Black History Fact: When Hip Hop Took on Everything from Hollywood to Education.. Remember these songs?

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 Public Enemy meets Big Daddy Kane and Ice Cube

Burn Hollywood Burn.. This video speaks for itself.. An incredible song and video..

http://www.youtube.com/watch?v=k6MlwT1lBk0

http://www.youtube.com/watch?v=_BxBs4f4RIU

Grand Puba founding member of Masters of Ceremony and later Brand Nubian kicked off one of the dopes  songs about education I ever heard… Here he talks about what we’re being taught and how it has major impact did one of the dopest songs aboutt education & the pyschological effects of  racism..The name of the cut is called ‘Proper Education’ click link to hear:  http://bit.ly/cknaJy

In ’92 The Dismasters sampled Martin Luther King & did a Hip Hop version of Black Nat’l Anthem The name of the song was ‘Black and Proud’ …click link to hear:  http://bit.ly/bF1yuz

This is one of the most underrated groups to come out during the Golden Age of Hip Hop… They were Philly based 3xDope.. They had a cut I would rock all the time called ‘Increase the Peace’ where they sampled both Malcolm X and Martin Luther King.. It was the first time I had heard the two slain leaders in the same songs..  And incredible piece click link to hear: http://bit.ly/d4CtCO

My home girl DJ Chela from North Carolina turned me onto this song from her fellow North Carolinian .. Its from a dope artist named K-Hill.. The cut features lots of quotes from Malcolm X.. The song is called ‘My People’ click link to hear: http://bit.ly/bbv4JD

Erase Racism featuring Kool G Rap, Big Daddy Kane & Biz Markie.  

A land mark song that spoke honestly and scared folks half to death back in 199o

click link below to watch..

http://www.youtube.com/watch?v=aFUg6EuYEKk

Return to Davey D’s Hip Hop Corner

NYC Councilman Charles Barron being Dissed by Fellow Democrats who Denied him Chairmanship

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When I read this story about Charles Barron the first thing I thought of was the irony of this happening on the watch of a majority minority city council line up and not seeing any outrage…I guess one shouldn’t be surprised, we are in a day and time where folks feel the best way to play the game is to be safe and be corporate… So a guy who is as outspoken as Barron finds himself at odds with those who feel that if ‘he’d only keep quiet’ things would be better..

I personally like and admire Barron for his brashness and fearlessness especially in the areas of police brutality. He was absolutely right in accussing the NYPD of allowing terrorism within the department. With all the madness that has gone on from outlandish killings of Amadou Diallo to Sean Bell… what else do you call it?

As far as him calling for the naming of a street after Sonny Carson why not? lets just say for aminute you actually believe the reduction of Carson to being a thug… Shouldn’t it be up to the community to decide? In addition, we have all sorts of streets, airports and buildings etc named after former domestic terrorists and slave owners.

Below is a speech Barron gave at the first Hip Hop convention in 2004 in Newark, New Jersey… He came in and talked about the importance of voting and how to hold people accountable.. 

http://bit.ly/dxDAFd 

Former Black Panther & NY City Councilman Charles Barron has always made himself accessible to the people in the community.. Boo to the City Council for denying him a chairmanship..

City Council slaps down Charles Barron, the only Dem without committee seat
BY Frank Lombardi
DAILY NEWS CITY HALL BUREAU
Monday, February 8th 2010, 4:00 AM
 
Hermann for News

Charles Barron got a stinging slapdown from the City Council; he’s the only Dem without a committee chairmanship or a lucrative annual “lulu” stipend. 

In a City Council that for the first time has a nonwhite majority, black empowerment activist Charles Barron now finds himself a minority of one.

After eight years of boat-rocking incumbency as councilman for Brooklyn’s 42nd District (East New York, Brownsville), Barron is the only Democratic member without a committee chairmanship or a lucrative annual “lulu” stipend.

That took some doing, given the Council now consists of 45 Democrats and five Republicans. (A vacancy in the Borough Park district will be filled in a March 23 special election.)

Barron, 59, was bounced as chairman of the Higher Education Committee last month and stripped of his $10,000 lulu in a 47-to-1 vote engineered by Speaker Christine Quinn (D-Manhattan). His was the only “no” vote.

Barron was not named chairman of any other committee, though all 11 Democratic newcomers were. The only other members without a committee or lulu are three of the Republicans.

As Council slapdowns go, it was a stinging one. But Quinn and his colleagues can cite a litany of offenses for Barron’s penalty-box punishment, including:

Organizing a City Hall reception in 2002 for Zimbabwean despot Robert Mugabe; a failed attempt to give the same honor to vilified Venezuelan strongman Hugo Chavez in 2008, and saying at a 2002 rally in Washington that he was so angry at resistance to reparations he wanted to slap “the closest white person.”

There are more, his critics say: fueling a raucous Council session in 2007 by championing a failed push to co-name a Brooklyn street after the late Sonny Carson, a self-professed “anti-white” black activist; accusing Quinn of “a form of ethnic cleansing” for firing his chief of staff, Viola Plummer, in the aftermath of the Carson street-naming clash, and accusing Police Commissioner Ray Kelly at a 2007 hearing of allowing “terrorism of the Police Department to take place in our community.”

More recently, Barron engaged in an angry public confrontation with CUNY trustee Jeffrey Weisenfeld, who denounced him as “a disgrace.” Barron called Weisenfeld a “sickening racist.”
Punishment or not, Barron has no intention of being a silent minority of one.

“I have a right to dissent,” he said last week. “I have a right to be black, to be bold, to be radical, to speak my mind, to be a revolutionary, to be socialist – whatever I call myself, I have a right to be that. …I have a right to be all that and speak my mind in a body without being punished. That is my First Amendment right.”

flombardi@nydailynews.com

Chuck D speaks on Cointel-Pro, Global Politrix & Oscar Grant

A conversation with Chuck D of Public Enemy, and Davey D the media activist. We discuss Cointelpro, Media, and More. Big shout out to kingofblaxmedia for rocking this..

Chuck D drops science at SF State

Return to Davey D’s Hip Hop Corner

Think Hip Hop Songs Cause Violence? Frank Sinatra Songs Causing Lots of Killings

People always like to point fingers at things that are convenient, fit a narrative and have no voice to respond back… Case in point, there have been lots of studies, numerous discussions all the way up to the halls of congress and even within the office of the President about the so harmful effects of Hip Hop. Artist like 2pac were even sued as their songs were cited as the cause for violent crimes..I guess one should suspend all their judgement and explain whats going on in the article below..

While your doing that please note there are genres of music all over the world from Oprah to folks songs that extol unsavory themes.. Yes, Lil Wayne and his buddies should probably pull their pants up and not rap about sipping on syrup, but then again we can’t say their the sole fault or even the worse that’s out there..Big shout out to the folks from Playahata.com for bringing this to our attention

-Davey D-

Sinatra Song Often Strikes Deadly Chord

Jes Aznar for The New York Times

Rodolfo Gregorio, right, at a General Santos karaoke bar. Filipinos, who pride themselves on their singing, may have a lower tolerance for bad singers.

Published: February 6, 2010

GENERAL SANTOS, the Philippines — After a day of barbering, Rodolfo Gregorio went to his neighborhood karaoke bar still smelling of talcum powder. Putting aside his glass of Red Horse Extra Strong beer, he grasped a microphone with a habitué’s self-assuredness and briefly stilled the room with the Platters’ “My Prayer.”

Next, he belted out crowd-pleasers by Tom Jones and Engelbert Humperdinck. But Mr. Gregorio, 63, a witness to countless fistfights and occasional stabbings erupting from disputes over karaoke singing, did not dare choose one beloved classic: Frank Sinatra’s version of “My Way.”

