http://www.youtube.com/watch?v=e4OI-SGiNmw
We caught up w/ Chuck D of Public Enemy, the day we got the tragic news about music icon Don Corneilus killing himself.. Chuck gave a history and rundown about Don and his show Soul Train.. We also talked about the irony of this happening on the first day of Black History month
Flava Flav of Public Enemy is always colorful and never a dull moment… On a recent trip to San Francisco we caught up with Hip Hop’s number 1 Hype Man to get the low down on his upcoming ventures.. He’s opening a Chicken spot in Iowa and introducing a line of beverages.. He explains where, why and how. He also is set to release a book.. Here’s our interview
[Note: Chuck D wrote this essay as a letter to Chuck “Jigsaw” Creekmur (AllHipHop.com) and Davey D (DaveyD.com). With permission, the message by the Public Enemy leader, has been edited slightly into a scathing editorial about the media, Hip-Hop and the how the culture has been pimped by a mere few.]
Chuck D:
I really don’t know what constitutes for “relevant” coverage in HIP-HOP news in America these days, but I really want to give you all a heads up. As you know I’ve been through three passports, 76 countries on the regular in the name of Hip-Hop since 1987 and in 2010, although I’ve never stopped traveling the earth this year, I’ve seen, heard and felt some new things.
As far as RAP and HIP-HOP, it’s like USA Olympic basketball, the world has parity now and have surpassed the USA in ALL of the basic fundamentals of HIP-HOP – TURNTABLISM, BREAKING, GRAFFITI, and now EMCEEING with succinct mission , meaning and skill. Skill-wise rappers spitting three languages, have created super rappers to move the crowd with intensity and passion. The “arrogant” American comes in blackface, but if there was a HIP-HOP or Rap Olympics, I really don’t think the United States
would get Gold, Silver or Brass or even ass for that sake.
Personally, Public Enemy has been setting records in a record book that doesn’t really exist. The 20th year anniversary of FEAR OF A BLACK PLANET has become into a year and a half celebration of eights legs and five continents. All the while, looking at a HIP-HOP Planet across 25 countries while still somewhat supportive of American rap, the rest of the world has surpassed the U.S. in skill, in fundamentals and commitment to their communities. Public Enemy’s mission is to set the path, pave the road for cats to do their thing for a long time as long as they do it right.
Because of the lack of support from local radio, television and community in the United States, the ability for “local” acts to thrive in their own radius has killed the ability to connect and grow into a proper development as a performer, entertainer and artist. Rappers trying to get put on to a national contract hustle from a NEW YORK or LOS ANGELES corporation has caused the art-form to atrophy from the bottom, while never getting signed to a top echelon that really doesn’t exist, but to a very few.
HIP-HOP NEWS spreads like any other mainstream NEWS in America. The garbage that’s unfit to print has now floated on websites and blogs like sh*t. For example a rapper working in the community gets obscured while if that same rapper robbed a gas station he’d get top coverage and be label a “rapper” while getting his upcoming or current music somewhat put on blast, regardless of its quality which of course is subjective like any other art. RAP sites and blogs are mimicking the New York POST.
This is not mere complaint , this is truth and its coming down on Americans like rain without a raincoat with cats screaming how they ain’t wet. This is real. The other night upon finishing groundbreaking concert performances in Johannesburg we followed a special free concert in Soweto. To make a point that our agenda was to “show? and encourage the Hip-Hop community to be comfortable in its mind and skin without chasing valueless Amerikkkan values.
Never have so many been pimped by so few.
It does the people of the planet little good to hear that an an artist is famous and rich, will wear expensive jewelry straight from the mines, show it off, stay it the hotel, ride in limos, do the VIP with chilled champagne in the clubs, ape and monkey the chicks (meaning not even talking) and keep the dudes away with slave paid bodyguards when real people come close. The mimic of the VIACOM-sanctioned video has run tired, because it shows off, does NOT inspire and it says NOTHING.
Here in South Africa PUBLIC ENEMY has done crucial groundbreaking performances. Its the same level of smashing the house that we’ve done this year in Moscow, New York, Paris, London , Chicago and other places this year. This is not news We are not trying to prove any point other than to show that a classic work is timeless and doesn’t have a demographic per se. The Rolling Stones and U2 are NOT measured by mere tracks’ they are measured by the all-around event they present. The art of the performance has left Hip-Hop whereas somebody has led artists to do more performing off the stage than on it. The agenda here is to create artist exchange
This serves as a call to the infrastructure-less Hip-Hop game in Amerikkka. We know what your hustle is, but what is your work and job here? Faking it until making it runs its course in a recession, which is a depression for Black folks who increasingly are becoming more skill-less as they become jobless.
Never have so many been pimped by so few.
