Rappers Come Together to Record Self-Destruction 2

 

Daddy O

Daddy O

If you happened to be listening to Hot 97/New York the morning after Jam Master Jay‘s murder, long time rapper Daddy O (Stetsasonic /MCA/ NocOnWood.com) challenged the status quo among MC’s, producers and labels by positively changing the entire image of hip hop and working toward more responsibility and personal accountability within the industry. He announced that he would like to see fellow rappers change their names and drop the monikers that suggest gangsta affiliations and images. Ie Fat Joe would stop calling himself Joey Crack. Daddy O then announced plans for the Self Destruction2 compilation.

This morning on Vashon Island, Washington State, Daddy O elaborated on this groundbreaking effort. “I have a meeting with Lyor Cohen this week and am not
sure yet if I should bring up the subject at Jay’s funeral (Nov. 5th), I’m working on it”.

Busta Rhymes and Chuck D. have already committed to Self Destruction 2 on the strength of Daddy O‘s outline. “After my meeting with Lyor, I need help from promoters, video directors, everybody” to achieve his goal of bringing this project to the world’s doorstep.

All proceeds from this project will benefit various charities and programs against family violence throughout the United States. “We will be developing
this very soon” says Daddy O.

For further information please contact Nasty Nes at NastyNes1@aol.com or Gene
Dexter at Hiphop206@aol.com or feel free to reach Daddy O personally if you
got it like that!

Feds Set to Probe Rappers in the Wake of Jam Master Jay Slaying

jam-master-jay turntablesThe Hip Hop world will come together in mass over the next few days to pay tribute for the late Jam Master Jay. First today [Monday November 3 2002] there will be a public and private wake.. Tomorrow will be the funeral.

As the Hip Hop world grieves there have been a number of developments. First, we now know that the police have a video tape of the suspect. Shortly after the slaying newspapers and other media outlets reported that there was no video tape which aroused suspicion because the studio where the killing took place regularly recorded people coming and going. Media outlets were quick to jump on this facet and as a result implied that JMJ may have been involved with some sort of ‘rap war‘ which led to him being killed.

We now know that a tape was given to the police who say they have gotten a small break in the case. They have issued a description of the suspect. He’s described as a dark skin black male who is 6’2″ and 180-210 lbs…There’s no word as to whether or not they will have some sort of sketch. Thus far they are saying they got the description from eye witnesses. We’ll keep you posted on what the they find on the video tape.The police will be interviewing a couple of possible suspects including an unidentified man who supposedly has a long-standing feud with JMJ.

Another disturbing development is a cat named Kenneth Walker was shot and killed in the Bronx over the weekend. Walker was a promoter for rap star 50 Cent. The NYPD has been trying to see if there’s any sort of connection between JMJ and beefs involving 50 Cent.For those who don’t know, over the past couple of years 50 Cent has gotten under people’s skin for doing songs where he calls out so-called ‘gangsta rappers’. His new album has all sorts of dis songs.. As of Thursday last week, 50 Cent has reported to have left town because there have been a number of threats on his life. JMJ was friends with 50 Cent and produced some of music.

While all this is going on, the press has had a field day lambasting JMJ and trashing his image. The NY Daily News ran a disturbing article over the weekend pointing out that JMJ owed close to 500 million dollars in back taxes. They also reported that he owed one cat 10 thousand dollars. They noted that him being killed may have been because he owed so much money.

The NY Daily News article included callous quotes from a NY Franchise Tax Board representative stating that they intend to collect their money from JMJ’s estate. It’s like he hasn’t even been buried yet and already their lining up to get paid. The story also has everyone wondering, if these allegations are true, how in the world does a cat who belongs to a group as famous as Run-DMC which has more multi-platinum albums then we can count and is responsible for running his own label and for discovering and putting out multi-platinum acts like Onyx, be broke and in that type of serious debt?

All sorts of other media outlets from USA Today to the NY Times have jumped on the rap war/rap feud bandwagon. In spite of vehement denials from those closest to JMJ including Russell Simmons, the coverage from that angle has been relentless. This is now resulting in The Federal government intervening and using this as an excuse to probe the relationships that exists within the rap world. In fact the NY Post has a huge headline screaming this fact…

All this is coming at the heels of disturbing accusations suggesting that the recent killings by the accused Beltway snipers John Muhammed and Lee Malvo were inspired by rap songs and rap groups who belong to the 5 Percent Nation. Acts like Wu-Tang‘s Killarmy have been cited as the influence… Folks may wanna peep this latest article..
http://www.nypost.com/news/regionalnews/61299.htm

Rap COPINTELPRO XI: The Sniper Shootings, Hip-Hop & The 5 Percent Nation Of Islam

Cedric Muhammad

Cedric Muhammad

I sat in rapt attention last Sunday morning as I saw Meet The Press host Tim Russert work to position Hip-Hop music as a major influence behind the behavior of the alleged sniper in the Washington D.C.- area. Here is the official transcript of that portion of the program (any spelling mistakes/errors are MSNBC’s):

MR. RUSSERT: Now, one of the more interesting things that went on in this case was how the police used the media to try to communicate and develop a dialogue with the alleged snipers. And we’ve gone back and looked at a variety of things as to what influences there may have been on the snipers. This is a CD from a group called Kill Army. It’s named “Silent Weapons For Quiet Wars.” There’s a song called “Wake Up.” “Word is bond this is as real as it’s going to get.” Then here is the letter which they left behind at the shooting in Ashland, Virginia. “Word is bond.” And on Wednesday night, we heard Chief Charles Moose of Montgomery County saying this:

(Videotape, October 23, 2002):

CHIEF CHARLES MOOSE: If you are reluctant to contact us, be assured that we made ready to talk directly with you. Our word is our bond.

(End videotape)

Tim Russert

Tim Russert

MR. RUSSERT: Extraordinary, Dr. Meloy.

DR. MELOY: Yeah. It’s also very interesting from the perspective of the degree to which we see in these cases mimicking of other kinds of cases that have occurred previously or other kind of pop cultural data that will be incorporated by the individual into his killing spree or killing series. This does not mean, of course, that popular culture causes these events, but we do know that influences from violence in the media will account for a small proportion of what we refer to as the variants, a piece of the pie, in individuals that carry out these kinds of acts.

MR. RUSSERT: Let me show you some more based on exactly what you’re saying and bring everybody else into the conversation. Here are more lyrics from that same album. This is a song called “Five Stars.” “Snipers on the rooftop watch out for the Pitbulls. Waited ’til sunsets and moving like ninjas. …Yo, 5 Star General giving orders.” Here’s the letter, cover sheet, they left behind. The five stars were a symbol or an indication that this was the true sniper sending this letter.

Then we had this left behind. I’ll show you here the lyrics from the same album. “My name is Born God Allah, King of North America,” and the tarot card left behind, “Dear Policemen, I am God.”

Playing out a real fantasy, influenced somewhat by music, and yet in his own mind, woven together and we saw this play out.

www.msnbc.com/news/826747.asp

The exchange got my full attention as I was already fully aware of the effort by many in the media and those above them to position the Honorabale Minister Louis Farrakhan as the inspiration behind the activities of the alleged sniper. Now, I saw more fully the details of the height and depth to which the sniper controversy – from the horrific killings; to the association with the Nation Of Islam of the lead suspect, John Allen Muhammad; to the alleged influence of Hip-Hop; and the repeated visual of the image and account of a Black male committing violence with a firearm – could and was being used by the worst enemies of Black America to justify certain attitudes and policies.

killarmyHaving been General Manager of the multi-platinum group Wu-Tang Clan with whom Killarmy, the group Mr. Russert mentioned, was affiliated, I can, with authority, dismiss the idea that the activities of the alleged sniper are what Killarmy had in mind when they were motivated to record the album Silent Weapons For Quiet Wars. I was there when they recorded the album, knew the young members of the group personally, and at times, conducted business on their behalf as it related to Wu-Tang Clan.

On balance I saw the positive influence of the 5% Nation Of Islam teachings on the members of Killarmy and Wu-Tang, on a daily basis, for nearly 3 years, day-in-day out. Certainly, they, like everyone else I know, have imperfections and fall short of the best of what they preach. I am also of the view that the influence of the 5% Nation on Hip-Hop has been overwhelmingly more positive than negative.

What was really at the root of Mr. Russert’s association between the murders and the lyrics of an underground rap group? Who was it – a producer at NBC, a rap fan, a music industry representative or someone in intelligence or an interest group – that gave Mr. Russert the lyrics to Killarmy’s recordings? What was the motive? Especially since we have not heard as much as a peep directly from John Allen Muhammad or an attorney representing him.

Immediately, while watching the Meet The Press program I realized that the real target was Hip-Hop music but more specifically the influence that the Nation Of Islam and Five Percent Nation Of Islam have had on the music genre, particularly since the mid-1980s. The arrest of John Allen Muhammad in association with the sniper shootings and a public “connection” with rap music is a dream come true for many powerful people, institutions and organizations that have been threatened by the rise of Hip-Hop and how it has been influenced by Minister Farrakhan, the Nation Of Islam and the Five Percent Nation Of Islam.