“I used to like ‘My Way,’ but after all the trouble, I stopped singing it,” he said. “You can get killed.”

The authorities do not know exactly how many people have been killed warbling “My Way” in karaoke bars over the years in the Philippines, or how many fatal fights it has fueled. But the news media have recorded at least half a dozen victims in the past decade and includes them in a subcategory of crime dubbed the “My Way Killings.”

The killings have produced urban legends about the song and left Filipinos groping for answers. Are the killings the natural byproduct of the country’s culture of violence, drinking and machismo? Or is there something inherently sinister in the song?

Whatever the reason, many karaoke bars have removed the song from their playbooks. And the country’s many Sinatra lovers, like Mr. Gregorio here in this city in the southernmost Philippines, are practicing self-censorship out of perceived self-preservation.

Karaoke-related killings are not limited to the Philippines. In the past two years alone, a Malaysian man was fatally stabbed for hogging the microphone at a bar and a Thai man killed eight of his neighbors in a rage after they sang John Denver’s “Take Me Home, Country Roads.” Karaoke-related assaults have also occurred in the United States, including at a Seattle bar where a woman punched a man for singing Coldplay’s “Yellow” after criticizing his version.

Still, the odds of getting killed during karaoke may be higher in the Philippines, if only because of the ubiquity of the pastime. Social get-togethers invariably involve karaoke. Stand-alone karaoke machines can be found in the unlikeliest settings, including outdoors in rural areas where men can sometimes be seen singing early in the morning. And Filipinos, who pride themselves on their singing, may have a lower tolerance for bad singers.

Indeed, most of the “My Way” killings have reportedly occurred after the singer sang out of tune, causing other patrons to laugh or jeer.

“The trouble with ‘My Way,’ ” said Mr. Gregorio, “is that everyone knows it and everyone has an opinion.”

Others, noting that other equally popular tunes have not provoked killings, point to the song itself. The lyrics, written by Paul Anka for Mr. Sinatra as an unapologetic summing up of his career, are about a tough guy who “when there was doubt,” simply “ate it up and spit it out.” Butch Albarracin, the owner of Center for Pop, a Manila-based singing school that has propelled the careers of many famous singers, was partial to what he called the “existential explanation.”

“ ‘I did it my way’ — it’s so arrogant,” Mr. Albarracin said. “The lyrics evoke feelings of pride and arrogance in the singer, as if you’re somebody when you’re really nobody. It covers up your failures. That’s why it leads to fights.”

Defenders of “My Way” say it is a victim of its own popularity. Because it is sung more often than most songs, the thinking goes, karaoke-related violence is more likely to occur while people are singing it. The real reasons behind the violence are breaches of karaoke etiquette, like hogging the microphone, laughing at someone’s singing or choosing a song that has already been sung.

“The Philippines is a very violent society, so karaoke only triggers what already exists here when certain social rules are broken,” said Roland B. Tolentino, a pop culture expert at the University of the Philippines. But even he hedged, noting that the song’s “triumphalist” nature might contribute to the violence.

Some karaoke lovers are not taking chances, not even at family gatherings.

In Manila, Alisa Escanlar, 33, and her relatives invariably gather before a karaoke machine, but they banned “My Way” after an uncle, listening to a friend sing the song at a bar, became enraged at the laughter coming from the next table. The uncle, who was a police officer, pulled out his revolver, after which the customers at the next table quietly paid their bill and left.

Awash in more than one million illegal guns, the Philippines has long suffered from all manner of violence, from the political to the private. Wary middle-class patrons gravitate to karaoke clubs with cubicles that isolate them from strangers.

But in karaoke bars where one song costs 5 pesos, or a tenth of a dollar, strangers often rub shoulders, sometimes uneasily. A subset of karaoke bars with G.R.O.’s — short for guest relations officers, a euphemism for female prostitutes — often employ gay men, who are seen as neutral, to defuse the undercurrent of tension among the male patrons. Since the gay men are not considered rivals for the women’s attention — or rivals in singing, which karaoke machines score and rank — they can use humor to forestall macho face-offs among the patrons.

In one such bar in Quezon City, next to Manila, patrons sing karaoke at tables on the first floor and can accompany a G.R.O. upstairs. Fights often break out when customers at one table look at another table “the wrong way,” said Mark Lanada, 20, the manager.

“That’s the biggest source of tension,” Mr. Lanada said. “That’s why every place like this has a gay man like me.”

Ordinary karaoke bars, like the Nelson Carenderia here, a single room with bare plywood walls, mandate that a singer give up the microphone after three consecutive songs.

On one recent evening, at the table closest to the karaoke machine, Edwin Lancaderas, 62, crooned a Tagalog song, “Fight Temptation” — about a married man forgoing an affair with a woman while taking delight in their “stolen moments.” His friend Dindo Auxlero, 42, took the mike next, bawling songs by the Scorpions and Dire Straits. Several empty bottles of Red Horse crowded their table.

“In the Philippines, life is difficult,” said Mr. Auxlero, who repairs watches from a street kiosk, as he railed about government corruption and a weak economy that has driven so many Filipinos to work overseas, including his wife, who is a maid in Lebanon. “But, you know, we have a saying: ‘Don’t worry about your problems. Let your problems worry about you.’ ”

The two men roared with laughter.

“That’s why we come here every night — to clear the excesses from our heads,” Mr. Lancaderas said, adding, however, that the two always adhered to karaoke etiquette and, of course, refrained from singing “My Way.”

“Misunderstanding and jealousy,” in his view, were behind the “My Way” killings. “I just hope it doesn’t happen here,” he said.

Return to Davey D’s Hip Hop Corner

Remembering How Hip Hop Took on and addressed the issue of Apartheid

One of the most under appreciated and least talked about collaborative efforts that involved Hip Hop was the Artists United Against Apartheid  and the The boycott of Sun City. For those who don’t recall Sun City was this ultra lavish resort  in this ‘phony’ country set up by the South African government called Bophuthatswana.  This was like a country inside a country kind of like an Indian Reservation of sorts. Sun City was basically South Africa’s version of Las Vegas and was set up to be this place where rich folks could go ‘play and get decadent and then return back to SA proper.

In South Africa under the Apartheid regime there were 4 or 5 of these fake/ reservation like countries called Homelands where Blacks were forced to live in overcrowded miserable conditions. They were moved off their traditional lands onto these ‘independent’ homelands while still being  still forced to work  amongst Afrikaners and subjected to her harsh Apartheid rules that called for strict racial separation.  It was in South Africa that Blacks who were the 75%  of the population and native to the land were subjected to all sorts of humiliations including not being allowed to live on any of the good land and having to show a special ID everytime they traveled from one place to another. These rules of racial separations were brutally enforced with the Afrikaner government going all out to crush any and all rebellions.

Many asked how was it that a country where Blacks were the overwhelming majority they could be under such harsh rule.. Sadly the South African Afrikaner government had two staunch prominent allies who stood in solid support. They were the US and Israel. Both these countries supplies weapons, resources and protection. Israel worked with the Afrikaner government to develop nuclear weapons and signed some sort of secret treaty to test them.

Worldwide condemnation picked up at the time President Ronald Regan was in office and he stood firm, vetoing any attempts to smash on Apartheid via the United Nations. He said the US had a constructive engagement policy..which basically meant business as usual..while they would say ‘Apartheid was the most desireable way to govern. At one point he even sent prominent minister Jerry Falwell over to South Africa to insure the Afrikaners the US was behind them. Both Israel and the US justified their stance because they didn’t want SA to get help from the Soviets.