Since the music has so much power, and image has become everything to the point that it can dictate the direction of a person in their life, it is my mission now to really become a “freedom fighter” and stop this radiation. With Jay-Z and others who, for years would faint their worth, the statement of “with great power comes great responsibility,” is more true. Words are powerful and they can both start wars and bring peace. This cannot be taken lightly. Its important for the words to be body with the community. If not one dime of $250 million doesn’t benefit the people who contribute to it then why does that warrant coverage above the will and effort of many in the music who have done great things.
Never have so many been pimped by so few.
I turned 50 this year. Everyday I get the question whats up with Hip-Hop today. If nothing was wrong the question wouldn’t be the dominating question I get. I do massive interviews worldwide. I’m covered from varied aspects Hip-Hop, Public Enemy, social issues, musicology in general. So, my interactive world dialogue is deeper and more present than 140 characters.
Never have so many been pimped by so few.
I am tired of the silence of people that know better. There is nothing worse than a person that knows better and does worse. Or says nothing.
And makes excuses for bulls**t.
You know damn well HIP-HOP in the USA has fell way the f**k off as the American dollar and much of America itself. Held up and dictated by White business lawyers, accountants in New York, and Los Angeles offices.
To dictate to a community and not even live or be with the people is offensive. VIACOMs reach into Africa to turn HIP-HOP in to Amerfrica, which is as exploitative as those slave-makers who carried us across on boats. The decisions made in a boardroom in New York City while these cats scurry to their high rises, and suburban mansions from cultural profiteering must stop. And I’m going to do something about it.
Never have so many been pimped by so few.
My agenda of Hip-Hop around the world is in line with its creators, who followed Black Music. The music had the people’s back. It has never been my personal agenda. Americans arrogantly have no back. Hip-Hop has followed this. I am disturbed by the fact that I tell artists that doing work in their community will get them little or no buzz for their effort, but in the same sense if they robbed or shot someone or did a bid they would get national and sometimes international attention.
Never have so many been pimped by so few.
So many of your favorite people suck up to the NBA and NFL, because it has order and when you make the game look bad David Stern or Robert Goddell is kicking their asses out . They are the indisputable HWIC, and negroes are in line and silenced. But here in Hip-Hop the dysfunctionality reward makes the money that puts food on many tables.
Its time, because I hear too many excuses. I wont allow what’s in the USA f**k up what I and others worked hard to instill. I drive a ’94 Montero, a ’97 Acura, and have no expensive jewelry. There is nothing on this planet materially that is better than myself. This is what I instill in many doing Hip-Hop that nothing is greater than what is given. These games of people doing anything to get things has seeped into my way so therefore witness some radical virtual things coming from me in protecting the art-form of Hip-Hop.
Never have so many been pimped by so few.
So, I’m going after the few.
I’m tired of it.
Chuck D from CaPEtown, South Africa.
Public Enemy’s 71st Tour
6th Leg of a Fear Of A Black Plan Tour
Chuck D is an emcee, author, producer and civic leader, among other things. He also happens to front a legendary, revolutionary rap group called Public Enemy. Public Enemy is renown for their politically charged lyrics, frenetic production style and penchant for shaking up the power structure.
The Anthology Of Rap
We are living in a period of growth for hip-hop culture, led this time not simply by artists but by students and scholars. The word-revolution in rhyme has been reflected in a slew of necessary critical perspectives that shed light on hip-hop’s history and development. Books and multimedia on hip-hop culture and rap music have entered a boom period—or should I say BOOM BAP period: a time in which the recorded history and the breakdown of interpretations may be more entertaining than a lot of the new music being made today.
The Anthology of Rap is a landmark text. What makes it so important is that the voices included within it are from the artists themselves, but they are presented in a way that gives the words context and meaning as part of a tradition. Anyone could put together a bunch of lyrics, but an anthology does something more: it provides the tools to make meaning of those lyrics in relation to one another, to think about rap both in terms of particular rhymes, but also in terms of an art form, a people, and a movement. Every great literature deserves a great anthology. Rap finally has its own.
I first heard about The Anthology of Rap after meeting Dr. Adam Bradley at a symposium sponsored by the HipHop Archive at Harvard University. A few weeks later, I interviewed him on my Air America Network radio show, ON THE REAL, about his first book, Book of Rhymes: The Poetics of Hip Hop. I was fascinated by what I would call the emergent “artcademic” perspective he was describing. Here was someone who grew up with the music and had gone on to study it in a social context as well as “gettin down to it” on the level of language. He was spitting out a well-considered, highly analytical point of view to a mass audience that too often defines rap merely by what they hear on radio and see on television. Along with Dr. Andrew DuBois, Dr. Bradley has now brought us a book that just might break the commercial trance that’s had rap in a chokehold for the last several years. Rap now has a book that tells its lyrical history in its own words.
