from James Brown to Stevie Wonder. We talked in depth about their roots including how MJ and his brothers grew up in Gary, Indiana. We talked about the important role Gary played in Black America, both in terms of having one of the country’s first African American mayors and the 1972 meeting by Black folks to set a nationwide agenda.

We talked about their father Joe Jackson and who he is and how he spent alot of childhood and teenage years in Oakland, California. Vincent talked about the vibrant blues scene that was in full gear when Joe jackson was around in West Oakland and how that may have been a foundation for his musical ambitions.

We spoke about Michael Jackson and his dancing history. We talked about his signature moves ‘The Robot’, The Moonwalk and locking and noted how these were popular dance styles well known in various hoods throughout California for years prior to Michael introducing them to the rest of the world.

We talked about the struggles the group had when MJ’s voice changed and how Motown executives wanted them to follow a particular pop formula while the group pushed to establish a new sound that was more soulful, funky and contemporary. Eventually the tension became so great that the group left Motown and joined Epic. Because Motown owned the name The Jackson 5, the group changed their name to The Jacksons. Complicating their situation even more was the fact that older brother Jermaine married Berry Gordy’s daughter hence he went on to stay at Motown and do a solo career.

We talk about the influence James Brown had on Michael and how he went out and pretty much adapted much of Brown’s delivery, showmanship and overall style. We explore the music from that time period in the mid 70s and note how the group found themselves under the gun as they tried to keep up with icons like Stevie Wonder, George Clinton, Sly Stone, BT Express and an array of ‘child groups like the Sylvers who had bursted on the scene and were hitting hard.

Ricky reminded us of how George Clinton and his p-funk mob were in Detroit recording songs and that their style and influence was definitely felt. because he was connecting with the hood, the Jacksons were forced to step it up and become alittle more raw with their music.

We end this segment by highlighting the various musical directions the group took.

Here’s the link to part1

Breakdown FM-History of Funk pt1-Michael jackson & the Jackson 5

———————————————————————————–

Chuck D spoke about Michael Jackson's political side and how he influenced his love for Hip Hop

Chuck D spoke about Michael Jackson's political side and how he influenced his love for Hip Hop

In pt 2 we are joined by Chuck D of Public Enemy where we have an indepth discussion about MJ and his politics and how Chuck was introduced to Hip Hop via Mike.

Chuck talks about the important role legendary songwriters Gamble & Huff played in pushing Mike and his brothers. Author Ricky Vincent talks about how the message in the music is part of a much larger tradition within Black music.

Chuck D also talks about how some of Michael Jackson’s records which were used as breakbeats influenced him and made him embrace Hip hop more. In particular is the vintage cut ‘Music’s Taking Over’. Chuck also talks about the sample they used from MJ in the song By The Time I get to Arizona.

Chuck also talks about the important influence Michael Jackson had in the realm of videos.

We play lots of Jackson’s political songs as well as the cuts that inspired Chuck D.

We conclude the interview by talking about MJs War with Sony Music and Tommy Mottola, his charitable works and the importance of being named the King of Pop.

Here’s the link to pt 2

Breakdown FM-History of Funk pt2-w/Chuck D How MJ influenced Hip Hop & Politics

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Charges Dropped Against the SF8

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Mon, 6 Jul 2009 13:17:23 -0700>
http://www.indybay.org/newsitems/2009/07/06/18605916.php
Subject: [Freethe SF8] Charges Dropped – Jalil pleas no contest
Finally, after years of unified resistance by the brothers and a the
building of massive support, Califonia State prosecutors were forced
to admit that they have insufficient evidence against the San Francisco 8.

Charges against four of the defendants were dropped and Jalil
Muntaqim
pled no contest to conspiracy to commit voluntary
manslaughter. He received credit for time served (close to 2 1/2
years in County Jail) and 3 years probation. He will return to New
York to fight for parole.

The courtroom at 850 Bryant Street was packed with SF 8 supporters
after a rally of hundreds and a huge Free SF 8 banner was displayed
on the hillside of Bernal Heights to be seen from all over the city.

“This is finally the disposition of a case that should never have
been brought in the first place,” announced attorney Soffiyah Elijah.

Francisco Torres still faces a court hearing on August 10th.

A more in-depth story will follow.