South Africa’s Afrikaner government used Sun City as a way to give the country a nice look and by inviting A-list entertainers and showing them a good time, they would further highlight themselves via these defacto ambassadors.  Since Regan wasn’t going to back any attempts to officially boycott South Africa, the music and entertainment industry’s launched their own boycott.. people like Steven Van Zandt of Bruce Sprinstein’s E- Street Band kicked things off and formed the group.  He gathered up prominent rock musicians like;  Bob Dylan, Bono,  Peter Gabriel,  Bonnie Raitt, Hall & Oates,  Jackson Browne, Ringo Starr Pat Benatar, and Joey Ramone to name a few.. Joining them were legends like Miles Davis, Eddie Kendricks, Bobby Womack, Nona Hendryx, Herbie Hancock, George Clinton, Jimmy Cliff, and David Ruffin.

Rounding out this all-star line up were prominent Hip Hop artists, including pioneers DJ Kool Herc, Africa Bambaataa, Mele-Mel, The Fat Boys, Run DMC, Kurtis Blow and Gil Scott Heron.. Arthur Baker who is best known for producing Planet Rock along with Afrika Bambaataa was also on board.

The overall gist was to shame any entertainer or athlete who defied the UN sanctioned boycott and played Sun City for the large sums of money they offered. For the most part it worked, but there were a few like Queen, golfer Lee Travino, Frank Sinatra,  Linda Ronstadt, the O’Jays, Ray Charles and Rod Stewart who had no qualms breaking the boycott and in doing so giving credibility to the South Africa regime.

Here are two land mark songs from the landmark  Sun City album where Hip Hop left its footprints.. Props out to the pioneers who really put it down especially Mele-Mel and Kurtis Blow. What I like most about this joint is hearing Gil Scott Heron who was an obvious precursor to modern day rap doing his thing along side them. His commentary underscored everything that was happening. I was impressed with the way he paralled the struggle for equality here in the US along with what was going on in South Africa.

In order to fully appreciate this other cut Revolutionary Situation which is basically sound clips and samples over hard hitting beats is to hear it in full stereo. That wasn’t fully captured during this particular recording. Produced by drummer Keith Leblanc who did the song Malcom X on Tommy Boy record, this  the entire songs has sounds coming out of left and right speakers. They range from Nelson Mandela’s daughter Zindi , Bishop Desmond Tutu,  Alan Boesak, and Steve Biko and Ronald Regan.  You get this sense of urgency that at any minute South Africa is gonna explode if the walls of Apartheid don’t crumble. Hearing Ronald Regan inside this song makes you realize how utterly out of touch and mean-spirited we sounded as a country.. . Sadly it was because of this exposure of Regan’s insensitivity that ‘Sun City’ got limited airplay and PBS refused to air the documentary that went alongside making this album.

Afrika Bambaataa

Afrika Bambaataa

Coming off the Sun City album which raised about a million dollars many in Hip Hop kept the message alive. there was the big divestment movement at UC Berkeley. myself and my crew did an anti-Apartheid song that was played during rallies. Others like Afrika Bambaataa who’s pioneering Zulu Nation organization was named after the South African tribe who fearlessly fought the British, took it a step further and started doing concerts overseas where he raised money for the African National Congress. Bam will be the first to tell you that he was inspired after seeing the movie Zulu to form his organization and later adapt certain things including battle strategies from them. Hip Hop had been acknowledging South Africa and her freedom struggle from day one..

Also in that vein was Arrested Development  who also donated money to the ANC and if memory serves me correctly performed when Mandela came to Oakland at the conclusion of his Free South Africa tour

One of the most prominent groups to address the issue of Apartheid was Stetsasonic the original Hip Hop band.  They did a song that sampled Jesse Jackson who had just come off making a historic run for President. The song was called Free South Africa and was not only a 12 inch single that was promoted and pushed, but had an accompanying video..

Y’all remember this?

http://www.youtube.com/watch?v=73HGCLeapBs

Chuck D & Paradise at the LQ

Chuck D & Paradise at the LQ

The Setsasonic single came out during the hey day of Hip Hop’s Golden Era’ which was ushered in because of a series of secret meetings held at the Latin Quarters, the biggest and most popular nightclub in New York during the mid 80s.. Top artist of the day from The Jungle Brothers to KRS-One to Bambaataa and many others came together and agreed to stop wearing the popular gold dookie chains which were made with gold from South Africa. A fast and hard rule was agreed upon which forbade anyone from performing on the stage wearing gold.. The chains were replaced with leather African medallions and essentially ushered in Hip Hop’s Golden Era..

The primary architect behind that was Paradise Gray of the legendary group X-Clan who ran the nightclub. He is finishing up a book and documentary along with writer/activist Giuseppe Pipitone about that special period..

Also coming out of that Afrocentric/ Golden Era in Hip Hop was Queen Latifah and her song ‘Ladie’s First‘.. many may have forgotten the video that she did which was directed by Fab 5 Freddy who was also hosting Yo MTV Rap.. The imagery used in the video shows the resistance to Apartheid..

http://www.youtube.com/watch?v=hLB5bUNAesc

Here’s an incredible posse cut featuring Afrika Bambaataa, Brother J, Professor X, Lakim Shabazz,  Jungle Brothers, UTFO, Master Rob of Ultimate Force, Grand Puba of Brand Nubian, Kings Of Swing, Queen Latifah, Solo, Revolucien, Lin Que, Arthur X called Free South Africa from the group Hip Hop Against Apartheid

https://www.youtube.com/watch?v=kleLfGbdWmA

Hip Hop/ New Wave icon Malcolm McClaren best know for the landmark song Buffalo Gals which came out in 83, had on the flipside this song about Soweto

http://www.youtube.com/watch?v=Tij6wdlniHQ

Here’s another video which I forgot.. Straight outta of the UK is Brotherhood in the form of the Black Rhyme Organisation To Help Equal Rights (B.R.O.T.H.E.R ) was a collection of some of the most talented UK Hip Hop artists around in 1989. Instigated by the political ragga-rap group Gatecrash, the main purpose of their debut record, “Beyond the 16th Parallel” was to raise awareness of the racial inequalities of the South African apartheid regime. Assembling an all-star line up, including the late Bernie Grant MP, each of the separate groups had the task of tackling the specifics of the Botha government.

http://www.youtube.com/watch?v=1T0JARInwz8

Another group out of the UK that strong addressed Apartheid was the Cookie Crew with one of my all-time favorite songs ‘How Long Has this Been Going On’

http://www.youtube.com/watch?v=D-IW9zo4Sbk

In South Africa, there were scores of rappers, but the most potent and most political was Prophets of Da City (POC) who wound up being banned by the government because of their lyrics.. They wound up performing at Mandela’s inauguration, but remained critical of the government which they felt had been too forgiving to the Afrikaners.. They remained banned and were recently the subject of a documentary put together by South African film maker Dylan Valley talking about their plight .

http://www.youtube.com/watch?v=nhG0IDrKiaI

We will leave out with a new song from Jasiri X and his new song about Mandela called Listen to what the Drums Say

http://www.youtube.com/watch?v=oyMNYvkNfdY

 Return to Davey D’s Hip Hop Corner

It’s About to Get Nasty:How Corporations Are Secretly Gearing up for the 2010 Elections

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There’s so much one can say and write about last month’s Supreme Court ruling that allows corporations to weigh in and spend unlimited amounts on campaign contributions. One thing is certain-it’s about to get nasty and ugly.  The bottom line is, no matter how many ways people try to justify this ruling under the umbrella of ‘free speech’, it’s only a matter of time before the realization hits that it’s not exactly Free Speech when only the rich and powerful have access and can afford to voice their opinions on traditional powerful mediums.

We often forget that radio and other media outlets are corporations and with all the criticisms we have about the bias of news outlets like Fox or if you’re on the other side of the political spectrum, the so-called ‘left leaning’ media, that in itself should be proof  that an unbridled corporate voice could be really, really bad. The fact that our airwaves are now dominated by over-the-top political pundits who have become more and more strident and divisive over the past 5-10 years should have rung a few alarms, but sadly we are at a day and time where people have been lulled into believing that

1-There’s always opportunity to lay out one’s ideas via the internet.