Who benefits from tying it altogether?

John Allen Muhammad

John Allen Muhammad

I have written about this before. But can’t remember a more direct incident where this was so clearly the case. The trial and investigation of John Allen Muhammad is going to be used to accomplish alot more than a conviction regarding the sniper murders.

In 1997 I visited the Freedom Of Information Act (FOIA) Reading Room at the FBI’s headquarters in Washington D.C. Anyone can do the same today, if they schedule an appointment. I was impressed by the large file that the federal government had on the 5% Nation Of Islam. The files went back over 30 years. I would later take the photocopies I had of some of the files and show them to rap artists and certain influential members of the 5% Nation that I knew personally in Brooklyn and Harlem. I was surprised to see how few of the were aware of the depth of the surveillance that the group was under. At this very moment you can read 132 pages of the FBI’s files on the 5 Percent Nation Of Islam at foia.fbi.gov/5percent.htm.

Interestingly, the Anti-Defamation League (ADL) has a webpage exclusively dedicated to the 5% Nation Of Islam, under a heading – “Hate On Display: A Visual Database of Extremist Symbols, Logos and Tattoos” You can view it at: www.adl.org/hate_symbols/…enters.asp

Now keep in mind it is hard to argue against the reality that along with Minister Farrakhan, there was no greater “outside” influence, during Hip-Hop’s most “conscious” era, on the lyrics of leading Hip-Hop arists, than the teachings of the 5% Nation. This is the case most obviously in 1987-1988 with popular artists like Rakim and Big Daddy Kane. To varying degrees Lauryn Hill, Nas, Wu-Tang Clan, Public Enemy, KRS-One, Ice Cube, MC Ren, X-Clan, Queen Latifah, and countless others have been positively influenced by the teachings of both the 5% Nation Of Islam and the Lost-Found Nation Of Islam in the West.

Members of 5% Nation

Members of 5% Nation

But specifically speaking the surveillance that characterized the government’s opinion of the 5 % Nation as a threat thirty years ago (this does not negate the very good relationship that is said to have existed between former New York Mayor John V. Lindsey and members of the 5 Percenters, from 1966 to 1973) has continued and broadened outside of the home base of the 5 Percenters in New York City.

Today, the antagonistic relationship between federal, state and local law enforcement and the 5 Percenters continues with the group officially categorized as a gang in several states. In Massachusetts, Florida and several other states the group is being opposed by special street crimes task units, local police departments and anti-juvenile violence efforts which consider the group to be a negative influence on young people. The official designation of the 5 Percenters as a gang has real affects on the ability of members of the organization to move freely in society and pursue very noble causes.

Look again at Tim Russert’s sudden interest in Hip-Hop music. What is the real motive in linking the alleged sniper, Hip-Hop and the 5% Nation Of Islam, before a predominately White audience of political observers? And who among those who prepared Mr. Russert for last week’s show, determined that Killarmy’s lyrics should be included in the public discussion?

The answer to these questions relates to Minister Farrakhan’s more-than-a vision experience in Mexico in 1985 and his announcement in 1989 that detailed the U.S. government’s planned opposition to the Nation Of Islam, street organizations and Black youth under the guise of what I have referred to as a “cover story.”

Irrespective of the actual guilt and potential conviction of John Allen Muhammad, is the sniper controversy being used to undermine Black culture and organizations and further demonize Black men, in order to accomplish a much larger objective?

Are we thinking about this as clearly as we ought to or have we been distracted from doing so, by design?

www.blackelectorate.com/a…asp?ID=732

Cedric Muhammad

Friday, November 01, 2002

RapCOINTELPRO X : Getting to The Bottom of 2Pac & Biggie

cedricmuhammed2When the Los Angeles Times article came out implying that Biggie was the mastermind behind the murder of Tupac I immediately recognized that some force(s) was attempting to use the murder of both rappers to divide the Black community, in particular, in a manner similar to how the murder of Malcolm X had been used, for over 30 years.

When reading the special two-part series that supposedly places Biggie behind Tupac’s murder, I could not help but go back in my mind to early 1995 when it was announced that the FBI had foiled a murder-for-hire plot. Malcolm X’s daughter, Qabilah Shabazz, had allegedly hired a Jewish hitman to kill Minister Farrakhan. Ridiculous. But designed to get the family, followers and supporters of Malcolm X and those of Minister Farrakhan to fight one another in a way that would leave the Minister dead at the hands of someone Black, not Jewish.

Interestingly, like was the case in the murder of Tupac for 6 years, it took over twenty years before Minister Farrakhan’s name ever came up in the list of those supposedly responsible for the murder of Malcolm.

Who has the power to do that, in both cases?

2pac-BiggieRemember what I included last week of the contents of a letter Lt. Col. Fletcher Prouty, author of the book JFK, wrote to me. He wrote of his covert responsibilities in the U.S. government as well as what was really involved in the assassination of President Kennedy, beyond the murder itself:

“…you will recall that I view the whole assassination process in a much different way than others.

From my experience and point of view the whole thing was an elaborately planned conspiracy to accomplish a Coup d’etat. To do so it was necessary to kill JFK, among other things. This is why there has never been any prosecution or trial for anyone since that crime. A coup d’etat of such dimensions is carefully planned, is the consensus decision of many powerful people, and then the work of pure professionals who are highly skilled.

For such a plan, the most important part is the ‘Cover Story.’ The murder took a bit of deft work and then a terrific load of cover story all the way from Oswald to books and media collaboration and the masterful scenario of the Warren Commission Report. We live with a 30-year old story today.”

Notorious BIG orangeThat after nearly two years of no arrest in his murder, a prominent effort would begin in the Los Angeles Times to pin Biggie’s murder on Suge Knight; and then 3 years later the same would be done to place responsibility for the murder of Tupac into the hands of Biggie, is not an accident but by design, to serve a purpose greater than financial profit or the fulfillment of journalistic responsibility regarding the killing of two celebrities. This is true, in my view, whether the individual reporters whose pen names are on the Los Angeles Times articles, published over the past few years concerning the Biggie and ‘Pac murders, are aware of a greater design or not.

While comedian Chris Rock once made a joke lampooning the idea of speaking of Biggie and Tupac’s murders in terms of political assassinations, I honestly think that the only way for the Black community and Hip-Hop to side-step an obvious effort to use these two murders to foster division and violence is to view the murders of Biggie and Tupac in terms of the assassinations of Malcolm X and even Dr. Martin Luther King Jr.

The only way to get to the top and bottom of both murders is to find out once and for all what the United States government knows about them. Since it is a fact that Death Row and Bad Boy Records and Tupac and Biggie were under FBI, ATF and IRS, NYPD, LAPD and IRS surveillance and/or investigation at the time of both murders; their exist, at this very moment files that have not been made public. Especially in the case of the government agencies involved, these files should be opened. The Freedom of Information Act (FOIA) allows anyone – a family member or journalist – to obtain such files. There do exist files and dossiers on both Biggie and Tupac within the federal government. Efforts should be made to obtain the de-classified and still classified files pertaining to Tupac Shakur and Christopher Wallace.

Dr Betty Shabazz

Dr Betty Shabazz

When the FBI’s ridiculous charge in 1995 that Malcolm’s daughter was the mastermind of a plot to kill Minister Farrakhan became public, it was Malcolm’s wife, Dr. Betty Shabazz who decided that enough was enough and took the initial steps to meet privately with Minister Farrakhan, first in an airport, to discuss what could be done to help her daughter and heal the rift in the Black community that was the result of an unsolved murder that had been used for over 30 years to divide the Black community through innuendo. The Minister offered his assistance in helping to raise money for Malcolm’s daughter’s legal defense telling Dr. Shabazz, “we have to help Bro. Malcolm’s family” and both Minister Farrakhan and Dr. Betty Shabazz agreed that a public demonstration of unity was necessary in order to combat the government and media efforts to divide the Black community over the murder and the real and perceived tensions between the Nation Of Islam and Malcolm’s family, helpers, followers and students. That public demonstration took the form of a public meeting between Betty Shabazz and the Minister in May of 1995 at the historic Apollo theater in Harlem.

I was among those honored to have been present. The energy and electricity surrounding the event was powerful as anyone who was present can attest, and in a significant way, a 30-plus year old wound had begun to heal as a result of the efforts of two parties who placed their personal hurt aside for the benefit of an entire community who in one form or another had been affected due to a personal agreement and the U.S. government’s manipulation of such.

Puff-DaddyIn some way, something similar has to happen where Tupac and Biggie’s murders are concerned, if healing is to take place and manipulation is to be ended. It would be helpful, if Tupac and Biggie’s families and Suge Knight and Sean Combs with the help of their supporters, spiritual leaders, advisers, and East and West Coast artists and music executives, were one day able to put their personal hurt aside and recognize and understand that their pain and emotions are being used to divide whole communities. P. Diddy was present that night in the Apollo when the Minister and Sister Betty began to publicly reconcile. Before, during, and after that Apollo meeting, Minister Farrakhan called for the government to open the files on the assassination of both Malcolm X and Dr. Martin Luther King. Puffy’s relative public silence on the matter of the Los Angeles Times story on Biggie should be studied. It has had both a positive and negative affect on the situation.