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SF8-225

 

 

Chuck D & Funk Expert Rickey Vincent Speak on the Music & Political Legacy of Michael Jackson & the Jackson5

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logo-History-of-funk-Jackso

Listen to the History of Funk pt 1-retrospective look at Michael Jackson & the Jackson 5

1-Breakdown FM-History of Funk pt1-Michael jackson & the Jackson 5

2-Breakdown FM-History of Funk pt2-w/Chuck D How MJ influenced Hip Hop & Politics

 
Professor Rick Vincent-author of History of Funk drops a lot of insight about the musical legacy of Michael Jackson  and his brothers

Professor Rick Vincent-author of History of Funk drops a lot of insight about the musical legacy of Michael Jackson and his brothers

Michael Jackson  and the Jackson 5 are considered steller musicians and entertainers who changed the game in major ways. Oftentimes when we speak of them they are presented as if they came out of nowhere and their musical prowess came out of a vacuum. We wanted to give people some deeper insight into their music and what it meant to Soul, Funk and the Black community.

We sat down with Professor Ricky Vincent aka the Uhuru Maggot, author of the landmark book The History of Funk. We sat down and walked through the history of MJ and the Jacksons and talked in depth about their influences ranging from James Brown to Stevie Wonder. We talked in depth about their roots including how MJ and his brothers grew up in Gary, Indiana. We talked about the important role Gary played in Black America, both in terms of having one of the country’s first African American mayors and the 1972 meeting by Black folks to set a nationwide agenda.

We talked about their father Joe Jackson and who he is and how he spent alot of childhood and teenage years in Oakland, California. Vincent talked about the vibrant blues scene that was in full gear when Joe jackson was around in West Oakland and how that may have been a foundation for his musical ambitions.

We spoke about Michael Jackson and his dancing history. We talked about his signature moves ‘The Robot’, The Moonwalk and locking and noted how these were popular dance styles well known in various hoods throughout California for years prior to Michael introducing them to the rest of the world.

We talked about the struggles the group had when MJ’s voice changed and how Motown executives wanted them to follow a particular pop formula while the group pushed to establish a new sound that was more soulful, funky and contemporary. Eventually the tension became so great that the group left Motown and joined Epic. Because Motown owned the name The Jackson 5, the group changed their name to The Jacksons. Complicating their situation even more was the fact that older brother Jermaine married Berry Gordy’s daughter hence he went on to stay at Motown and do a solo career.

We talk about the influence James Brown had on Michael and how he went out and pretty much adapted much of Brown’s delivery, showmanship and overall style. We explore the music from that time period in the mid 70s and note how the group found themselves under the gun as they tried to keep up with icons like Stevie Wonder, George Clinton, Sly Stone,  BT Express and an array of ‘child groups like the Sylvers who had bursted on the scene and were hitting hard.

Ricky reminded us of how George Clinton and his p-funk mob were in Detroit recording songs and that their style and influence was definitely felt. because he was connecting with the hood, the Jacksons were forced to step it up and become alittle more raw with their music.

We end this segment by highlighting the various musical directions the group took.

Here’s the link to part1

Breakdown FM-History of Funk pt1-Michael jackson & the Jackson 5

———————————————————————————–

Chuck D spoke about Michael Jackson's political side and how he influenced his love for Hip Hop

Chuck D spoke about Michael Jackson's political side and how he influenced his love for Hip Hop

In pt 2 we are joined by Chuck D of Public Enemy where we have an indepth discussion about MJ and his politics and how Chuck was introduced to Hip Hop via Mike.

Chuck talks about the important role legendary songwriters Gamble & Huff played in pushing Mike and his brothers. Author Ricky Vincent talks about how the message in the music is part of a much larger tradition within Black music.

Chuck D also talks about how some of Michael Jackson’s records which were used as breakbeats influenced him and made him embrace Hip hop more. In particular is the vintage cut ‘Music’s Taking Over’. Chuck also talks about the sample they used from MJ in the song By The Time I get to Arizona.

Chuck also talks about the important influence Michael Jackson had in the realm of videos.

We play lots of Jackson’s political songs as well as the cuts that inspired Chuck D.

We conclude the interview by talking about MJs War with Sony Music and Tommy Mottola, his charitable works and the importance of being named the King of Pop.

Here’s the link to pt 2

Breakdown FM-History of Funk pt2-w/Chuck D How MJ influenced Hip Hop & Politics

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Cynthia McKinney released, returning to United States

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McKinney released, returning to United States

By RHONDA COOK, LARRY HARTSTEIN

The Atlanta Journal-Constitution

Sunday, July 05, 2009

cynthiamckinneypink-225Cynthia McKinney’s mom said she’s learned that her daughter is on the way home.