2-Things aren’t  so bad as long as they can see or hear their own political viewpoint.

Look for corporations like AT&T to take full advantge of the new Supreme Court Ruling by campaigning to eliminate free speech on the Internet

A couple of things to keep in mind… First and foremost, we better make note that some of these corporations who are now free to spend billions are spending billions of dollars on law makers via lobbying efforts to cripple the internet and stifle the opportunity for the little guy to reach millions. Companies like AT&T and Comcast have been working night and day to get rid of Net Neutrality, which has allowed a free and open internet up til now. As we noted in recent stories thse corporate telecoms outfits are spending millions to sponsor events put on by law makers that represent communities of color as well as traditional Civil Rights organizations.

As unbelievable as it sounds, the end result has been the majority of members in both the Congressional Black and Hispanic Caucuses siding with AT&T and other telecoms that want to bring about a restricted and consolidated internet.  Even more disturbing is seeing organizations like LULAC and the NAACP who have held events heavily sponsored by AT&T take supportive positions.

What’s even sadder is noting that these expensive lobbying efforts were happening before the Supreme Court ruling, where these corporate telecoms still had constraints and rules that limited them. All thats about to change big time. One of the first places you are likely to see the impact of this Supreme Court decision will be in the form of aggressive campaigns launched by the telecoms supporting lawmakers who are willing to eliminate Net Neutrality and cripple ‘free speech’ for the average John Doe on the internet. How ironic that the granting of unrestricted speech to corporations will result in them using  likely their far reaching destructive power to shut down free speech for others.

2 or 3 years ago AT&T brought computers for Chicago congressman Bobby Rush who then turned around and voted to eliminated Net Neutrality via the COPE Act

Many of these corporate telecoms simply don’t want a blogger who writes from home to be on the same playing field as a big newspaper or giant media outlets.  They want faster and more efficient access to be granted to those who can pay and like I said earlier,  millions of dollars have already been put in the coffers of Black and Brown leaders in both Congress and Civil Rights organizations who have had their votes and support brought and paid for…

Now that the Supreme Court has unbridled these corporations, you will see these efforts increase as these corporations will start looking for influencial groups and individuals who desperately need money in these economically challenged times for crucial projects and events or as was the case with Congressman Bobby Rush in Chicago, new computers for a school and write them big checks in an ‘unspoken’/’Unwritten’ exchange for votes, support or silence.  Many law makers will go for the short-term relief  and not concern themselves with long-term damage.  We all need to pay close attention because we are about to see some strange and disturbing political pairings.

The other widely held viewpoint is-as long as one can see or hear their own political viewpoint via a popular media outlet, then there’s no reason to trip off the Supreme Court’s ruling.  This is shortsighted and rooted in the belief that one’s favorite medium will always be forever and in a position to effectively champion ‘the cause’. The recent closing and filing of bankruptcy by progressive leaning Air America should serve as a strong reminder this is not always the case.

 Air America was supposed to be a viable alternative to the increasing use of right-wing talk show hosts on corporate radio, many who were accused of being racist, homophobic and carriers of ‘Hate Speech’.  With Air America gone there has been no replacement and even if one makes the argument that it wasn’t as popular as its right-wing counterparts, it nevertheless served an audience and represented an  important voice and political perspective that is now is gone. Where does one go now, keeping in mind the assault to corporations to cripple free sppech and control the Internet?

Glenn Beck led a corporate backed assault against political foes in the Obama White House. The end result was two were forced to resign

How bad can things get?  Well, we’ve all seen the type of damage that can be inflicted when a corporation pours money and resources into unrelenting attacks in political arenas. Fox News host Glenn Beck‘s vicious on air assaults on White House appointees Van Jones and Yoshi Sergent are two prime examples.  Beck was relentless and there was very few opportunities and outlets for Jones and his supporters to really strike back. The end result was both Jones and Sergent resigning and an emboldened Beck promising to intensify his crusade and go after other White House appointees. If Beck’s attacks weren’t an example of  corporate free speech gone wild then I don’t know what is.. What i do know is that after last month’s ruling  such attacks will increases tenfold with very few protections for those lacking resources and access.

On the political flipside to the Beck’s attacks, within urban America we have Radio One, the largest Black owned radio outlet which has long come under fire by leadership in the African American community. many have lambasted the outlet for not taking advantage of its enormous reach and influence within the Black community to help raise political awareness and social consciousness on a variety of important  topics versus dumbing down the audience and relying on the constant ressurection of troubling stereotypes of ignorance and buffonary. Radio one has noted that they have a well respected talk show line up which includes Civil Rights leader Al Sharpton and lawyer Warren Ballentine among others..However, that  punditry is rarely shared or exposed on their day-to-day music oriented stations which attract the largest number of listeners.

Radio One owner Cathy Hughes is using her popular media corporation to try and unseat Black lawmakers who she disagrees with over a proposed bill that she says will weaken her radio stations.

Last year Congressman John Conyers introduced a bill HR 848 which would force radio stations to pay an extra tax to record labels for each song they played. It’s a policy I definitely don’t agree and it sparked a big debate within many communities. Some took the proposed bill as a referendum against lack of politicalness of Black radio and Radio One in particular and came out in full support.  This resulted in Radio One owner Cathy Hughes taking to the airwaves and running a series of in-house political ads and editorials designed to unseat Black lawmakers including Conyers and  Houston’s Sheila Jackson Lee.  Hughes took things a step further by refusing to run ads or editorials that countered her concerns. The 2010 elections will show how impactful those ads were. It was the topic of discussion during a heated panel I sat on during the most recent Congressional Black Caucus gathering where there was a lot of back and forth and haggling to squelch the assaults. Again I bring this up because all this took place  prior to the Supreme Court ruling. Imagine how much crazier it will get now that corporations are free to say and do as they wish…

White House appointee Van Jones was a victim to vicious corporate sponsored attacks

The Supreme Court ruling that allows corporations the right to weigh in and contribute to elections unrestricted is not only dangerous, but one that many including those who seem to think its ok will come to regret sooner or later.  Those who support this ruling are those who simply have not been on the receiving end of such attacks and influence. The nature of corporations in America is grow and make as much profit as possible and eliminate an and all obstacles in way of its goals. Right now its easy to dismiss this because a Yoshi Sergent, Van Jones, Sheila Jackson Lee etc, don’t impact the day to day lives of most people. But after those victims of corporate assaults are eliminated who’s next? Will it be your church? civic group?, union? or son, daughter, mother or father voicing a strong opinion to an important issue?

What happens to the voice of coal miners in West Virginia when the owners decide they wanna drown out the complaints of  workers about low pay or shoddy work conditions and put someone in office who will reinforce their policies via legislation?  What happens to voice of nurses and doctors who find themselves drowned out by powerful  HMOs or Big Pharma companies who may be cutting corners or doing something that workers find unsettling?  What happens when you live in a small town or community and have elected rep who you like because he or she speaks to your needs, but those opinions rub some corporate owner the wrong way and he decides to launch a crusade against that small town official even if he lives thousands of miles away. Folks better start taking note.. The price for freedom is to be forever vigilant. In 2010 we best note that not all attacks are made with guns and swords.  Sometimes it comes with a pen as demonstrated by the Supreme Court  and their reckless decision last month.

-Davey D-

below is an article detailing some of the moves being made as corporations gear up for the 2010 election season..