Afeni shakur

Afeni shakur

Among other things, the community should also encourage, and hope and pray that Tupac’s mother, Afeni Shakur and Biggie’s mother, Voletta Wallace, eventually meet with Dr. King’s late wife, Coretta Scott King, who can be a source of wisdom and strength to them as they navigate not only the pain and grief of loss, but also the possibilities that very powerful individuals in government and without, know more about the murders of Biggie and Tupac than has ever been reported. This may be especially helpful to Biggie’s mother who is persuaded by the work of a White investigator that the LAPD is covering up Biggie’s murder (Afeni Shakur has been clear in her statements that she does not trust the government, local police, or media where her son is concerned). This is bigger than the LAPD. The fact that Biggie and Puffy’s cars, that fateful night in March of 1997, were under surveillance by the ATF, FBI and undercover NYPD; and that members of Biggie’s entourage were shown pictures of cars and individuals who were near them at the time Biggie was shot provides evidence that more than an LAPD cover-up is involved. Coretta Scott King can be an invaluable resource of insight into dealing with the federal government’s knowledge of what happened in September of 1996 in Las Vegas and in Los Angeles in March of 1997.

It is good that both mothers have made at least one dramatic public appearance together, at the MTV music awards. Now, if they are able and willing, more should be asked of them, in order to prevent the wicked designs of those who continue to drop innuendo regarding both murders.

It would also be helpful if the leaders of the sets of Bloods and Crips who find themselves mentioned in connection to these murders could make a similar recognition that their personal disagreements and the entire street organization culture is being used by external forces to not only divide the Black and Hip-Hop communities but to prevent youth from organizing and developing leadership and unity among themselves and broader organizations in the Black and Latino communities. It would be very helpful if someone, through the Freedom Of Information Act (FOIA) could get to the bottom of how many of the gangs in Los Angeles and Chicago, in particular have been manipulated by the government and local police departments into committing acts of violence upon one another. Street organizations should know by now that the federal government and local police department task force and street crime units have placed informants and agents within their ranks to cause problems.

Finally, members of the Hip-Hop journalist community – publishers, editors and reporters – have to move beyond their superficial fascination with the creativity of Hip-Hop artists, their social lives and commercial success and do some hard reporting on serious stories affecting the community and industry.

Police spyTo our knowledge, not a single major Hip-Hop magazine has done a cover story on 1)The fact that the NYPD in 2001 openly admitted that it has the New York Hip-Hop community and industry under surveillance 2) The DEA and Houston Police Department’s investigation, use of informants, and COINTELPRO-like tactics in the investigation against Scarface and Rap-A-Lot Records in 2000 3) The federal investigations – FBI, ATF and IRS pertaining to Tupac, Biggie, Death Row and Bad Boy or the fact that both artists were under surveillance in the general time period or night of their murders.

Finally, as we have written before, people really don’t know what COINTELPRO was all about or to what extent it has been documented that the mainstream media has been used by the government to foment discord, foster the shedding of blood and cover-up its own hand in creating mischief in the Black community. Until people truly understand COINTELPRO and read the files pertaining to it, and make parallels to what happened with Biggie and Tupac, we will never move past what began over six years ago.

www.blackelectorate.com/a…asp?ID=702

Cedric Muhammad

Friday, September 20, 2002

RapCOINTELPRO IX – The “Biggie’s-Behind-The-Murder-Of-Tupac” Theory

www.blackelectorate.com/a…asp?ID=697

Cedric Muhammad

Cedric Muhammad

Yesterday, while a panelist on Congresswoman Cynthia McKinney’s Hip-Hop Braintrust issue forum, at the Congressional Black Caucus convention, I commented on how many were inappropriately describing last week’s Los Angeles Times’ series on Tupac’s murder – which attempts to position the Notroious B.I.G. as the conspiratorial mastermind – as bad journalism and sensationalism. Considering that we have spent tens of thousands of words, over a two-year time, in an 8-part series, describing the real probablility and evidence that the government is involved in destablizing Hip-Hop culture and the industry that it has spawned, and as a result an entire generation and people(s); it is only natural that we would reject the sensational/bad journalism explanation as too superficial, and even, an unintentional trivialization of the murder of Tupac.

While many leading figures in the Hip-Hop community rapidly responded to the story – denouncing, dismissing and refuting it, there is still missing a serious critique as to what the driving force is behind not only the most recent reporting on Tupac’s murder, but the entire “cottage industry” that has developed around both murders. Is it purely the profit motive and/or bad reporting that is at the root of the documentaries, articles, and books that claim that Suge Knight is behind the murder of Biggie and now, that Biggie was behind the murder of Tupac?

We think not.

In 1994, I received a letter from the late Colonel Fletcher Prouty who served, at one point, as the liasion between the Joint Chiefs of Staff and the CIA. Part of what Colonel Prouty wrote in his letter to me, and which he elaborated upon in greater length, in several of our conversations, in his Alexandria, Va. home, last decade, was that the “cover story” of a criminal event is just as important as the crime itself. Colonel Prouty spoke specifically of this concept in terms of the murder of President John F. Kennedy (it was he who wrote the portion of the script for Oliver Stone’s movie that explains who may have been behind the assasination of the President of the United States). In an August 1994 letter, he wrote to me:

“…you will recall that I view the whole assassination process in a much different way than others.

Man-lookingThroughBlinds-Rap-cointelproFrom my experience and point of view the whole thing was an elaborately planned conspiracy to accomplish a Coup d’etat. To do so it was necessary to kill JFK, among other things. This is why there has never been any prosecution or trial for anyone since that crime. A coup d’etat of such dimensions is carefully planned, is the consensus decision of many powerful people, and then the work of pure professionals who are highly skilled.

For such a plan, the most important part is the “Cover Story.” The murder took a bit of deft work and then a terrific load of cover story all the way from Oswald to books and media collaboration and the masterful scenario of the Warren Commission Report. We live with a 30-year old story today.

When I was the Chief of Special Operations in the Pentagon during the years 1955-1964, I worked at three levels, Air Force, Secretary of Defense and the Joint Chiefs of Staff. In all cases wherever my office was there would be a “Cover and Deception” office nearby. I had the operations to run. They had the big job of covering the operation. That’s work, and effective.”

It is a historical fact that the media has been used, willingly and unwillingly, to write cover stories aiding government efforts to disrupt Black organizations. One example, which we have presented and which none of our detractors have been able to overcome is the manner in which the media was used against the Nation Of Islam in 1959. Here is what we wrote in part III of this series on :

In a book entitled This Is The One, written by Nation of Islam Minister Jabril Muhammad (he was known as Minister Bernard Cushmeer when he wrote This Is The One) the question of the coordination of media outlets in a propaganda war against the Nation of Islam was raised. Keep in mind that Minister Muhammad began writing this book in the late 60s when COINTELPRO was not known to be in existence by the general public. This kind of reminds me of the situation that we find ourselves in today, where, for the most part members of the Black and Hip-Hop Community don’t have public knowledge of any intelligence campaign being waged against them by the FBI, CIA or NSA. Here is the actual quote of what Minister Muhammad wrote in his book which he began in 1968:

“Back In 1959, the white press, as if on signal, launched a furious attack on Messenger Muhammad and The Nation Of Islam, following the dishonest portrayal of us entitled: “The Hate That Hate Produced.” Through such publications as Time, U.S. News and World Report, Newsweek, The Reporter, Esquire, Confidential, True, Saga, and a host of other magazines and newspapers; white America spewed forth a flood of articles, both superficial, spurious and poisonous in nature. A few among them did a creditable job, as far as they went. But the bulk of what was written was insidious and rotten to the core. But it did not hurt us.

“There is plenty of evidence to show that much of the material was deliberately misleading. There are instances when reporters found interpolations in the text of their stories that were altered, here and there, by their ‘bosses’ so as to misrepresent their findings of the Messenger and his followers.

“The white people – newscasters, commentators, etc., – have lied in concert. The television newsmen were not, and are not, above editing their films in such manner as to actually tell lies to their viewers. They conspired to deceive the public regarding Messenger Muhammad. This can be proven with ease. Members of a large orchestra do not accidentally play the same tune.”

