by Dave ‘Davey D’ Cook (reprint from 1985-The Power of Rap)
Nowadays if you ask most people to give a definition of “rap”, they’re likely to state that it’s the reciting of rhymes to the best of music. It’s a form of expression that finds its roots embedded deep within ancient African culture and oral tradition. Throughout history here in America there has always been some form of verbal acrobatics or jousting involving rhymes within the Afro-American community. Signifying, testifying, Shining of the Titanic, the Dozens, school yard rhymes, prison ‘jail house’ rhymes and double Dutch jump rope‘ rhymes are some of the names and ways that various forms of rap have manifested
Modern day rap music finds its immediate roots in the toasting and dub talk over elements of reggae music. In the early 70’s, a Jamaican dj known as Kool Herc moved from Kingston to NY’s West Bronx. Here, he attempted to incorporate his Jamaican style of dj which involved reciting improvised rhymes over the dub versions of his reggae records. Unfortunately, New Yorkers weren’t into reggae at the time. Thus Kool Herc adapted his style by chanting over the instrumental or percussion sections of the day’s popular songs. Because these breaks were relatively short, he learned to extend them indefinitely by using an audio mixer and two identical records in which he continuously replaced the desired segment.
In those early days, young party goers initially recited popular phrases and used the slang of the day. For example, it was fashionable for dj to acknowledge people who were in attendance at a party. These early raps featured someone such as Herc shouting over the instrumental break; ‘Yo this is Kool Herc in the joint-ski saying my mellow-ski Marky D is in the house‘. This would usually evoke a response from the crowd, who began to call out their own names and slogans.
As this phenomenon evolved, the party shouts became more elaborate as dj in an effort to be different, began to incorporate little rhymes-‘Davey D is in the house/An he’ll turn it out without a doubt.’ It wasn’t long before people began drawing upon outdated dozens and school yard rhymes. Many would add a little twist and customize these rhymes to make them suitable for the party environment. At that time rap was not yet known as ‘rap’ but called ‘emceeing‘. With regards to Kool Herc, as he progressed, he eventually turned his attention to the complexities of deejaying and let two friends Coke La Rock and Clark Kent (not Dana Dane’s dj) handle the microphone duties. This was rap music first emcee team. They became known as Kool Herc and the Herculoids.
Rap caught on because it offered young urban New Yorkers a chance to freely express themselves. This was basically the same reason why any of the aforementioned verbal/rhyme games manifested themselves in the past. More importantly, it was an art form accessible to anyone. One didn’t need a lot of money or expensive resources to rhyme. One didn’t have to invest in lessons, or anything like that. Rapping was a verbal skill that could be practiced and honed to perfection at almost anytime.
Rap also became popular because it offered unlimited challenges. There were no real set rules, except to be original and to rhyme on time to the beat of music. Anything was possible. One could make up a rap about the man in the moon or how good his dj was. The ultimate goal was to be perceived as being ‘def (good) by one’s peers. The fact that the praises and positive affirmations a rapper received were on par with any other urban hero (sports star, tough guy, comedian, etc.) was another drawing card.
Finally, rap, because of its inclusive aspects, allowed one to accurately and efficiently inject their personality. If you were laid back, you could rap at a slow pace. If you were hyperactive or a type-A, you could rap at a fast pace. No two people rapped the same, even when reciting the same rhyme. There were many people who would try and emulate someone’s style, but even that was indicative of a particular personality.
Rap continues to be popular among today’s urban youth for the same reasons it was a draw in the early days: it is still an accessible form of self expression capable of eliciting positive affirmation from one’s peers. Because rap has evolved to become such a big business, it has given many the false illusion of being a quick escape from the harshness of inner city life. There are many kids out there under the belief that all they need to do is write a few ‘fresh’ (good) rhymes and they’re off to the good life.
Now, up to this point, all this needs to be understood with regards to Hip Hop. Throughout history, music originating from America’s Black communities has always had an accompanying subculture reflective of the political, social and economic conditions of the time. Rap is no different.
Hip hop is the culture from which rap emerged. Initially it consisted of four main elements; graffiti art, break dancing, deejay (cuttin’ and scratching) and emceeing (rapping). Hip hop is a lifestyle with its own language, style of dress, music and mind set that is continuously evolving. Nowadays because break dancing and graffiti aren’t as prominent the words ‘rap’ and ‘hip hop’ have been used interchangeably. However it should be noted that all aspects of hip hop culture still exists. They’ve just evolved onto new levels.