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How Corporations Are Secretly Moving Millions to Fund Political Ads

Gaping legal holes allow corporations to spend enormous sums on politics without leaving a paper trail.
  

original Aletrnet/Raw Story link http://bit.ly/d8nQy6

 stockwallcorporate Exclusive: How corporations secretly move millions to fund political adsThe Supreme Court’s seismic January ruling that corporations are free to spend unlimited amounts of their profits to advertise for or against candidates may have been the latest shakeup of campaign finance – but gaping holes already allow corporations to spend enormous sums without leaving a paper trail, a Raw Story investigation has found.

Campaign finance experts confirmed that though disclosure rules remained intact in the new Supreme Court decision, there are effective methods to circumvent them.

Ciara Torres-Spelliscy, an attorney and campaign finance expert at New York University’s Brennan Center for Justice, said corporations already effectively end-run campaign finance law by shuffling money through trade associations.

“One of their favorites right now is spending through trade associations,” Torres-Spelliscy said.

Trade associations are considered tax-exempt non-profit organizations under US law. While they must report contributions received from other corporations to the Internal Revenue Service, the document itself remains confidential and is not

“Money coming through the trade association doesn’t get disclosed,” Torres-Spelliscy explained. “You can’t tell if it came from particular corporations.”

For example, she said, “The disclaimer form is likely to just say, ‘This is brought to you by the Chamber of Commerce,’ with no extra ability to see behind that.”

The Chamber of Commerce is the world’s largest trade association representing at least 300,000 businesses and organizations.

A fellow non-profit that works on campaign finance, the Center for Political Accountability, calls trade associations “the Swiss bank accounts of American politics.”

“What was the lesson from Watergate?” Torres-Spelliscy quipped. “Follow the money?”

Health insurers, pharmaceutical companies embrace loophole

Trade associations such as America’s Health Insurance Plans (AHIP) and Pharmaceutical Research and Manufacturers of America (PhRMA) have had an enormous impact on the health insurance reform bills pending in Congress. In fact, AHIP was recently found to have solicited $10 million to $20 million from leading health insurance companies — UnitedHealth, Wellpoint, Aetna, Cigna and Humana among them — and funneled it secretly to the US Chamber of Commerce to underwrite anti-reform attack ads.

Asked about the story, the Chamber’s top lobbyist told the reporter, “No comment. We never disclose funding or what we’re going to do.” The Chamber of Commerce did not respond to a Raw Story request for comment.

Raw Story’s 2008 award-nominated investigative series The Permanent Republican Majority noted that, “Despite its seemingly bipartisan name, the Chamber of Commerce has operated as a pro-Republican powerhouse since the fervently anti-regulation Thomas J. Donahue became president in 1997.” Raw’s Larisa Alexandrovna and Muriel Kane uncovered, for instance, that the Chamber, under Donahue’s leadership, had an indirect role in the defeat and political prosecution of Governor Don Siegelman and in targeting sitting judges in contested state elections.

President of the Center for Political Accountability Bruce Freed told Raw Story that trade associations also use other trade associations in this manner as “blinds for ads” to “launder their money.”

“It’s a way for the industry to avoid responsibility for those ads,” Freed remarked.

Karl Sandstrom, the Center’s lead counsel, noted that it isn’t only the public that remains in the dark over the “Swiss bank” loophole. He said that when the Center surveyed boards of directors of companies, the majority of them just assumed their businesses’ contributions supporting political ads were being disclosed.

“It’s just almost a working assumption,” Sandstrom said.

Most of the boards of directors, he said, were “shocked to learn there is no disclosure.”

While these types of contributions prior to the new Court ruling could only be used for “issue ads” — political advertisements that do not expressly advocate for or against a particular candidate — many such ads were often accused of blurring this line and having nearly the same impact as express advocacy ads.

Christian Hillard, spokesman for the Federal Election Commission (FEC), confirmed Tuesday that the FEC has “no authority over issue ads.”

Corporate funding of issue ads through trade associations has “no filing requirements with us,” he told Raw Story.

New ruling’s impact on the trade association loophole

Now that corporations, including trade associations, are free to spend funds on political ads – which cannot be coordinated with a candidate or political party but which expressly advocate the election or defeat of a candidate – the line between funding issue ads and express advocacy ads has been largely erased.

Campaign finance experts expressed grave concern in conversations with Raw Story.

Paul S. Ryan, an attorney and expert in federal election law at the Campaign Legal Center in Washington, D.C., asserted that Congress did not contemplate this new Court ruling when it wrote the laws for disclosure related to independent expenditures or electioneering communications, because at the time such corporate spending was prohibited. Ryan said that it’s imperative that the FEC addresses disclosure requirements pertaining to this decision.

“Take hypothetically a group like the Chamber of Commerce,” he explained. “The Chamber collects money from lots of other corporations. So the question becomes: What kind of disclosure are we really going to get when the FEC gets around to promulgating rules to implement this Supreme Court decision?”

“Yes, the Chamber needs to file paperwork with the FEC saying we ran an ad saying Vote for Candidate Smith,” he continued. “But does the Chamber need to tell the FEC where it got its money to pay for that ad? And when the FEC adopts its rules to implement this new Supreme Court decision, the FEC will likely say, ‘Chamber of Commerce, you only need to tell us where you got your money if that money was given to you specifically designated to run election ads.’”

Ryan and other campaign finance experts told Raw Story this is a simple dodge.

“It’s child’s play to get around that type of disclosure,” Ryan said, adding, “It’s unclear whether the Court was being naive or disingenuous” when it touted disclosure provisions during its decision.

He explained that, for example, all the Chamber of Commerce has to do is tell other corporations, “Give us money and we’ll make sure it advances your business interests.”

“So as long as the donors don’t say to the Chamber, ‘We’re giving you this money to run political ads,’ as long as they refrain from saying that, then their identity can continue to be shrouded or hidden from the public.”

The Center for Accountability’s Sandstrom agreed, saying this type of disclosure “is easily avoided” and adding, “As long as you don’t designate it, you won’t be disclosed.”

The Chamber of Commerce, in fact, argued against any disclosure in the Citizens United case.

“Their first brief filed in Citizens United is on the disclosure issue,” Sandstrom said. “They argued that they would raise substantially more money the more they could keep it anonymous.”

FEC spokesman Hillard said that the FEC was still examining the impact of the Supreme Court’s decision and would not comment on anything pertaining directly to that ruling, including disclosure provisions.

 Brad Jacobson is a contributing investigative reporter for Raw Story

Return to Davey D’s Hip Hop Corner

Today is Dream Day-Remembering Graf King Mike Dream

Dream DayFebruary 5th, 2010 at The New Parish, Oakland, California. Celebrating the life and legacy of Mike “Dream” Francisco.

Art exhibition by TDK crew + more

Music by DJs: Apollo, ShortKut, Sake One, Fuze, Myke One, Platurn, Namane, and Willie Maze. Live drums by Big G of the 808 Band!

Performances by Equipto, F.A.M.E. and The Bangers.

The Bay Area’s best DJs and Artists have assembled to pay tribute to life and legacy of Oakland’s beloved Graffiti King and Bay Area legend, Mike “DREAM” Francisco. Recognized worldwide as a style master, Dream’s graffiti established the visual aesthetic of Oakland’s Hip Hop culture, and put The Town on the map in what is now the fastest growing art movement in human history.

This event marks ten years since Dream was tragically murdered, and all proceeds from the event will benefit Akil Francisco, Dream’s only son, now 10 years old. The TDK crew is also proud to announce the forthcoming book on Dream’s art and life: “The Title of My Book Reads: Advanced Vandalism.”

All proceeds benefit the Dream Book Fund and the Dream Legacy Fund for his son Akil, 10, who recently lost his mother to breast cancer.

If you are unable to attend and want to support, please make checks out to The Dream Trust Fund, or Akil Francisco.