Was Minister Muhammad right? According to a White Swedish Scholar, Mattias Gardell, he was absolutely correct. In Mr. Gardell’s book, In The Name of Elijah Muhammad: Louis Farrakhan And The Nation Of Islam, published in 1996 (28 years after Minister Muhammad began his book) Gardell verifies the truth of what Minister Muhammad wrote. Gardell writes:

In 1959, the FBI launched a large-scale media campaign. In this first phase, the FBI briefed selected journalists who wittingly channeled the view of the bureau to the American public. The special agent in charge (SAC) in Chicago, wrote: “Originally the program was centered around espousing to the public, both white and black, on a nationwide basis the abhorrent aspects of the organization and its racist, hatetype teachings. This was done in such leading magazines as Time, U.S. News and World Report, Saturday Evening Post etc., as well as through newspapers.” The sudden outburst of media interest is commented on by NOI apologist Jabril Muhammad (then Bernard Cushmeer). His view might have seemed overly paranoid to some readers, but Cushmeer was correct: “Back in 1959, the white press, as if on signal, launched a furious attack on Messenger Muhammad and the Nation of Islam…white America spewed forth a flood of articles, both superficial, spurious and poisonous [sic] in nature…They conspired to deceive the public…Members of a large orchestra do not accidentally play the same tune.”

In the notes in his book, Gardell makes reference to the actual FBI files that he saw, on which he bases his statements.

*************

Some have been offended by our constant admonition, begun in the year 2000 to consider that the very same tactics used against organizations and communities under the Counter Intelligence Program (COINTELPRO)run by J. Edgar Hoover, are being used against Hip-Hop. Others, especially Hip-Hop magazine journalists, have argued in public and private that our effort has trivialized COINTELPRO.

By now, since we first presented our thesis, we think that plenty of evidence has surfaced and been reported by the mainstream media, that supports the validity and legitimacy of our arguments. Not the least of these forms of evidence is the fact that the New York City Police Department (NYPD), has publically admitted that it has the city’s Hip-Hop community and industry under surveillance. The arrest of Jay-Z, in 2001, on gun charges, at a New York nightclub was partly the result of this effort, which involves the New York Street Crime Task Force Unit. Anyone who knows the history of COINTELPRO can immediately make the connection betwen local innercity police departments and the FBI.

More evidence was provided in 2000, when we were the only alternative media outlet, that in detail covered the Congressional hearings on the DEA investigation of Rap-A-Lot Records, James Prince and Scarface which involved several informants in Houston’s 5th ward and an admitted attempt to turn Scarface against Rap-A-Lot Records founder, James Prince or James Smith.

A letter was also released during the hearings written by James B. Nims, Group Supervisor in the DEA, to Rep. Dan Burton (R-In), chairman of the Committee on Government Reform which revealed that multi-platinum artist, Scarface, was a significant target of the DEA investigation and that the DEA was working to get Scarface to “turn” against James Smith, whose innocence has been maintained.

In the letter Nims writes to Burton:

“In regards to the US Attorney’s Office, we could not convince them to indict Brad Jordan, AKA “Scarface”, even though I strongly believe we had him tied in solidly on a federal drug conspiracy charge. This was devastating to the case as we felt that Brad Jordan could have provided us with important leads and information regarding Mr. Smith.”

And of course, there is the still unresolved matter of the fact that Biggie and Puffy’s entourage were being trailed by undercover NYPD, and ATF agents at the very time that Biggie was murdered. Members of the entourage were shocked, during questioning by police, when they were shown photograghs of individuals and vehicles said to be taken by law enforcement officers only moments before the murder took place.

Like the assasination of JFK, no one has been arrested or prosecuted in the murders of both Biggie and Tupac. Yet, despite the fact that it is in the public record that both Death Row Records and Bad Boy Records were under FBI, ATF, IRS, NYPD, LAPD, Las Vegas PD investigations at the time of both murders, the books, articles, and documentaries that are in the most plentiful and prominent supply revolve only around the theories that Biggie and Tupac and/or their associates and allies were behind each other’s murders. The furthest anyone seems willing to go (unfortunately, even Biggie’s family) is to say that the LAPD is involved in a cover-up. Why, we consistently wonder, isn’t the suspicion involving both murders taken up to the NYPD, ATF and FBI who had Biggie and Tupac under their watchful eye?

Looks more like a cover story than bad journalism to us.

Congresswoman McKinney, yesterday, in speaking about the matter, made a powerful point about one of the 5 major goals of COINTELPRO, outlined in a March 4, 1968 memo by J. Edgar Hoover. Rep. McKinney said that one of the goals of COINTELPRO was to make sure that Black youth never had a spokesperson. The Congresswoman stated that Hip-Hop was supplying such persons.

The fifth goal of COINTELPRO was :

5. A final goal should be to prevent the long-range GROWTH of militant black organizations, especially among youth. Specific tactics to prevent these groups from converting young people must be developed

We should consider all of this when we are tempted to believe that all of these articles which pit East Coast Rappers against West Coast Rappers; Bloods Vs. Crips; Biggie Vs. Tupac; Suge Knight Vs. Puffy; New York vs. Los Angeles are explained away as mistakes or poor forms of journalism.

In light of the documented history of COINTELPRO which involved the U.S. government’s use of media against organizations that it disliked, we must be wiser, more alert and studious in our view of media reports that aggravate underlying tensions that exist within the Black community – and which pit Brother vs. Brother.

Next Week: What we can do to get to the top and bottom of both Biggie and Tupac’s murders.

http://www.blackelectorate.com/articles.asp?ID=697

Cedric Muhammad

Friday, September 13, 2002

The Hip-Hop Hypocrisy

Marlon LeterranceThe smell of cigarette smoke and sweat spilled over into our cell block. From a distance, the sounds of young men shouting at each other and tussling and laughing filled the atmosphere with a certain sense of restlessness. Donald Williams wiped his forehead with the back of his hand then stared down at the tattered pages of an old Bible.

“I remember asking my Mom what she did to make pops hate us so much. I couldn’t have been much older than eleven at the time, but I can still remember the anger I felt. Mom broke down into tears and tried to explain it to me, but I couldn’t understand why other kids had their fathers taking them to ball games and stuff, but mine didn’t even take the time to wish me well on my birthday.”

Donald paused a moment to reflect. His expression was a mask of bewilderment and pain. “I used to think that if I could become a good enough kid, it would make my pops want to spend time with me. But the only time my pops really talked to me was when I got into trouble at school. Mom would threaten to send me away to a training school and pops would come over and beat me and lecture me on why I should stop cutting up in class. Many times I would get in trouble just so I could see him and ask him, after he beat me up, if he would come to my basketball game and watch me play. I just wanted him to be proud of me, to love me, but I ended up hating him and everyone around me because he couldn’t.”

When I first heard Donald Williams‘ story, I made a vow to one day tell it to the world. It was a painful tale of a young man attempting to somehow deal with the absence of a responsible father. Donald’s words were filled with rage and interlaced with a venomous sense of hatred. Yet, underneath the anger, there seemed to be a hint of tears. He was in pain, he was hurting, and the man responsible for this devastation didn’t seem to care.

“When I got sentenced to prison, he came here to visit me a few times. He tried to preach to me and counsel me and tell me how wrong I was for selling drugs and living the criminal lifestyle. Man, he even sent me a bible and tried to tell me to give my life to Jesus. But it was too late. After all these years without him, what made this fool feel like he had the right to step into my life now and give out fatherly advice. I would’ve worshiped Satan before I listened to a thing he had to offer. Whenever I looked at him I wanted to just grab his neck and squeeze it and squeeze it and squeeze it until every ounce of his miserable life oozed out of him. I hated that man more than I have ever hated anyone in my life.”

Donald took his father off the visitation list and swore that he never wanted to see the man again. In my presence, Donald never allowed a tear to trail down his chocolate face. But I can imagine those tears came, often, in the middle of the night while contemplating the hate that a father’s neglect created.

Horrific stories of men who refuse to play an important role in the lives of their children are well known. It is an issue that must be dealt with firmly; with serious consequences handed down to offenders. But I am writing this article because I know of another story of blatant child abuse that may hit closer to home than you realize.

It is the story of a child named Hip-Hop.

afrika-bambaataa-point

Afrika Bambaataa

It was born out of raw sense of expression that led many black kids to turn basements and dormitories and bedrooms into impromptu studios. Inner-city geniuses began experimenting with an art form that had the promise of becoming a powerful force in the community. It was fun and competitive. Street corners became the breeding ground for aspiring emcee’s to get their first taste at moving a crowd. With pioneers like Afrika Bambaataa and Kool Herc and Grandmaster Flash, along with many others leading the way, rap music exploded into the hearts of young black kids across America.

Along with the birth of Hip-Hop came the emergence of annoyed critics within the older black generation. They wrote Hip-Hop off as a fad that would die out in two or three years. They were far more concerned with stepping across the railroad tracks into the American Dream than paying much attention to the silly Hip-Hop kids with high-top hair cuts who used their mouths to beat-box. (The current Hip-Hop critics who claim to only be against “gangsta rap” are no more than intellectual hypocrites. Vocal members of the older generation disowned rap music even in its infancy – well before it became a vehicle for some artists to disrespect females and illustrate the horrors of street life.)

As a result of the older generation’s neglect, many of Hip-Hop’s leading pioneers ended up signing horrible contracts that gave opportunistic new labels total control over their lives and careers. Instead of influential black leaders using their experience and wisdom to reach back and help Hip-Hop grow into a positive, more focused force in the black community, far too many of these leaders (and rap critics) made the decision to disassociate themselves from the music. Hip-Hop didn’t seem to fit into the cultured, intelligent, and civilized image that they were trying to project to White America.