Leola McKinney said a friend who contacted the U.S. Embassy in Israel reported that the former congresswoman was released from Israeli custody and taken to Ben Gurion International Airport.

“We finally got word that she was released,” Leola McKinney said late Sunday afternoon. “We don’t know what time she is supposed to fly out. All we know is that they took her to the airport.

“I would be more relieved when I know she’s on the flight,” Leola McKinney added. “But I am relieved that she’s away from there.”

McKinney had been in custody since Tuesday, when she and 20 others were swept up by the Israeli Navy while allegedly trying to sail through a navy blockade. The group says it was attempting to deliver humanitarian supplies to Gaza.

McKinney and the rest of her group could have been released soon after they were taken into custody but they refused to sign a document admitting they violated Israel’s blockade, according to McKinney’s parents. The group was due to appear in an Israeli court Sunday.

Leola McKinney said she had no information about the court hearing.

Leola McKinney said she had not spoken with her daughter since shortly after she was taken into custody.

Cynthia McKinney and other members of the “Free Gaza Movement ” left Cyprus Tuesday on the Greek-registered ship Arion.

Their ship was stopped when they tried to pass through the Israeli Navy’s security blockade at Ashdod. The group was taken into custody and their ship was seized. Israel officials promised to deliver by ground all of the humanitarian supplies that were on the boat.

Family, friends and supporters say Cynthia McKinney believed she was in international waters and was free to pass.

“The Israelis hijacked us because we wanted to give crayons to the children of Gaza,” Cynthia McKinney said in a recorded statement delivered via telephone and posted on the internet site YouTube.

The office of the Consulate General of Israel in Atlanta said in a statement released Friday, “According to Israeli law Ms. McKinney and her fellow crew members were suggested to sign a form acknowledging their deportation… Since Ms. McKinney has refused to do so, she is expected to appear before an Israeli judge on Sunday, July 5, and afterwards be returned home as soon as possible.”

Civil rights leader the Rev. Joseph Lowery, head of the Atlanta-based Coalition for the People’s Agenda, said he and others have spoken by phone with the Consulate General of Israel.

“Whatever happened, there was no harm done,” Lowery said. “She was not carrying munitions, but medicine. We hope Israel will show compassion and release her and let her go on to deliver the much-needed medicine to the Gaza Strip. … If she were carrying guns, that would be a different thing. [But] she was carrying humanitarian aid.”

Israeli officials blame McKinney and her group for the controversy, saying they were looking for confrontation to attract publicity. The officials note that Palestinian Authority and the rest of the international community had agreed to the off-shore blockade to prevent arms smuggling into Gaza. Gaza is controlled by Hamas, which is classified by the U.S. and European Union as a terrorist organization.

Leola McKinney said the trip would have received no “publicity if they had been allowed to deliver supplies to Gaza. They [Israel] made an issue out of it by taking the boat and escorting them into Israel.”

Billy McKinney, Cynthia McKinney’s father and a former state legislator, said his daughter was only trying to show “the devastation in Gaza… Anybody who has a humanitarian spirit would not want to see those people live in those conditions.”

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The Missing BET Awards-Michael Jackson Video Tribute That Was Never Shown

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So here’s  something that was eliminated from last sunday’s BET Awards. its a video tribute put together by Frank Williams. He is from Oakland and a long time fixture in the Hip Hop scene. He was one of the first brothers to write for the LA Times– He’s been a long time writer for the Source and has been putting in work for BET. He put this video montage together for MJ but it never aired… You see this and all you can do is shake your head in disbelief.. Why would they not show this 3 minute clip..

According to Frank, the video wasn’t shown because Don Cornelius stayed on stage talking too long and some pieces got scraped. I say they should’ve went overtime. In fact this incredible tribute should’ve  started off the show.

Here’s what Frank wrote as his intro..

I AM P. FRANK WILLIAMS, CO-PRODUCER OF THE BET AWARDS 09! (THIS IS NOT A JOKE!) THIS IS A BET AWARDS MICHAEL JACKSON TRIBUTE I PRODUCED THAT NEVER AIRED CALLED “GONE TOO SOON.” 

THANKS TO THE HUNDREDS OF PEOPLE WHO RESPONDED TO MICHAEL JACKSON GONE TOO SOON VIDEO TRIBUTE! I AM COMPLETELY OVERWHELMED BY YOUR LOVE AND ADMIRATION. PLEASE KNOW I DID THAT PIECE TO HONOR A LEGEND. AND GOOD NEWS: YOU MAY SEE IT ON TV AFTER ALL NEXT WEEK! KEEP YOUR FINGERS IN YOUR WHITE GLOVE CROSSED. RIP MJ!