Art Show 6pm-9pm, All Ages, Free
Showtime 9pm-2am, $10 (dontations accepted) All Ages (with parent)

 
Here’s the original story of when Dream was taken from us…
 
 
RIP Dream…
One of Hip Hop’s best is Gone!
by – Billy Jam
2/22/00 9:39:57 AM
The Bay Area hip hop community was in mourning over the weekend with the tragic news of the murder of Mike “Dream” Francisco who was shot and killed on Thursday night, Feb. 17th, in a robbery in West Oakland. Dream was 30 years old and is survived by his family, his girlfriend Nikki and their infant child. Dream, a prominent and prolific graffiti artist since the late eighties, was best known for his association with the TDK [Those Damn Kids] graffiti crew and the Hobo Junction hip hop collective. (Note: a photo of a bombed Amtrak train by Dream graced the cover of Saafir’s 1994 album “Boxcar Sessions”). The ever prolific Dream had done literally thousands of pieces over the years from throw ups all around Oakland and the Bay to works on canvas or paper for such entities as the Invisibl Skratch Piklz, 11/5, Hip Hop Slam, KMEL and Dogday Records. In recent years he had earned a reputation as an equally talented tattoo artist operating out of East Oakland tattoo studio Built To Last with partner Done Carlo. “I’m just in shock. I can’t believe it,” said Done outside La Pena cultural center on Saturday night where a last minute benefit/tribute to Dream was held with such friends/performers as Naru, Company of Prophets and Boots from the Coup all paying their respects.

 “Dream was a very humble and charismatic writer,” said Refa 1; Dream’s close friend and graffiti partner with whom Dream had scheduled a new show at Oakland’s Asian Resource Center (310 8th Street @ Harrison) this week. “He put so much love and dedication into a form that many of us had taken for granted and he had taken it to new heights,” said Refa 1. “He excelled in that and he gave the world so many beautiful pieces coz he himself was a beautiful person. And he always loved the culture!” The one day art show, scheduled for Thurs 2/24 5PM to 8PM, will now become a memorial and its pieces, no doubt, will take on profound new meaning. “In the new exhibit there’s a piece dedicated to 2Pac and Plan B and now I’m gonna have to do a piece dedicated to him,” said Refa 1 shaking his head.

 Sunday (2/20) at the Future Primitive Sound Session at the Fillmore in San Francisco friend and fellow graffiti artist Doze titled his live onstage graffiti installment “DREAM” in his honor. “He wasn’t just a great artist. He was also a great person,” said Doze. Later that night onstage DJ Disk, another longtime friend of Dream’s, paid homage to the slain artist by stopping the music and leading the soldout crowd in a moment of silence. In fact all weekend, all over the Bay people, touched by Dream’s art and ever warm personality, were shocked as news of his sudden death reached them. Many pointed to the sad irony of how Dream always made mention in his art to Plan B who was also slain.

 Emcee/graffiti artist & fellow Hobo Junction member Plan B (real name Jesse Hall), who was murdered in 1992, was a close friend of Dream’s and often the topic of his art. The PBS documentary “Jesse’s Gone” from a few years ago about the death of Plan B, which features interviews with Dream, will rebroadcast on KQED San Francisco on Tuesday Feb 22nd. In an interview broadcast on Hip Hop Slam in 1993 from at the anti-police brutality art exhibit “No Justice No Peace” Dream noted that for many of the attendees at the downtown Oakland art gallery that this was their first exposure to graffiti as art and a dose of “reality” for them. “But to brothers like us reality is watching people die on the streets everyday, everyday,” he said. Billy Jam (2/21/00)

 (NOTE: for updates on Dream’s memorial service and other info related to the artist call the Hip Hop Slam offices at (510) 658-4293, ext 2 or e-mail HipHopSlam@aol.com)

 
 

Update-Army Puts Smash on Hip Hop Soldier Sends him to Iraq for Court Martial

Before reading this update, u may wanna refamiliarize yourself w/ this story by peeping the first article we ran http://hiphopandpolitics.wordpress.com/2010/01/15/army-imprisons-soldier-for-singing-against-stop-loss-policy/

Immediate Iraq tranfser and court martial announced in violation of military regulations

By the Friends and Family of Spc. Marc Hall.
February 3, 2010
Donate | Sign the petition | stoplossmusic.org

http://www.couragetoresist.org/x/content/view/816/1/

Today, Fort Stewart, Georgia officials confirmed that the Army will attempt to separate Spc Marc A Hall from both his civilian legal team and his established military defender Capt. Anthony Schiavetti by sending him to Iraq “within a few days” to face court martial.

The Army declared that, “The jurisdiction transfer ensures a full and fair trial for both Spc. Hall and the United States.” Nothing could be farther from the truth, at least for Spc. Hall.

“It is our belief that the Army would violate its own regulations by deploying Marc and it would certainly violate his right to due process by making it far more difficult to get witnesses. It appears the Army doesn’t believe it can get a conviction in a fair and public trial. We will do whatever we can to insure he remain in the United States,” explains attorney David Gespass of Birmingham, Alabama.

Spc. Marc Hall produced and distributed an angry hip-hop song in July 2009 when he discovered that he would not be allowed to leave active duty due to the Army’s “stop-loss” policy. Spc. Hall continued to serve with his unit for the next four months undergoing command and mental health counseling as requested. “I explained to [my first sergeant] that the hardcore rap song was a free expression of how people feel about the Army and its stop-loss policy. I explained that the song was neither a physical threat nor any threat whatsoever. I told him it was just hip-hop,” explained Spc. Hall.

When Spc. Hall continued to express strong objections to redeploying to Iraq, his unit used the hip-hop song as a pretext to incarcerate Spc. Hall on Dec. 12, 2010. The command likely believed Spc. Hall would refuse to deploy anyway creating discomfort among other soldiers.

Image

Spc. Hall was charged Dec. 17, 2009, with five specifications in violation of Article 134 of the Uniform Code of Military Conduct, two of those for wrongfully communicating a threat based on song lyrics. Article 134 is the vague rule that outlaws anything “to the prejudice of good order and discipline.”

Brenda McElveen, Spc. Hall’s mother notes, “Marc served his tour of duty to Iraq honorably. To his dismay, he was told that he would be deployed again. When Marc voiced his concerns over this matter, his concerns fell on deaf ears. To let his frustration be known, Marc wrote and released the song. Marc is not now nor has he ever been violent.”

On Feb. 1, 2010 Spc. Hall underscored his non-violent outlook by formally applying for discharge from the Army as a conscientious objector. His application explains the transformation he went through during his year-long deployment to Iraq. The Army’s attempts to now deploy him violate AR 600-8-105 (Military Orders) and the Army’s Conscientious Objector regulations among other errors.

“The Army seeks to disappear Marc and the politically charged issues involved here, including: the unfair stop-loss policy, the boundary of free speech and art by soldiers, and the continuing Iraq occupation. The actual charges are overblown if not frivolous, so I’m not surprised the Army wants to avoid having a public trial,” explained Jeff Paterson of Courage to Resist (couragetoresist.org), an organization working in collaboration with Iraq Veterans Against the War (ivaw.org) to support Spc. Hall. Supporters have created stoplossmusic.org to support Spc. Hall and pay for his legal defense.

Ft. Stewart Public Affairs Chief Kevin Larson, (912) 435-9879, announced today that he will no longer provide information regarding Spc. Hall. Media should instead contact Iraq-stationed LTC Eric Bloom via email only at eric.bloom@mnd-b.army.mil. This e-mail address is being protected from spam bots, you need JavaScript enabled to view it This alone underscores the lack of a fair and public trial available to Spc. Hall in Iraq.