Still, Hip-Hop grew. Talented poets from all over the country were eager to contribute their vision to the music. Run DMC, LL Cool J, Kool Moe Dee, KRS One, Ice-T, Rakim, and a host of others continued to build upon the foundation of Hip-Hop. Mistakes were made, egos clashed, but rap music followed the beat of it’s own drummer and continued to make huge strides forward. Soon, rap music began reaching the ears of white suburban kids. As a result, Hip-Hop entered the radar screens of white corporate entities as a marketable (and exploitable) commodity. Money was offered, deals were made, and contracts were signed.

Nowhere in this equation did black intellectuals step in to offer guidance and “fatherly” advice. White lawyers in fancy suits shuffled tons of paperwork in front of new artists, enticing them to sign over all their publishing rights for a few pennies. Had more brothers with insight and experience stepped up to the plate to defend the rights of these early artists instead of criticizing them, maybe less rappers would have been raped financially. Tales of bankruptcy and poverty amongst the early innovators of rap music will forever be a footnote in the history of Hip-Hop.

nwa original-225Still, Hip-Hop grew; new artists contributed new things. Biz Markie and Slick Rick made kids laugh, and Ice-T explained the gangster’s plight with tracks like “Colors.” Hip-Hop expanded into new territory, and even newer, fresher voices filled the airwaves. Two heartbeats later, a group named N.W.A. stole away the imagination of fans by introducing a raw, no-holds-barred form of expression that graphically detailed the lives of gangsters. White kids in Alabama started screaming “F— Tha Police,” and politicians all over America began targeting Hip-Hop as a scapegoat for social woes. Most black leaders remained quiet during this onslaught, leaving their Hip-Hop children to be sacrificed by an angry white political lynch mob.

Still, Hip-Hop survived. Though battle-weary and bruised, the music produced prophets who attempted to fill the void left by the older generation. Groups like X-Clan, Public Enemy, and KRS One tried to teach the masses about black power and unity. “Self-Destruction” became an anthem for change as artists from across the spectrum joined together to promote positive interaction. This would have been the perfect time for the intellectual critics of Hip-Hop to reach back and steer rap music onto the Yellow Brick Road to redemption. Instead, these critics turned their backs on Hip-Hop and settled down into their little house on the prairie, beside the Waltons.

Now, in the wake of Tupac and Biggie‘s death, as Hip-Hop struggles to redefine its identity and purpose, there seems to be a resurgence of black critics banging down the door to CNN’s studios hoping to spit out a few intellectual sound bites that will impress their colleagues. Sideline opinions from people who have never even listened to rap music seem to be becoming the norm. More and more black leaders are claiming to be upset that the white corporate structure is exploiting the talents of young black males, and that most artists are too blind to recognize this.

My understanding of history is based more on facts. The truth is, it took white media outlets to embrace Hip-Hop before black-owned media outlets realized that it was “okay” to feature rap groups (the only exception being Soul Train, Ebony, and Jet). It was only after Nike and Reebok and Mountain Dew and Sprite used Hip-Hop artists in high-profile commercials did black-owned companies accept the idea. Quick research will show anyone who is interested that Forbes and Time Magazine had cover stories detailing the economical power of Hip-Hop moguls years before Black Enterprise had the courage to tackle the issue.

Donald Williams wasn’t perfect. Neither is Hip-Hop. They both traveled down a lonely road filled with foolish mistakes and very bad choices. But I understand their anger when, after years of neglect and disappointment, irresponsible father figures tap-dance their way back into the spotlight with two-cent opinions on what the young should and shouldn’t do. The words that Donald said to me, seven years ago, seem to be the same words that many Hip-Hop fans are screaming out today. “After all these years without him, what [makes] this fool feel like he [has] the right to step into my life now and give out fatherly advice.”

Marlon leTerrance is a regular contributer at BlackElectorate.com. As a product of the Hip-Hop Generation’s maverick disregard for conventional thought, Mr. leTerrance writes from the perspective of the “disenfranchised street dwellers, disillusioned by the Struggle”. He can be contacted via e-mail at MarlonLeterrance@aol.com

Rap COINTELPRO VIII pt2 Jada vs Beanie and Suge’s Release

Cedric Muhammad

Cedric Muhammad

Underneath the braggadocio, hubris and arrogance in the comments that Hip-Hop artists direct at one another in the media, is a mixture of unwarranted confidence, greed, vanity, insecurity and envy and jealousy. The vast majority of the aforementioned characteristics have little or no redeeming qualities at all. They have led to the shedding of blood, lying, robbery, slander, libel, and the general disrespect for others. Most rappers, even in their creative works, speak in great detail, in a negative way, of the destruction that these human traits often cause. It is obvious from just a cursory sampling of the most popular rap songs, that Hip-Hop artists are intimately acquainted with the dark side of human nature and frequently criticize what they witness and experience in this area. Artists have proven that they are capable of identifying and condemning these qualities. If that is the case, and it is, then why are these character flaws so pervasive in the music business and among entertainers, in general? And more importantly, why are they so visibly displayed in the public conduct of Hip-Hop artists?

At a certain point Hip-Hop artists seem to recognize that even within the music industry, these character flaws not only put their lives in danger, but also pose a serious threat to their careers and business enterprises. However, by the time artists honestly admit that their lives, careers and business enterprises are threatened by their personal imperfections and those of others, and the manner in which they manifest themselves in the music business, many artists think that it is “too late” to alter the image that has been crafted for them, or to change their public conduct, even, the very words that they use in public and the tone and spirit in which they convey those words.

A large part of the inertia, resistance and fear that keeps artists from evolving toward greater consciousness and conduct comes from, or is directly connected to, the pressure and temptation to use the media for personal and professional gain.

Jadakiss

Jadakiss

It is this dynamic which we have focused on in recent weeks in both the end of the Beanie Sigel-Jadakiss “problem” and the release of Suge Knight from jail.

In the Beanie Sigel-Jadakiss problem we identified how, regardless to the conduct of the reporter and media publication involved, both artists attempted to use the controversy stemming from the rumors, perceptions and idea that they were feuding with one another, to sell records. We are not sure how it all evolved, but at a certain point, both artists decided to use the controversy for personal and professional gain. This is dangerous, and eventually that fact became obvious to both artists and to others like Russell Simmons, who decided that enough was enough and stepped in to encourage a reconciliation of both talented artists, who are both increasingly wealthy Black men, under 30 years of age.

In the case of Suge Knight we watched, hoping for the best, as Suge Knight gave several interviews prior to and immediately upon his release from jail. We recognized right away what was happening. Although he knew of the great risks involved and what some mischief-makers in the media would do with his words, Suge Knight made a conscious decision to use the media for personal and professional gain, partly to clear the air on a variety of issues, but also to promote his record label. But as we watched, at different moments of the various interviews that Suge Knight did for media outlets, we could literally see how Suge was walking an apparently impossible tightrope, laid out for him by the interviewer and his own motivations and strategy. He did pretty well trying to avoid the obvious and not-so obvious minefields in the loaded questions hurled his way by interviewers, who do not give a damn about Hip-Hop, but we believe he made some mistakes that can and probably will be used against him and the entire Hip-Hop community, in the future.

Placeholder-KRS-GreenIt can certainly be said that competition and frank verbal communication are what make Hip-Hop, in certain ways, very special. There is a tremendous value placed upon the full expression of the individual in Hip-Hop, which is admirable. And there is a constant attention placed upon the improvement of one’s skills and the mastering of their craft. Comparisons play a big part in this. It is hard to not watch or read a Hip-Hop interview where one artist is not compared to another. Comparisons are not inherently bad. Neither is competition. But the same can not be said for invidious comparisons which now seem to be increasingly common in Hip-Hop and in the positioning of Hip-Hop artists in alternative, Black and music industry-related media and particularly in the mainstream media, which serves an audience that is unfamiliar with the nuances of the Hip-Hop community and industry. That is why it was so easy for those who get their picture of Hip-Hop from the mainstream media to be deceived into believing that the murders of Biggie and Tupac were the result of an East Coast/West Coast rap feud – a picture that was largely created by provocative articles written in Hip-Hop publications fed by the actual words of Hip-Hop artists.

Yet and still, after having seen how the media handles comparisons and the words of artists, Hip-Hop artist after Hip-Hop artist, as well as executives, continue to feel a need to talk to media outlets that have demonstrated in the past, that they do not value the lives of the members of the Hip-Hop community nor the words of the leading figures in that community. Indeed, some even feel the need to bring hostile or at least, unfriendly media outlets into private Hip-Hop settings, supposedly to make sure that “the message gets out”. We noticed this at the recent Hip-Hop summit where WNBC, NY Post and CNN reporters were given preferential treatment and access to Summit participants over Black, alternative and Hip-Hop media because of the supposed need for “exposure”. What good is exposure, we thought, if it is distorted?