Hip hop continues to be a direct response to an older generation’s rejection of the values and needs of young people. Initially all of hip hop’s major facets were forms of self expression. The driving force behind all these activities was people’s desire to be seen and heard. Hip hop came about because of some major format changes that took place within Black radio during the early 70’s. Prior to hip hop, black radio stations played an important role in the community be being a musical and cultural preserver or griot (story teller). It reflected the customs and values of the day in particular communities. It set the tone and created the climate for which people governed their lives as this was a primary source of information and enjoyment. This was particularly true for young people. Interestingly enough, the importance of Black radio and the role djs played within the African American community has been the topic of numerous speeches from some very prominent individuals.
For example in August of ’67, Martin Luther King Jr addressed the Association of Television and Radio Broadcasters. Here he delivered an eloquent speech in which he let it be known that Black radio djs played an intricate part in helping keep the Civil Rights Movement alive. He noted that while television and newspapers were popular and often times more effective mediums, they rarely languaged themselves so that Black folks could relate to them. He basically said Black folks were checking for the radio as their primary source of information.
In August of 1980 Minister Farrakhon echoed those thoughts when he addressed a body of Black radio djs and programmers at the Jack The Rapper Convention. He warned them to be careful about what they let on the airwaves because of its impact. He got deep and spoke about the radio stations being instruments of mind control and how big companies were going out of their way to hire ‘undignified’ ‘foul’ and ‘dirty’ djs who were no longer being conveyers of good information to the community. To paraphrase him, Farrakhon noted that there was a fear of a dignified djs coming on the airwaves and spreading that dignity to the people he reached. Hence the role radio was playing was beginning to shift…Black radio djs were moving away from being the griots.. Black radio was no longer languaging itself so that both a young and older generation could define and hear themselves reflected in this medium.
Author Nelson George talks extensively about this in his book ‘The Death Of Rhythm And Blues‘. He documented how NY’s Black radio station began to position themselves so they would appeal to a more affluent, older and to a large degree, whiter audience. He pointed out how young people found themselves being excluded especially when bubble gum and Europeanized versions of disco music began to hit the air waves. To many, this style of music lacked soul and to a large degree sounded too formulated and mechanical.
In a recent interview hip hop pioneer Afrika Bambaataa spoke at length how NY began to lose its connection with funk music during this that time. He noted that established rock acts doing generic sounding disco tunes found a home on black radio. Acts like Rod Stewart and the Rolling Stones were cited as examples.
Meanwhile Black artists like James Brown and George Clinton were for the most part unheard on the airwaves. Even the gospel-like soulful disco as defined by the ‘Philly sound’ found itself losing ground. While the stereotype depicted a lot of long haired suburban white kids yelling the infamous slogan ‘disco sucks’, there were large number of young inner city brothers and sisters who were in perfect agreement. With all this happening a void was created and hip hop filled it… Point blank, hip hop was a direct response to the watered down, Europeanized, disco music that permeated the airwaves..
FYI around the same time hip hop was birthed, House music was evolving among the brothers in Chicago, GoGo music was emerging among the brothers in Washington DC and Black folks in California were getting deep into the funk. If you ask me, it was all a response to disco.
In the early days of hip hop, there were break dance crews who went around challenging each other. Many of these participants were former gang members who found a new activity. Bambataa’s Universal Zulu Nation was one such group. As the scene grew, block parties became popular. It was interesting to note that the music being played during these gigs was stuff not being played on radio. Here James Brown, Sly & Family Stone, Gil Scott Heron and even the Last Poets found a home. Hence a younger generation began building off a musical tradition abandoned by its elders.
Break beats picked up in popularity as emcees sought to rap longer at these parties. It wasn’t long before rappers became the ONLY vocal feature at these parties. A microphone and two turntables was all one used in the beginning. With the exception of some break dancers the overwhelming majority of attendees stood around the roped off area and listened carefully to the emcee. A rapper sought to express himself while executing keen lyrical agility. This was defined by one’s rhyme style, one’s ability to rhyme on beat and the use of clever word play and metaphors.