The Army continues to implement its stop-loss policy despite President Obama’s promise to end the unfair practice that involuntarily extends the active duty service term of many soldiers. According to the Pentagon 120,000 soldiers have been affected by stop-loss since 2001 and 13,000 are currently serving under stop-loss orders.

Return to Davey D’s Hip Hop Corner

BlackHistoryFacts: Every Place Has a Story to Tell-Early LA Hip Hop

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Rich Cason & Formula V

When it comes to Hip Hop every city has its own pioneers and their own unique special history.. Some of it was influenced by what was going on in New York, a lot of it was homegrown and came to light once things started to bubble up from NY in the early 80s.. In other words, in places like LA and the Bay Area there was already a thriving street dance scene where people were tutting, popping and roboting which had nothing to do with New York..  Funk and later Uptempo dance records  were the gems that galvanized people..

Below are some of the first records I recall hearing out of LA back in the early days of LA rap, which I should add was different from the Bay which has its own unique history.. What I liked about LA’s history was many of the artists started off as DJs..  People like Arabian Prince, DJ Unknown, Egyptian Lover, Chris The Glove Taylor, Tony G, Joe Cooley , Julio G, Uncle Jamms Army etc..

In the video below you see Chris the Glove who produced the cut Wreckless and featured Ice T is shown in this 1983 video along with Egyptian Lover demonstrating deejaying..

A lot of the music in LA’s early Hip Hop days was classified as electrofunk and is often associated with the sound Afrika Bambaataa established with his song Planet Rock. However, when speaking with the eraly DJs from LA, they say they were already into that sound way before hearing Planet Rock. Egyptian Lover explained that he was influenced by early Prince and Kraftwerk.. and that he had been deejaying in a crew since the mid 70s.. Folks in LA will recall how Egypt who was part of Uncle Jamms Army used to do huge parties at the LA Coliseum where they would work 4 turn tables at a time which was pretty major back at that time..

Here’s an interview we did with Egypt where he breaks all this down

http://odeo.com/episodes/25600751-An-Interview-w-West-Coast-Pioneer-Egyptian-Lover

Uncle Jamms Army  ‘Naughty Boy’

Other pioneering figures  had already been playing in bands and were producers.. Rich Cason is a one such pioneer. You can’t talk about LA Hip Hop without proppin him up.. He’s a key foundation… The first records I heard from LA that I associated with Hip Hop was Killer Groove by Formula V, Gigiolo Rapp and Bad Times by Captain Rapp were all produced by Cason. His legacy goes way back to the  60s. In fact his group Formula V had been putting out records since 1973.

Killer Groove by Formula V w/ producer Rich Cason

Captain Rapp Bad Times..

Captain Rapp Gigolo Rapp

Arabian Prince

Arabian Prince who was an original member of NWA is another pioneering figure in LA Hip Hop who was deejaying in a crew since the 70s.  He started out as a DJ and later went on to produce. He’s unique in the sense that he was a pioneering figure in Hip Hop’s electro-funk movement as well as pioneering figure in Hip Hop’s gangsta rap movement. A quick look at his track record will show you that he produced landmark tracks for everyone ranging from JJ Fad to Bobby Jimmy and the Critters as well as NWA.  Here’s an interview he did with him. http://odeo.com/episodes/25600777-Interview-w-Original-NWA-Arabian-Prince

Tons of things have been written about the World Class Wrecking Crew which was home to Dr Dre… They had a bunch of hit songs and Dre helped elevate the deejay game before he went on to start producing..

Wrecking Crew w/ Dr Dre Surgery

 Here are some other early cuts I recall from back in the days..Now please keep in mind this is just a taste of a city that is steeped with stories.. No, we haven’t touched on the dance scene and influence. We haven’t talked about KDAY and the Mixmasters which go back to ’83 and 84.. We haven’t touched on the Good Life or any of that..  This is just a sample.. A great place to go to get some good info on early west coast is my folks from germany who run www.westcoastpioneers.com

LA Dream Team ‘Rockberry’

Ice T 6 in the Morning..

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An Interview w/ SXSW Hip Hop Director Matt Sonzala

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Matt Sonzala

Matt Sonzala is a long time fixture in the Texas, Hip Hop scene. he started off doing a popular radio show in Houston on our sister station KPFT called Damage Control. Him and co-host Zin who now does SOS Radio we key in granting many of Houston’s now big time stars from Paul Wall to Bun B to Chamillionaire crucial exposure when many were content in  overlooking music coming from Texas…

Over the years Matt expanded his range and began penning articles for various magazines including the Bay Area’s Murder Dog. He then decided it was time to start highlighting many of the artist he was exposing via his radio show, by becoming the Hip Hop director for South By Southwest (SXSW) music convention.

We sat down and spoke with Matt about a variety of topics most notably all the artists that he’s managed to swing through SXSW. When he first started several years ago, Matt did a couple of showcases in what was overwhelmingly an indie rock showcase. He brought artist like Dizzie Rascal from the UK and gave love to some of the local Texas acts. Years later he had more than a dozen Hip Hop showcases and several panels with an impressive line up of artists ranging from members of Wu-Tang to Kanye West to Public Enemy to numerous artists from overseas. In this interview, Matt lays out the dense line up for this years gathering thus reminding us just why  SXSW is an important destination place if for any reason just to network…

In his recent blog found at  Matt laid out this line up for South By South West on his popular blog http://austinsurreal.blogspot.com

Wednesday March 17, 2010
La Zona Rosa, Austin, TX
SXSW Night 1
SXSW & OGPR Presents The Best in Texas
Chamillionaire & Paul Wall Reunion Show (Houston)
Trae tha Truth (Houston)
Chalie Boy (Hearne/Calvert)
Dorrough (Dallas)
J. Kapone (Austin)
Fat Pimp (Dallas)
Big Sid (San Angelo)
Kyle Lee (San Antonio)
Question? (San Antonio)
League of Extraordinary G’z (Austin)

International Hip-Hop at SXSW

La Melodia (The Netherlands)
The Arab Summit (Palestine/Lebanon)
Invincible Voice (Palestine/Lebanon)
David Dallas (New Zealand)
Young Sidd (New Zealand)
Mr. Sicc (New Zealand)
Bliss N Eso (Australia)
Anita Tijoux (Chile)
ChocQuibTown (Colombia)
Sweatshop Union (Canada)
Binary Audio Misfits (France/Texas)

Coolooloosh (Israel)
Adam Tensta (Sweden)
Looptroop Rockers (Sweden)
Timbuktu (Sweden)
LidoLido (Norway)
4th Pyramid (Canada)
K-Os (Canada)
Young Fathers (Scotland)
Nach (Spain)
At Versaris (Spain)
Bubbz (UK)

Friday March 19th
Scoot Inn
Duck Down 15th Anniversary Show

Buckshot
Smif-N-Wessun
Sean Price
B-Real of Cypress Hill
Kids in the Hall
Blue Scholars
9th Wonder
Promise
Ruste Juxx

Bun B

We talk to Matt about the history of Houston ‘s rap scene and how he’s seen it evolve over the years. He tal;ks about the key roles that artists like K-Rino, The Geto Boys, South park CoalitionTrae, Chingo Bling  and many more have played. He touched upon the innovative tech savy nature of artists like Chamillionaire who recently headlined a Silicon valley tech gathering. he also talked about the nurturing role icons like Bun B has played toward younger artists..  We also talked about the hustling independent aspect of Houston artists and compared the way the Bay Area has approached the game in similar fashion.

Below are the links to the podcast Interview w/ Matt Sonzala

Interview w/ Matt Sonzala pt1

Interview w/ Matt Sonzala pt2

/

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here’s an interview from a couple of years back…

http://24hrgrind.com/matt.htm

We get to square off with Matt Sonzala. One of Houston Texas finest pioneers in bringing the underground to the surface in all types of formats ranging from his radio show on KPFT every Wednesday at midnight to amazing interviews in Murder dog magazine among other things..