Our hope is that Hip-Hop will pass this current trial that it is undergoing by mastering the manner in which members of the community communicate with one another. While we all have imperfections, we sincerely hope that artists, writers, DJs, radio morning show hosts and rap video hosts will resist the temptation to use various forums for narrow personal and professional gain, at the expense of others in the Hip-Hop community. The mere fact that we have to use others, outside of the community, in order to learn about one another in the first place, should provide a sober reminder of the tremendous vulnerabilities that exist within the community and which make us all susceptible to the evil efforts of others who would very much like to see Hip-Hop destroyed, once and for all.

There is no need to help that plan along simply because we could not control our tongue(s).

Here is a portion of the Bible, which provides insight and instruction regarding the power of our mouths to build and destroy.

It is certainly food for thought for those of us who reach hundreds, thousands and millions with our pens and our tongues. It also is especially relevant to artists who are victims of invidious comparisons and their own “need” to use the media to further themselves and their careers in a shortsighted manner.

James 3- 4:1-3 from the New American Standard Version:

James 3
1
Not many of you should presume to be teachers, my brothers, because you know that we who teach will be judged more strictly.
2
We all stumble in many ways. If anyone is never at fault in what he says, he is a perfect man, able to keep his whole body in check.
3
When we put bits into the mouths of horses to make them obey us, we can turn the whole animal.
4
Or take ships as an example. Although they are so large and are driven by strong winds, they are steered by a very small rudder wherever the pilot wants to go.
5
Likewise the tongue is a small part of the body, but it makes great boasts. Consider what a great forest is set on fire by a small spark.
6
The tongue also is a fire, a world of evil among the parts of the body. It corrupts the whole person, sets the whole course of his life on fire, and is itself set on fire by hell.
7
All kinds of animals, birds, reptiles and creatures of the sea are being tamed and have been tamed by man,
8
but no man can tame the tongue. It is a restless evil, full of deadly poison.
9
With the tongue we praise our Lord and Father, and with it we curse men, who have been made in God’s likeness.
10
Out of the same mouth come praise and cursing. My brothers, this should not be.
11
Can both fresh water and salt water flow from the same spring?
12
My brothers, can a fig tree bear olives, or a grapevine bear figs? Neither can a salt spring produce fresh water.
13
Who is wise and understanding among you? Let him show it by his good life, by deeds done in the humility that comes from wisdom.
14
But if you harbor bitter envy and selfish ambition in your hearts, do not boast about it or deny the truth.
15
Such “wisdom” does not come down from heaven but is earthly, unspiritual, of the devil.
16
For where you have envy and selfish ambition, there you find disorder and every evil practice.
17
But the wisdom that comes from heaven is first of all pure; then peace-loving, considerate, submissive, full of mercy and good fruit, impartial and sincere.
18
Peacemakers who sow in peace raise a harvest of righteousness.

James 4
1
What is the source of quarrels and conflicts among you? Is not the source your pleasures that wage war in your members?
2
You lust and do not have; so you commit murder. You are envious and cannot obtain; so you fight and quarrel. You do not have because you do not ask.
3
You ask and do not receive, because you ask with wrong motives, so that you may spend it on your pleasures.

www.blackelectorate.com/a…asp?ID=407

Cedric Muhammad

Friday, August 17, 2001

Rap COINTELPRO VIII: Jada Vs Beanie and Suge’s Release

Cedric Muhammad

Cedric Muhammad

Yesterday, August 9, 2001, on Power 99 FM’s Dream Team morning show, Jadakiss repeatedly stated that he did not say what Shaheem Reid and The Source magazine quoted him as saying about Philadelphia in their July issue. Jadakiss also repeatedly said, over the air, that when he sees him in the future he fully intended to “smack the writer” of the article in The Source, that many now claim is responsible for sparking the tensions between Jadakiss and Beanie Siegel and Jadakiss and Philadelphia and for portraying trivial private problems rooted in competition between Roc-A-Fella and Ruff Ryders, as a growing feud.

Some people were defensive and offended when we wrote over the past month that The Source was being reckless and irresponsible in what it did in attempting to hype up the comments allegedly made by Jadakiss in the article. We outright stated that the manner in which they positioned Jadakiss’ quote was a deliberate attempt to grab the attention of the casual reader and intrigue them with the possibility that Jadakiss and Jay-Z were feuding. We also talked about the possibility that we believed that the writer of the story, Shaheem Reid, deliberately worked to pit Jadakiss and Beanie Siegel against each other. In our June 29th Hip-Hop Fridays article we wrote:

“But you can tell that this reporter, Shaheem Reid, was desperate to have his article break the news of this supposed “Jay-Z- Jadakiss beef”. If you read his quotes you can almost literally see him tripping over himself running to the phone to call Beanie Sigel to tell him what Jadakiss allegedly said to him about Philly.”

If we were wrong then who was the intermediary between Jadakiss and Beanie in reference to what Jadakiss allegedly said? Who told Beanie what Jadakiss allegedly said, if not Shaheem Reid or an editor of The Source?

Jadakiss

Jadakiss

Jadakiss repeatedly told Wendy Williams and the members of The Dream Team that he did not say what The Source quotes him as saying. He was asked several times by different members of the morning show, from different angles, and the answer, from Jadakiss, was always the same: he did not say what was quoted. He also added that he does not mince his words, if he said what said he did he would be the first to admit it. He made clear that it is his view that the writer of the article lied about the truth of his (Jadakiss’s) words.

Now, if Jadakiss is right, then all of this goes back to our opinion that rap magazines are as vulnerable to the spirit, tactics and practices of the FBI’s COINTELPRO today as they were 35 years ago. It is a demonstrated fact that the FBI planted stories; fed reporters lies and misinformation about people; positioned photographs and headlines in order to make certain pieces of information stand out and easier to digest; and misquoted individuals. All with the goal of discrediting and disrupting individuals and organizations and sparking envy, jealousy and civil wars between organizations with similar missions. This is a fact which we wrote about and provide the clear evidence of in our RAPCOINTELPRO series

We are not saying that Shaheem Reid is an FBI agent. We don’t know Shaheem Reid or what goes into Shaheem Reid’s writing. But we know that whatever the cause of his writing, the effect was that it contributed to sparking and escalating a potential conflict, that could have turned violent between Jadakiss and Beanie Siegel and even between Yonkers, New York (where Kiss is from) and Philadelphia, Pennsylvania (where Beans is from).

Victims quite often could care less about the cause or effect of harm done to them – they are often in so much pain or so unaware of what has happened to them.

Akiba Solomon

Akiba Solomon

Akiba Solomon, editor-at-large of The Source, took exception with this part of what we wrote on June 29th:

“The Source in many ways is like the CIA or FBI doing intelligence work among groups they want to destroy. They like to throw the rock into the crowd and then hide their hand. When ill feelings, envy, resentment and feuds are fed by articles that they print in their magazine and people point the finger at them, The Source takes the attitude of “Who, Me?”. They express concern about ending violence in Hip-Hop and then they run stories that pit one rapper against the other. Even if they aren’t outright agents of the government sent to destroy Hip-Hop, the effect is the same. So, what is the real difference between a paid agent and one who does the same work for the sake of magazine sales and advertising revenue?”

But how is what we wrote inappropriate, especially in light of the fact that Jadakiss denies saying what The Source said he did? And in light of the fact that The Source deliberately lifted Jadakiss’ quote in a manner that would make the reader think that Jadakiss had a problem with Jay-Z? On June 29th we wrote:

The interesting part about the Jadakiss article is that they place in the center of one of the pages, the quote that they attribute to Jadakiss supposedly about Jay-Z. That quote, lifted and put front and center in bold-print is designed to catch the attention of people who rapidly flip through the pages. It is deliberate..

Anyone who doubts this should grab a copy of the July 10th issue of The Source and look at the lifted quote for themselves. Several of our viewers told us that the quote was positioned so well and so prominently that it caught their attention as they were skimming through the magazine with no intention at all of reading the Jadakiss feature article.

Now, we do not hold Jadakiss and Beanie Siegel blameless. It is obvious that both artists, especially Jadakiss tried to turn the rumors, controversy and tension to their benefit by making freestyles on mix tapes dissing each other. They attempted to use the dangerous innuendo thrown into the water by The Source as a marketing ploy. They both figured that the controversy would help both of them sell albums. This is misguided and dangerous. And eventually both sides realized this. But they should have never used the appearance of two Brothers fighting each other as a marketing strategy. Both the executives of Roc-A-Fella and Ruff Ryders should not have risked injury and lives, including that of their respective artists, for the sake of extra record sales

And we do not think that it is appropriate or wise for Jadakiss to state that he intends to “smack the writer” of the article. If Shaheem Reid is responsible for falsely attributing comments to Jadakiss then we certainly can understand where Jadakiss is coming from and how he feels. Put yourself in his shoes. If what he says happened to him, was your experience, you too would probably want to “smack the writer”. But although your feelings may be justified, your actions would not be, in our opinion.

writer Shaheem Reid

writer Shaheem Reid

But even if it is true that Shaheem Reid did what he did, Jadakiss would only be giving Shaheem Reid and the ill-motivations of The Source, power over his bright future if he were to do what he says he will. By “smacking the writer” Jadakiss would be guaranteeing that he becomes the victim of the lies that were written about him.