In the early days rappers flowed on the mic continuously for hours at a time..non stop. Most of the rhymes were pre-written but it was a cardinal sin to recite off a piece of paper at a jam. The early rappers started off just giving shout outs and chants and later incorporated small limricks. Later the rhymes became more elaborate, with choruses like ‘Yes Yes Y’all, Or ‘One Two Y’all To The Beat Y’all being used whenever an emcee needed to gather his wind or think of new rhymes. Most emcess rhymed on a four count as opposed to some of the complex patterns one hears today. However, early rappers took great pains to accomplish the art of showmanship. There was no grabbing of the crotch and pancing around the stage.
Pioneering rapper Mele-Mel in a recent interview pointed out how he and other acts spent long hours reheasing both their rhymes and routines. The name of the game was to get props for rockin’ the house. That meant being entertaining. Remember back in the late 70s early 80s, artists weren’t doing one or two songs and leaving, they were on the mic all night long with folks just standing around watching. Folks had to come with it or be forever dissed.
Before the first rap records were put out (Fat Back Band‘s King Tem III’ and Sugar Hill Gang‘s ‘Rapper Delight’), hip hop culture had gone through several stages. By the late 70’s it seemed like many facets of hip hop would play itself out. Rap for so many people had lost its novelty. For those who were considered the best of the bunch; Afrika Bambaataa, Chief Rocker Busy Bee, Grandmaster Flash and the Furious Four (yes initially there were only 4), Grand Wizard Theodore and the Fantastic Romantic Five, Funky Four Plus One More, Crash Crew, Master Don Committee to name a few had reached a pinnacle and were looking for the next plateau. Many of these groups had moved from the ‘two turntables and a microphone stage’ of their career to what many would today consider hype routines. For example all the aforementioned groups had routines where they harmonized. At first folks would do rhymes to the tune of some popular song.
The tune to ‘Gilligan’s Island‘ was often used. Or as was the case with the Cold Crush Brothers, the ‘Cats In the Cradle‘ was used in one of their more popular routines. As this ‘flavor of the month’ caught hold, the groups began to develop more elaborate routines. Most notable was GM Flash’s’ Flash Is to The Beat Box‘. All this proceeded ‘harmonizing/hip hop acts like Bel Biv DeVoe by at least 15 years.
The introduction of rap records in the early 80s put a new meaning on hip hop. It also provided participants a new incentive for folks to get busy. Rap records inspired hip hoppers to take it to another level because they now had the opportunity to let the whole world hear their tales. It also offered a possible escape from the ghetto…. But that’s another story..we’ll tell it next time.
written by Dave ‘Davey D’ Cook
c 1985
“Eddie Cheba was as important to hip-hop/rap as Ike Turner was to rock n roll”, Chuck D front man for Public Enemy informed me, “nowhere does he get his due credit for spreading it from the BX to [make it more] accessible [to] heads [outside of Harlem and the Bronx]. Cheba and Hollywood simply infiltrated the over 18 college adult bracket that simply hated on the art form. They put a bowtie on hip-hop at that time to get it through. Cheba commanded the audience with voice and a great sense of timing. These cats used rap to set up records like no other. His synergy with Easy G his deejay was simply… telepathic.”
Blow, a Harlem native, is a student of both the R&B style of guys like Pete Jones and Hollywood and the hardcore b-boy approach of the Kool Herc followers. In fact with his deep, booming bass voice and crisp enunciation Kurtis’ style was the perfect blend between Harlem’s smooth R&B chic and Bronx b-boy cool.
Every other rapper today fantasizes about knowing or being somehow connected with a notorious gangster, back in the day – Nicky Barnes was that gangster. Wood played for some of the most notorious figures of the ’70’s and ’80’s, chief among them was Guy Fisher. It was Fisher who owned and operated the Apollo Theatre as a legitimate front. It was at the Apollo that Hollywood gained his rep for providing entertainment between acts for some of the biggest stars of the era, and often times he overshadowed them.
“Hollywood was packing em in, they had lines around the corner. They built a part two, which was called the ‘House of Glass’. They talked to Reggie Wells and we made a deal and they came to get me.”
“I pulled out all stops this night at the Parkside Plaza. It was a battle for the title.” Eddie remembers. “Wood’s title was on the line. Wood did his thing, but even his people weren’t really feeling him on this night. And then I went on. I rocked the hell outta them people. At the end of the battle even Wood’s people were cheering for me, you know like his main man Captain Jack and all of them people. It took 45 minutes for the judges to make a decision. And they came back and gave the trophy to Hollywood. And that’s when it hit me: No wonder he said to never battle him, it was because he had it set up for him to win regardless. Hell, the trophy already had his name inscribed on it!”