OTG – Let’s start this off right. What’s your name? What’s your hood? And what do you claim?

Matt Sonzala. I live just outside the Heights, two blocks exactly from the car lot where Rap-A-Lot Records first started. The Heights is like just below the north side, kind of north edge of the center of the city. I claim the whole world because I want it all. I get real restless and want to live everywhere sometimes to be real with you man.

OTG – How does it feel to be a pioneer in covering the sound that has been coming out of the state of Texas these past years? You have the Damage Control radio, the publishing’s and the infamous HoustonSoReal blog. Let’s not forget the photography. That sure is a lot of media and format to cover?

Man like I said, I get restless. I can’t handle having a real job. I don’t like doing the same shit day after day, so I just tackle whatever comes at me. I started writing in 1989 or so, and really began writing about Houston, and Rap-A-Lot in particular for magazines out here like Texas Beat in 1991, so I been on it for quite a while. It feels good to be me right now though because seriously I’m starting to get some recognition and some real money. Before I didn’t want to be recognized, and I’m still not the type who just goes way out there, but I really like that my work is being recognized and respected right now.

I’m completely obsessed with radio and wish that more of it was better. I used to sit up at night and like, turn the dial on the radio so slowly, trying to find the faintest trace of a station and check what they were playing. I’m originally from Pennsylvania, so when I was real young I’d hear stations in Canada, Chicago, Detroit, Cleveland, cuz I lived close to Lake Erie so there was not much in between me and those places, I could hear all kinds of shit.

And in high school I started writing for the school paper, publishing my own little Xeroxed fanzines and taking pictures with the schools camera. It was like my hall pass, I’d grab the camera and tell teachers I was on my way to take a photo for the school paper. I was just always way into radio, reading/writing and taking photos. Now I make money doing the writing and photography and have a lot of fun doing the radio. I need to turn that shit into a paid gig, but I’d have to have full control like on Damage Control.

OTG – How did you get your spot on Damage Control radio?

Man I did my first radio show in like 1989, a reggae show in Pennsylvania. Then in like 1991 I had been in Houston for two years and my man Richard Hanna asked me if I wanted to try and do a show on KPFT. I said yes and like 6 months later they put us on and we played hip hop from 3 a.m. – 5 a.m. Monday mornings. That later became Strictly Hip-Hop Sundays when they gave us the midnight till 5:30 a.m. slot. Then I moved to New York in 1994, and moved around a lot throughout the 90’s. New York, Austin, Amsterdam, Austin again, Chicago and then back to Houston in 2001. When I got back KPFT was going through some changes so I just got with a bunch of the people there, got them on my side and bugged the Program Director till I got a show. That was like 6 months after moving back here. I just stayed on them like crazy till I got it.

OTG – How did that start and how do you feel about what it has grown into?

Really it started as an idea to give independent artists from Houston and the south some real airtime. Some time to expose their music and talk about things outside the typical box of the typical rap interview. I feel like we’ve definitely achieved that. The show is sometimes half talk, half music because we really want to introduce these artists to the public. Most hip hop shows on college or community radio only play the hot 12”s from the indy hip hop cats from New York, LA, or whatever, the shit they report to in CMJ and whatever the indy college promoters send out. They really think they are breaking things when they play B Sides from major label records and shit like that. I don’t give a fuck about that. I want to hear what is going on here and now. I don’t really even talk to any record promoters at all, ever. This dude out here Lump is my man, I talk to him, but he knows we play local music and respects that. I talk to my girl Jessica at Spectre, but she knows we don’t play half that shit cuz we just don’t have time. We only have a couple hours a week and man, we have like 100-200 people pass through the studio literally every week. Most wanting something played or a chance to talk. We try to accommodate them all. We don’t need promo people to tell us things, the artists walk right up to us. I prefer it that way.

OTG – Last but not least did Bizzy Bone scare you?

Naw I had fun that night man. It was crazy all around yeah, but it was fun to me. I mean shit we have like 100 people in the studio at any one time. Nothings gonna jump off cuz we all respect what the station and the show represents so it’s all good. And he was real cool actually, fairly cordial, just a little strange. I wasn’t trippin’. I was glad he was there. You heard it.

OTG – How do you feel about watching underground artists from Houston climb into the spotlight of main stream America? It must be weird seeing Paul Wall on MTV talking about sittin sideways!

Man I’m happy about it. Real happy about it. I want these guys and girls to gain fame and make money. I wish more of them could, but it’s a testament to the grind. Swishahouse hustled hard. Most of the folks with deals came from Swishahouse in some capacity. Not all of them, but a lot of them, so what can you say? They been at this shit for years and deserve it. There’s a lot more talent down here though and there’s a lot of people eating off the music so we really don’t need MTV and BET. And to be honest I only saw Paul Wall on MTV talking about that once cuz I never turn that shit on. I liked My Block: Houston, but aside from that I don’t think I have even seen 10 other minutes of MTV or BET this year. I fucking hate music videos. They destroyed popular music a long time ago. Especially rap.

OTG – Now do you think Austin TX rappers like Bavu Blakes who are a bit more socially conscious in there records will ever get mainstream coverage now that the door has been cracked for Texas?

Man I mean, I don’t think that all of these artists really have to rely on the current trends or whatever. They just need to keep plugging away, make appealing songs and just do it for themselves. I personally think that Bavu Blakes is one of the best MC’s in the world and he is hands down the best live performer in hip hop. New York folks a lot of the time get scared when they see him cuz he’s not the typical Texas rapper and they don’t know what to make of him. He shows people how this shit is supposed to be done. I think he needs to get on the road and grind it out in front of a wider, more open mided audience than the Texas audience and he’ll do fine. Seriously that dude needs to tour. Now socially conscious artists in general? Shit, Scarface is the most socially conscious rapper of all time to me. Bun B is way up there. People seem to accept their messages. I wish they did more message oriented stuff.

OTG – I noticed while living many places in the south and interacting with rappers from Houston that the hustle mentality of people from H-Town touches no other. How do you think this mentality was built and framed into the minds of this generation?

Man the shit comes from way back in the blues days. No one ever reaches out and helps Texas man, these folks had to do it themselves from Day 1 man. And always have. Plus there’s a lot of money down here. Even the broke people have money cuz the cost of living is low and man, people just generally support people out here. Its southern hospitality at its finest. We’re not just rats in some race.

OTG – What artists do you think are next to come out of Texas that people should look out and have an ear for?

Definitely Bavu Blakes, this kid KB has a hot single, Cl’che is kilin’ em. SLAB is amazing, Rapid Ric is the best young DJ in the game, DJ Chill and DJ Ryno have some dope mixtapes in the works, there’s lots man.

OTG – What is next for Matt Sonzala? What new venteures do you having coming out that you are able to speak about?

I got the HoustonSoReal compilation and DVD project coming possibly on a major label, more shows in New York, San Francisco, Tokyo, Amsterdam, London and wherever they’ll have us. I’m working on setting up an international booking agency,writing a book and just staying busy raising kids and being a family man.

OTG – Last but not least. Who are your top 5 artists out of Houston of all time?

Man! I don’t want to hurt anybody but Scarface, Devin, Willie D, Fat Pat, K-Otix.

OTG – Thank you so much Matt for letting us pick your brain. Any last words? Shout outs? Plugs?

Man I just want to shout out everyone who has love for music and art in general. Holler at me for anything Houston. I got dat. matt@damagecontrolradio.orghttp://houstonsoreal.blogspot.com and listen to Damage Control every Wednesday night from midnight till 2 am central time on www.kpft.org 90.1 FM in Houston 89.5 in Galveston. THANKS MAYNE!

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