On the other hand, we have not heard Shaheem Reid’s side of the story and until we do, we will reserve judgment on whether or not he outright lied on Jadakiss.

What we would advise Jadakiss to do, if what he says about what happened is true, is 1) never give The Source another interview again 2) ask Ruff Ryders to pull all of its advertising dollars out of The Source 3) Demand a public written apology from The Source and Shaheem Reid within a month 4) And if Shaheem Reid or The Source does not write an apology, Jadakiss should use every opportunity he gets in promoting his new album “Kiss The Game Goodbye” on television, cable and radio to call for a boycott of The Source.

That is much more effective than smacking the hell out of a writer, who may or may not have been manipulated or urged on to do what he or she did by editors and publishers.

Beanie Sigel

Beanie Sigel

Surely, Jadakiss right now, has just about more influence and attention than any other rapper in the game. If he wanted to, in effect, shut The Source down, he could do so almost single-handedly. He surely could do it if he and Ruff Ryders enlisted the help of Beanie Siegel and Roc-A-Fella in the effort. Instead of “uniting” to sell records by using a dangerous controversy popularized by a major magazine, perhaps both camps could “unite” and start a boycott of the major magazine responsible for much of the problem. That is much more constructive than violence on a journalist.

But surely any reasonable person can understand where Jadakiss is coming from, to an extent. If Jadakiss is correct and “the writer” lied on him, then his life (Jadakiss) was placed in danger by that lie. For a writer to falsely pit a rapper against an entire city, full of true die-hard Hip-Hop fans like those in Philly, is the height of wickedness.

At the very least The Source has some very serious questions to answer and Jadakiss can help all of us to get those answers if he reacts in a wise fashion or in the manner of a “boss” and “businessman” – the roles he publicly emphasizes that he is fulfilling every day. Anyone who has met him or heard him speak knows that Jadakiss has the necessary mind, eloquence, charisma and access to financial resources to deal with Shaheem Reid and the entire matter with the more wisdom than that which is embodied in an impulsive act of violence.

But again, if Jadakiss is right, then every Hip-Hop fan should feel the seriousness of the moment as well as the full extent of the “journalism crisis” in Hip-Hop that we have written about.

In addition, or rather, in light of the media’s role in hyping and circulating the Jadakiss-Beanie Siegel controversy, everyone should begin to seriously question the motive(s) surrounding the mainstream media’s recent interest in Suge Knight and the murders of Biggie and Tupac. Why haven’t the Hip-Hop media challenged what the mainstream media has been doing in its obviously wickedly motivated, and fallacious and flawed attempt to link Suge to the murder of Biggie through the recent Rolling Stone article and VH-1 documentary? What is it that makes the major Hip-Hop magazines silent, indolent and lethargic on this issue and many others that can spark violence in Hip-Hop?

Suge Knight

Suge Knight

As we have written now for several months, the combination of the silence, duplicity and innuendo of the Hip-Hop media establishment, in combination with other factors, has created the atmosphere for harm to be done to Suge Knight and for the blame for such to be placed on the shoulders of other rap artists. Why is this so hard to recognize? Hasn’t anybody noticed the angle being pushed in the litany of Suge Knight interviews in the mainstream media like MTV and Access Hollywood? It is obvious that specific questions are being asked and the cameras are rolling for reasons well beyond the legitimate news story that Suge Knight has been released from jail.

In these interviews you can literally see Suge Knight wrestling with his desire to promote records, improve his image and express his obvious joy to be free from jail as well as some bitterness that he feels, as he simultaneously works to avoid the traps, pitfalls and mischief making of those who are asking the questions. Suge knows that those people who are interviewing him are largely wickedly motivated and are mainly (not entirely) interested in getting him to say something about another rapper or individual(s) so that they can say that a rap war has been started or reignited. They also want him to implicate himself in crime(s) that he has repeatedly said he has not committed.

But is Suge making the same mistake that Jadakiss made in attempting to enlist a wickedly motivated media and volatile controversy in an attempt to sell records? Is such a strategy really successful, in the long-term, or does it actually shorten careers and lives? Or, better yet, have those in the media and the government who are working to destroy Hip-Hop, already factored in the powerful desire of Suge and rappers like Jadakiss to sell records into their (the media and government) plans to destroy Hip-Hop and spark controversy and violence?

Are the profit motive, marketing efforts and publicity campaigns serving a larger effort aimed at destroying Hip-Hop and the influence it is having on the world’s youth?

Is the desire for attention, publicity and profits on the part of Hip-Hop artists and executives a weakness being used by publications like The Source, Rolling Stone, MTV and VH-1, for example?

And specifically what about the massive attention that Newsweek magazine and The Imus In The Morning program have given to Suge Knight’s release? What is their motive? How do appearances on such shows and interviews with such publications, which disrespect Hip-Hop, serve Hip-Hop?

No matter how you look at it, Suge’s release and the Jadakiss-Beanie Siegel controversy have placed Hip-Hop at a fork in the road and in the beginning stages of its greatest test, ever.

Will we be able to pass the test without the unnecessary shedding of blood and loss of life?

http://www.blackelectorate.com/articles.asp?ID=401

Cedric Muhammad

Friday, August 10, 2001

Rap COINTELPRO PtVII: The VH1 Biggie Documentary

cedricmuhammed2

Cedric Muhammad

To those who have been following our RapCOINTELPRO series, it should not have come as any surprise the direction taken and innuendo dropped during the VH1 documentary, aired last Sunday, on the Notorious B.I.G.

Basically, the documentary was the video version of the Rolling Stone article that we wrote about in part 6 of this series, where the murder of Biggie was concerned. We won’t revisit our numerous questions regarding the Rolling Stones article, which you can review via our search feature, except to emphasize one very important point.

That point is: Why are VH 1, Rolling Stone Magazine and the primary source of information, former LAPD detective Russell Poole, not focusing their investigation at the scene of the crime? We have spoken to some of our BlackElectorate.com viewers, individuals who work in law-enforcement, who totally agree with our assessment that it makes absolutely no sense to center an investigation into Biggie’s murder around who attended the party that he was at before he was murdered. This is especially true since it is a known fact by the LAPD, Rolling Stone magazine and members of the mainstream and Hip-Hop media that at the very moment that Biggie was murdered, he and Puffy’s vehicles were being trailed by federal agents and members of the NYPD. Russell Poole knows this as well. Why didn’t VH1 spend even as a little as one second on that fact?

Members of Biggie’s entourage were shown photographs of vehicles trailing their cars by law enforcement officers and were shocked to know that at the time of Biggie’s murder they were being followed by federal agents and undercover cops. None of this was explored during the documentary.

Instead, VH 1 worked, even harder than Rolling Stone reporter Randall Sullivan to link Amir Muhammad and David Mack to the murder of Biggie. But their presentation was so weak. All they could muster was that someone saw both of the men at the party before Biggie was murdered. That is all.

And more importantly, VH 1, like Rolling Stone, did not mention the fact that an L.A. Times reporter and Brill’s Content magazine impressively argued against the Amir Muhammad theory last year. We wrote about that as well in our series.

The Hip-Hop community should really be pondering some serious questions in light of this VH1 documentary. Here are a few just for starters:

Notorious BIG orange1) Why has it taken VH 1 5 years to do a documentary on Biggie? Why now?

2) Isn’t there something peculiar about the fact that the Rolling Stone Magazine issue that centers on the murder of Biggie has the enormously popular WWF superstar, the Rock, on the cover? The Rock is incredibly popular among Black and Latino youth and the Hip-Hop generation as well as several rappers. Those who are familiar with COINTELPRO should know that all types of work went into positioning and marketing planted articles. It is obvious that the Rock on the cover, just below the bold headline about Biggie’s murder was designed to attract the attention of a slew of Hip-Hop fans.

3) Why is all of this attention into Biggie’s murder, which feverishly works to implicate Suge Knight, dropping in the public only months before the scheduled release of Suge from jail? Does the LAPD, NYPD, FBI and ATF, all of whom had Death Row and Bad Boy under surveillance over the last 6 years have something planned upon Suge Knight’s release? Are they deliberately creating an atmosphere, at least, that will result in harm being done to Suge, in the name of a rap feud?

Maybe the saddest thing about all of this is that now the grief of Biggie’s beautiful mother, is being used to provide a boost to the theories offered by Rolling Stone and VH 1.

It is obvious that the NYPD and federal government, who were following Biggie, the night he was murdered, are being “protected” by the angle offered by Russel Poole, VH 1 and Rolling Stone magazine. Their hand is being hidden. It is as if the LAPD and Death Row are being used as a buffer to keep people from following a trail that leads back to New York City and the FBI and ATF. Why?