He said, “Yeah, Sylvia wanted us to do Rapper’s Delight first.” I couldn’t believe it. I wanted to knock him out of his seat. If I had done that record do you know what my life would be like today?”
Easy Gee bought in MFSB‘s classic ‘Love is the Message‘, cued up from the point where the sax and violins are building up to the point of climax. This was a record that guys like Hollywood, Eddie Cheba, Kool Kyle and many others knew well. It was a staple of their act. In some ways it was the main part. This was the song that showcased their skills the best. They could do their crowd participation thing, free style rhymes and party chants; all of it came together best over that song.
To support the exclusion of Gangsta rap from a hip hop museum is like the act of excluding the mention of African Americans in the development process of America. His erroneous 
KMEL’s provincial attitude toward local rap artists is perhaps best exemplified by the station’s treatment of Mistah F.A.B., a charismatic Oaklander sometimes referred to as “hyphy’s crown prince.” According to F.A.B., a “personal situation” with current music director Big Von Johnson has existed for years. The rapper speculates that jealousy might be the cause: “Von wanted to be an artist.” Still, “It’s no bad blood, it’s no hatred from me,” he now emphasizes. (At press time, Johnson hadn’t responded to several requests for an interview.)
By all accounts, Yellow Bus Radio was a success. The program garnered high ratings on KYLD and was syndicated by other stations across California and podcast by Web sites worldwide. In addition to playing his own music alongside songs by lower-profile locals, F.A.B. used his airtime as a vehicle for community interaction, conducting interviews, and, in keeping with hyphy’s special-education theme, reading book reports.
KMEL program director Stacy Cunningham confirms there was an “unofficial” ban on F.A.B., but says the station stopped playing his music not out of spite, but because he was “our competition in the ratings.” She claims to have “nothing but love” for F.A.B., but advises, “Don’t play the ‘Cry me a river’ card.”
In 1998, Oakland’s Delinquents sold 30,000 copies of their album, Bosses Will Be Bosses. The group felt its single, “That Man,” had the potential to be a big commercial hit on KMEL. “We had a current record with a current single,” rapper G-Stack recalls. “We had a street buzz.” The Delinquents also had decent sales figures, moving 2,000 copies a week. Despite sending their music to the station, “they still wasn’t playing our stuff,” he says.
In 2002, Malkia Cyril, executive director of Youth Media Council, formed the Community Coalition for Media Accountability, which studied KMEL’s social impact on young people in the Bay Area. Cyril says the station allowed local artists little airtime, and promoted music that tended to criminalize its primary listeners: young people of color.
BackSide rapidly became one of hyphy’s most visible proponents. In addition to her KMEL show, she hosted an online show at Warner Brothers-sponsored Web site 
After receiving a copy of the letter from RPM, BackSide says she met with Cunningham and Johnson. When asked who could have written it, BackSide gave a copy of her IM communications with Fox to Cunningham. She was then told she was suspended pending an investigation.
Frank Herrera, an independent promoter for several local labels, says that Johnson has done some positive things for the Bay Area, but “always seemed like he was unhappy with [local] music.” Herrera claims Johnson has “played God” with artists’ careers and says he often ignored the advice of DJs who advocated for local records they felt were deserving — most notably in the case of the late Mac Dre, often considered hyphy’s founding father. After Herrera brought Dre’s now-classic “Thizzle Dance” to the station in 2003, “his DJs had to tell him it was a requested song. Von was holding out on the record.”
Now that he has fallen from favor with Johnson, Kennedy is willing to talk about the nature of their business dealings. Kennedy says he executive-produced five volumes of Big Von’s Chop Shop mixtape series, which didn’t do as well as other mixes by the Demolition Men, DJ Juice, or DJ BackSide. Kennedy says he ended up giving most of them away, but he still paid Johnson several thousand dollars per mixtape, with the unspoken understanding that Johnson would give special consideration to the label accounts Kennedy was working.
In spring 2006, E-40‘s hit “Tell Me When to Go” made hyphy a national catchphrase. Davey D says KMEL responded by doing what he calls “superserving” local stuff, to the point where he started to feel that the station might be “trying to burn the audience out on the material.” Intentional or not, that’s just what happened.