Here’s the missing piece.

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BET Denounces Lil Wayne & Drake Performance But Only to AHH

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So today after recieving news that  a whooping record breaking 11 million viewers checked in to watch the BET Awards this past Sunday night in anticipation of seeing a Tribute to Michael Jackson just 2 or 3 days after his death, BET has finally responded to all the criticism.  It responded by giving an exclusive statement to All Hip Hop where they denounce the performance of Lil Wayne and Drake.  An exclusive statement to AHH?  Wow.. there was no press release issued by Debra Lee or Stephen Hill.. There was no notification on their website BET.com as of 7:45 am PST… All I can do is shake my head..  Of course they do this on the day of our three day holiday when everyone is out and about..

In the meanwhile Drake has issued an apology of sorts. He says he regrets what happened and that the timing was poor. Thank you Drake for taking some sort of responsibility. You can read the BET apology below.. Shout out to the fam over at All Hip Hop.. Please do us a favor.. can you ask BET to exclusively apologize to all of us via their network? Also can y’all please ask them who made the call to put Drake and Lil Wayne on to do the song. Drake notes in his apology that they were being pressured to do the song. pressured by who? The Label? BET? Friends and family?

-Davey D-

Exclusive: BET Denounces Lil Wayne Performance, Drake Apologizes

By Houston Williams
BET CEO Debra Lee- Not sure if it was Ms Lee, but BET denounces Lil Wayne and Drake's performance at the BET Awards

BET CEO Debra Lee- Not sure if it was Ms Lee, but BET denounces Lil Wayne and Drake's performance at the BET Awards

BET has expressed remorse over a performance by Lil Wayne, Drake and Young Money Records that involved underage girls during songs “Best I Ever Had” and “Every Girl.”

The songs, which have overt sexual references, were performed during the Sunday BET Awards ’09 show as a bevy of young girls danced on stage. The group of girls consisted of Lil Wayne’s daughters and her friends.

In an exclusive statement, BET has responded to the criticism and the public outcry over the segment.

“BET Networks deeply regrets the performance by Young Money at the BET AWARDS ’09 (featuring Lil Wayne, Drake, Gudda Gudda and Mack Maine),” a BET representative told AllHipHop.com exclusively. “Elements of the performance were unplanned and should not have happened.”

In the aftermath of the show, many have expressed outrage over the outing by Young Money, which was set amid a show dedicated to the late Michael Jackson.

Activist and filmmaker Byron Hurt lambasted the network earlier in the week in an open letter to Debra Lee, the President and Chief Executive Officer of BET Holdings, Inc.

“In a culture where one out of four girls and women are either raped or sexually assaulted – and where manipulative men routinely traffic vulnerable women into the sex industry – it is not okay that BET allowed this to happen,” Hurt said. “BET owes its entire audience – particularly girls and women around the world – an apology for its failure to intervene.”

A representative said generally the company has found such opinions useful.

“We value and appreciate the feedback from our viewers and have edited Young Money’s performance for all BET Awards ’09 encore presentations.”

Drake has apologized and taken responsibility for the performance, admitting it was in poor taste.

Drake says he regrets what happened at the BET Awards. he says it was poor timing

Drake says he regrets what happened at the BET Awards. He says it was poor timing

“That…was a terrible idea that I’ll never do to myself again. But I was being pressed from different areas to perform, and I think what really happened at the BET Awards is with the passing of Mike, the climate really changed, as far as the award show goes,” he told Complex. “I don’t think it called for us to perform “Every Girl” and “Always Strapped,” and I think it was an award show filled with tributes and music and these genuine heartfelt speeches. And to sort of climax out of a very tongue-n-cheek point, and then people misconstruing Wayne’s daughters and her friends coming out on stage — it was just timed very poorly and it definitely wasn’t planned like that, but with that being said, it is what is. I believe in Wayne and myself and it’s nothing we can’t bounce back from. To anyone who was offended, my personal apologies, it wasn’t intended to offend anybody.”

An edited version of the show will re-air on Monday July 6. The BET Awards saw a 61-percent increase in viewers this year fueled by the sudden death of Michael Jackson. Ten percent of all turned on television sets watched the show Sunday, a remarkably high number

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