Hopefully, we will lean the lessons of history so that we don’t have to repeat them.

http://www.blackelectorate.com/articles.asp?ID=363

Cedric Muhammad

Friday, July 13, 2001

Rap COINTELPRO Pt VI: Is The Murder of Biggie Setting Up a Civil War In Hip-Hop ?

Cedric Muhammad

Cedric Muhammad

Note: The Rolling Stone.com online version of the “The Murder Of Notorious B.I.G.” is only an excerpt from the full article which appears in the hard copy

After reading the feature article in the June 7th issue of Rolling Stone Magazine, “The Murder Of The Notorious B.I.G.” we suggest that the Hip-Hop community and industry brace itself for some serious mischief making. The publication of this article and the time of its appearance, which coincides with the news that the NYPD has Hip-Hop artists under surveillance has us just about convinced that something sinister is going on with the FBI, LAPD, NYPD and media outlets that looks just like the COINTELPRO of the 1960s and 70s and which may manifest violently this summer. In light of recent events, the stage has now been set, enough seeds have been dropped and a cover story written for a civil war in Hip-Hop and inside of the Black and Latino community that would involve East Coast Rappers, West Coast rappers, Bloods, Crips, Latin Kings and the Nation of Islam and which would serve the ultimate objective of the U.S. government’s phony war on drugs and gangs.

By far, this article is the most extensive, in terms of innuendo, rumor-mongering and potentially slander and libel that we have seen since we began writing this series about our belief that the Hip-Hop community and industry are the object of a destabilizing effort that bears a startling resemblance to the FBI-coordinated efforts to discredit, neutralize and destabilize Black organizations. In that effort everything from surveillance, informants, planted evidence and newspaper articles were used to destroy organizations and their reputations from within and in the court of public opinion.

Det Russell Poole

Det Russell Poole

This article in Rolling Stone, which relies heavily upon the account of a single LAPD officer, Russell Poole, works to pin the murder of the Notorious B.I.G. on Suge Knight and a group of LAPD officers. This is the second time that a media outlet has attempted to do this. The first effort began in early 1999 but was unsuccessful in large part due to articles printed in Brill’s Content and the work of another reporter who writes for the LA Times who poked numerous holes in the theory.

SugeKnight-cigar-225The Rolling Stone article, even though it acknowledges that the first effort to link Suge Knight with the murder of Biggie had some very serious problems with it spends not so much as a whole paragraph detailing how Brill’s Content and the second LA Times reporter poked wholes in the initial theory. Instead, Rolling Stone writer Randall Sullivan spends tens of thousands of words dropping seeds and speculating that Suge Knight, some LAPD officers and an individual named Amir Muhammad were involved in the murder of Biggie.

Sullivan very deviously and slyly works to even connect the murder with the Nation Of Islam, an effort that actually publicly began within hours of the shooting, by emphasizing the reports and police sketch indicating that the shooter wore a bow tie. Sullivan then states that Amir Muhammad and David Mack, one of the off-duty officers allegedly involved in the murder of Biggie, claimed to be Muslims.

Regardless to what their faith may be we find it especially peculiar that Sullivan and Rolling Stone, in thousands of words of writing, only make one reference to the second LA Times reporter who debunks the association of Amir Muhammad with the murder of Biggie. They only mention it briefly but do nothing to explain how the reporter saw through the loose reporting of his fellow reporter who first put in print the theory that Suge Knight, LAPD officers and Amir Muhammad were behind the shooting.

One of the more interesting things that comes out of the Rolling Stone article is that the reporter reveals how the government and the LAPD infiltrated Death Row Records as well as businesses connected with Suge Knight. They even make reference to a probe of Death Row Records and Suge Knight, which was/is being run out of the U.S. Justice Department.

But by far, the most interesting aspect to the story is that while it makes numerous efforts to pin the murder of Biggie on Suge Knight it drops some very peculiar information that seems to indicate that people way above Suge Knight and off-duty LA police officers have knowledge of who is actually behind Biggie’s murder.

Sullivan writes:

diddy flowers-225“One week after Russell Poole took over the Biggie Smalls murder investigation, the media learned that as many as a dozen law-enforcement officers had been on the scene when Smalls was shot to death. Six cops had been working for Smalls that night. The rapper was being shadowed as well by an assortment of undercover officers from the New York Police Department and the Federal Bureau of Alcohol, Tobacco and Firearms. The New York cops believed that the same man who shot Tupac Shakur at Quad Studios had killed by one of their off-duty officers and might still be working for either Puffy Combs or Biggie Smalls. The ATF officers were part of a federal task force investigating allegations that employees of Death Row Records were involved in money laundering and the sale of stolen weapons.”

It is interesting that Sullivan leaves out the fact that the officers that followed Biggie’s car as he was killed were able to show members of Biggie’s entourage actual pictures of cars and individuals taken while they were following Biggie. That information shocked the members of Biggie’s entourage who were totally unaware that the government and NYPD cops were following them. This was reported in the LA Times, why didn’t Rolling Stone and Randall Sullivan indicate that in their article?

And why does Sullivan rely almost exclusively on information and sources within the LAPD when he knows that NYPD officers and ATF agents were following Biggie at the exact moment that he was shot? We think in light of that fact it would be incumbent on any reporter worth two cents to follow up that angle. If the NYPD and government agents had a birds’ eye view of Biggie’s murder why all of the emphasis on the LAPD?

LAPDWhy would a supposedly enterprising reporter like Sullivan not work his investigation from the actual scene of the shooting? Why do we have so much information in his article about people at the party that Biggie attended before the shooting where “Muslim-looking” individuals and off-duty police officers connected to Death Row were seen, and so little information about the government agents and undercover NYPD officers following Biggie’s car when he was shot?

To ignore the scene of the crime as Sullivan does, when information is available, is a sign of horrific reporting, at best.

Unless… the Rolling Stone article is part of the cover story being written not by Rolling Stone but through Rolling Stone, by the government, with the help of editors and a willful or ignorant reporter, Randall Sullivan, to pin the murder of Biggie on Suge Knight, off-duty LAPD officers and others in order to serve a larger purpose with implications on the Hip-Hop and Black communities.

The FBI and CIA, for years, used reporters and editors to influence stories and even plant stories in mainstream media sources that were uncomplimentary to various groups.

Notorious BIG DiddyA basic reading of the story indicates that Sullivan directly or indirectly was fed information from people in the U.S. government who have been watching Death Row and Bad Boy Records and who work with the LAPD and NYPD. No one can reasonably refute that from the manner in which Sullivan quotes unnamed sources and weaves in information into his story that had to have been given to him by the government itself, or through others in touch with the FBI or Justice Department.

The most striking aspect of the article which makes us believe that the story at least has been crafted, is that after spending the entire emphasis on the article and tens of thousands of words on making the LAPD the entire focus of the article, Sullivan turns his attention to the reality that the FBI is now working on an effort with the help of a Los Angeles jail inmate to connect Suge Knight with the murder of Biggie. The effort is not lightweight, according to Sullivan.

Our question for Sullivan’s reporting is: if the FBI has been investigating Biggie’s murder all along, why does he place the entire emphasis of his story on the LAPD and its investigation of the murder?

Even Sullivan’s primary source, Russell Poole, who evidently has knowledge of the FBI’s investigation, is quoted by Sullivan as saying, “The FBI has something big cooking…”

David Mack LAPD

David Mack LAPD

For Sullivan to leave out the NYPD, ATF, the Brill’s Content and LA Times articles which contradict the alleged Suge Knight, David Mack, Amir Muhammad connection with the murder of Biggie; and for Sullivan to leave out the FBI’s investigation into the murder, until the end of his lengthy piece, results in his writing and willful omissions fitting rather nicely with whatever the FBI is “cooking”.

Why is all of this information coming out now, on the eve of Suge Knight’s release from jail?

Has the government, law enforcement agencies and informants in the Hip-Hop industry/community planned something even bigger that puts not even Suge Knight’s life in danger, upon his exit from jail, but the entire Hip-Hop community and sectors of the Black community?

What kind of atmosphere is being created by the Rolling Stone article, media outlets like Newsweek, MSNBC (particularly the Imus in the Morning Show) hyping up Suge Knight’s release from prison, and what of the hidden efforts of the Justice Department, FBI, ATF, NYPD and LAPD – including these law enforcement agencies’ ongoing investigations focusing on Hip-Hop artists and record labels?

How does all of this relate to the recent revelation that the NYPD now has the entire Hip-Hop community under surveillance? And what about the recent arrest of Jay-Z while under surveillance by the NYPD’s Street Crime Fighting Unit and his reported feud with Jayo Felony, a rapper from LA who is said to be a Crip?

Who would benefit from a war in the Black community involving East Coast rappers, West Coast Rappers, Suge Knight, Puffy, Bloods, Crips, and even the Nation Of Islam – all of whom, through innuendo, are made to look like criminals in the Rolling Stone piece?

Fasten your seat belts.

http://www.blackelectorate.com/articles.asp?ID=92

Cedric Muhammad

Friday, June 01, 2001