Black on black crime, drug abuse, HIV, promiscuity, materialism, greed and ignorance, what do these things have in common: Hip-hop. Or so they say.
A while back we ran an interview with former Source owners Dave Mays & Benzino shortly after Busta and Mays had their altercation in Miami. The end result was Mays getting hit upside the head with a bottle and having to get stitches. Benzino alluded to the fact that Busta was on steroids and needed to check himself. At first many of us laughed it off and attributed the remarks to a jealous Benzino, but in lieu of this latest altercation, one can’t be too sure.. What’s really going on?
“Government Intelligence” is a misnomer. With at least a 30 some odd Billion dollar budget, the pre 911 “Intelligence” Agencies didn’t have a clue about what was going on. In spite of the reports of Arab men at flight schools asking to learn how to fly but not how to land. That was a clue that I would expect the lowest level security guard to alert on. How did they miss that? To borrow a line from Keith Sweat “Something Just Aint’ Right”. What I do know is that I’m very uncomfortable with the people who have their fingers on the red buttons. I’m no conspiracy theorist but Bush is looking more and more like Senator Palpatine to me by the day.
Over the past few days I have been run through the blog and email world as a traitor, an undercover operative, a money chaser, a republican sellout, and many other things. I have been talked about and attacked by people that I have considered colleagues, and in some cases friends, without a phone call or email to inquire about my decision. I have had professional contracts cancelled and future contract negotiations halted all as a result of my announcement Friday August 11, 2006 to officially support the campaign of J. Kenneth Blackwell for Governor of the state of Ohio.
An Open Letter to the NY Daily News About KRS-One
My name is Tony Muhammad, President and founder of Urban America Enterprises, Inc. and publisher of Urban America Newspaper, the first ever urban community newspaper, based in South Florida. I am responding to the inflammatory commentary made about one of the most respected teachers and leaders in Hip-Hop, KRS-ONE. The commentary appeared very recently in The New York Daily News in an article entitled KRS-One, decency zero. The article itself pertained to statements made by KRS-ONE at a recent panel lecture concerning the Hip-Hop community’s response to the 9-11 terror attacks. After careful analysis of both the article published in The New York Daily News and KRS-ONE’s response, which is currently being circulated on several sites on the internet, I can very much say that your brand of journalism is not only irresponsible, but it is “choppy” and insulting both to KRS-ONE and the Hip-Hop community. According to your biography, Mr. Rush, you have a Masters degree in Journalism from Columbia University and have been published in various magazines as well as publishing a book yourself. Tell me, how this can be true? As an experienced educator I can safely say that I have seen greater detail in 3rd grade level essays about “favorite things to do” than in your “high status” New York Daily News article about what KRS-ONE supposedly said.
His statements, I admit, would be considered “controversial” to people such as yourselves, considering your backgrounds. However, just because you did not fully understand what he said, does that give you a right to twist his words around according to your own paranoid view of reality (a syndrome from which a large percentage of Americans today suffer from thanks to the Bush Administration’s terror alert campaigns)?
If you considered KRS-ONE’s statements so shocking or feel that you may have misinterpreted something he said, why did you not take the opportunity to ask a question to receive more clarity? Even if you did not have the opportunity to ask questions, perhaps you would have done better justice by printing more fully what the man actually said. To automatically and “officially” declare “his solidarity with Al Qaeda,” the group linked with the murder of over two thousand people is repulsively sick. You are speaking of a man who has organized with his Temple of Hiphop annual days of mourning to the victims of the 9-11 terror attacks. Not only this, since 1987, I have religiously heard the man’s music, which has frequently contained lyrics emphasizing “world peace.” KRS-ONE’s statement about how “Hiphoppas” (not merely African-Americans as you put it) cheered and said “justice” when they saw the World Trade Center being attacked is indeed scary but it is very much a real view that much of today’s youth hold. Trust me. It is no coincidence that soon after this horrible act was broadcasted on television, many of my own students at the time were theorizing that the Bush Administration was responsible (Not that I believe or disbelieve this myself, but, in effect, posing the question as to why they would automatically think this way).
Why do you believe there was so much support for Jadakiss’ controversial song Why? (this song itself includes a question pertaining to why Bush blew up the towers – a song aired uncensored and highly requested on New York FM radio). Many of our inner-city youth may not know how to express themselves fully on such topics as the 9-11 terror attacks, largely due to their own lack of study. Yet and still, they are harassed enough by police to identify a common threat. Yet and still, they are annoyingly tested like genie pigs in the public schools enough to identify a common threat. This is not to mention that anger on the part of the poor world wide has built up immensely thanks to the World Trade Organization. In America we are constantly losing jobs which are being transported overseas. The result? The decrease of legal inner-city economies has led to the rise of illegal economies, which many youths participate in. The high neglect of such communities in America has left them in conditions similar to those of 3rd World Countries. In Third World Countries, as I am sure you are aware, youth are employed in factories owned by the same companies that left the inner-cities of America, where they produced products such as Nike shoes; laboring for, in some cases, two cents a day. The Hip-Hop youth of America, in turn, purchase such products twenty to thirty times more than what they are actually worth. This is partially why KRS-ONE identifies such corporate entities as “oppressors” – as you are so quick to mention.
Do you not understand now why such anger would exist in the hearts and minds of the youth? Perhaps you need to live the experience of a youth that embraces Hip-Hop culture to fully understand what I am saying. Especially ask those who grew up embracing Hip-Hop culture during the crack filled 80s what their views regarding the government were (and most likely still are). It has only been recently that we have been targeted by more “liberal” factions of U.S. politics to, for the first time, vote in a presidential election just as the Kennedy Administration targeted highly neglected African-Americans to vote for the first time (in a long time) in the 1960s. Your slanderous and abominable statements about KRS-ONE sharply resemble the way the media has historically repeatedly lashed out against African-American leaders, such as Malcolm X and countless others, who have spoken on what have been considered unexplored realities to white America.
As a note, I am certain that the anger among the Hip-Hop youth is destined to get worse once they realize fully how they are being targeted to be sent and slaughtered in a war that most do not agree with. Just take a look at where the armed forces is advertising: on BET during Rap City, in The Source and XXL Magazines; presenting the armed forces as being a party-filled experience where all the guys are rich and all drive wrapped Hummers (you know, the kind that recruiters drive up to inner-city schools in with the intent to attract attention). I don’t see such targeting towards white non-Hip-Hop youth on any form of television programming or print media. If you are to expose any scandals (or how your column puts it “gossip”) why don’t you investigate things along the lines of this matter? I am sure the experience will be like opening a Pandora’s box.
In respects to the mention of this country “must commit suicide if the world is to be a better place,” KRS-ONE was in a philosophical sense saying that the negative or “corrupt” characteristics of the United States, both in its foreign and domestic policies, must end. Taking chopped up “tidbits” of what KRS-ONE had to say and twisting them to make it seem as if he is the epitome of evil have me question your motives which may be regarded as “evil” in and of themselves. You alluding that KRS-ONE is opposed to voting is flawed. At his concerts he emphasizes the familiar phrase “Voting is the least you can do” to show and prove the type of power the Hip-Hop community has. You quoting him in saying “Voting in a corrupt society adds more corruption” must obviously be expressed in a totally wrong context.
One final note, just because KRS-ONE is not currently signed to what would be regarded a “major record label,” it absolutely does not mean that his music career is in a “downward-spiraling” motion as you put it. In fact, he has expressed much joy in being free from any corporate entities pinning him down to a recording contract. Anywhere in this country, from what I have experienced and know, he still packs concerts – mainly filled with Hip-Hop youth who are eager to know the truth as he expresses it. His career as a leader and teacher to the Hip-Hop nation is not over. It has just begun. It is not his career that is “bent on self-destruction,” as you put it, but our very lives as Americans if we do not take the time to listen to others with alternative perspectives of reality who seek nothing less than for humanity to be steered on the right path. In fact, for all readers on the internet who have the opportunity to read this and maintain an “open mind” may they “KEEP RIGHT!” I hope that you take this message as serious as many politicians have taken the Hip-Hop community serious in this up-coming election.
If you seek clarification on any of the matters presented above, you may contact me at 305-472-2566 or via e-mail at urbanamericainfo@yahoo.com. Trust me. I have much more on my mind to express on this matter and I can share it with you if you so request it. I pray that this message reaches you in the best of health, both physically and mentally to inspire drastic change in your way of thinking. I urge you to repair the damage by publicly apologizing to KRS-ONE and the Hip-Hop community.
Sincerely,
Tony Muhammad
Urban America Enterprises, Inc.