My own history in hip hop goes back decades. I started out in back in 1979 as a mobile DJ/MC under a crew called Spectrum City in Long Island, New York. Most of the shows we did were in less than ideal acoustic situations. Luckily my partner Hank Shocklee, who is now regarded as a sonic genius in the realm of recording, was just as astute about getting the best sound available out of the least amount of equipment. The challenge for many MCs was figuring out how to achieve vocal projection and clarity on inferior sound systems. I’ve always had a big voice, so my criteria was different because my vocal quality and power were audible. The content of my rhymes was heady because of what I knew. I’d been influenced by big voices like Melle Mel of Grandmaster Flash and the Furious Five. I studied the rhymes and rhythms that worked and tried to incorporate my voice and subject matter in a similar manner. I had to be distinct in my own identity. That was a very important aspect to propel me beyond the pack.
Most MCs don’t listen to enough other MCs. As artists we need to open our ears to as many styles as possible, even—and maybe especially—those that are not commercially successful. In sports you must study the competition. You’ve got to game-plan. You’ve got to school yourself not just about the defending champions, but about every team in the league. In these times, the individualization of the MC has often meant isolation—artists focus on a single model, a single sound. Some focus is a good thing, of course, but too much leads to a lot of rappers sounding the same, saying the same things, finding themselves adrift in a sea of similarity.
Rakim's Flow on 'I Know U Got Soul' and Biz Markie's 'Nobody Beats the Biz' inspired Chuck D's flow on Rebel w/o a Pause
Having a range of lyrical influences and interests doesn’t compromise an MC’s art. It helps that art to thrive and come into its own. For instance, my lyrics on “Rebel Without a Pause” are uniquely mine, but even the first “Yes” I utter to begin the song was inspired by another record—in this case, Biz Markie’s “Nobody Beats the Biz,” a favorite of mine at the time. The overall rhyme style I deployed on “Rebel” was a deliberate mixture of how KRS-One was breaking his rhymes into phrases and of Rakim’s flow on “I Know You Got Soul.” Although the craft is difficult, the options are many and the limits are few. There are many styles to attend to and numerous ways to integrate them into your own art, transforming yourself and those styles along the way.
That’s where The Anthology of Rap comes in. It reminds us just how much variety truly exists in this thing we call rap. KRS-One raging against police brutality is far removed from Will Smith beefing about parents that just don’t understand or UGK explaining the intricacies of the street pharmaceutical trade, but all of them are united through rhyming to a beat. We learn more as rap artists and as a rap audience by coming to terms with all those things that rap has made.
Paris
Back in 2006 I did a collaboration with the great conscious rapper Paris. Paris singlehandedly created a Public Enemy album called Rebirth Of A Nation. At the time, people asked why an MC like me would relinquish the responsibility of writing my own lyrics. My reason was simple: I thoroughly respect the songwriter and happen to think there is a valuable difference between the vocalist and the writer. Rarely are people gifted in both or well trained and skilled enough to handle both at once. The unwavering belief that MCs should always and only spit their own rhymes is a handicap for rap. In my opinion, most writers shouldn’t spit and most vocalists shouldn’t write unless there is a unique combination of skill, knowledge, ability, and distinction. To have Paris write my lyrics as well as produce the music added a breath of freshness to my voice. I put my ego aside—a hard thing for a lot of rappers to do—and was rewarded with a new weapon in my lyrical arsenal, unavailable had I simply gone it alone.
In order for a lyric to last, it takes time and thought. Although top-of-the-head freestyles might be entertaining for the moment, they quickly expire. Even someone like Jay-Z, who claims never to write before rhyming, does his own form of composition. He has the older cat’s knowledge, wisdom, and understanding of the many facets of multi-dimensional life zones and the ability to exercise his quickness of wit and tongue. Few MCs have his particular combination of gifts. Lyricism is a study of a terrain before it’s sprayed upon like paint on a canvas. Most MCs would do better to think and have a conversation regarding what to rhyme about before they spit. While the spontaneity of the words to a beat might bring up-to-the-minute feelings to share, one cannot sleep on the power of the word—or in this case the arrangement and delivery of many words in rhythm.
When it comes down to the words themselves, lyricism is vital to rap, and because rap fuels hip-hop, this means that lyricism is vital to hip-hop culture as a whole. A rapper that really wants to be heard must realize that a good vocabulary is necessary like a good ball-handler sports his dribble on a basketball court. Something should separate a professional rapper from a 6th grader. Lyricism does that. Even when a middle school kid learns a word and its meaning, social comprehension and context take time to master. Even when a term or a line is mastered, the challenge should be on how many more peaks a rapper can scale to become a good lyricist. We all should know that the power of a word has both incited and prevented war itself.
Good lyrics, of course, have been around far longer than rap. They’re the life-blood of song. They direct the music and the music defines the culture. This is true for rap even though some mistake the music as being all about the beat. People sometimes overate the beat, separating it from the song itself. I ask folks would they rather just listen to instrumentals? The general response is no. Listeners want to have vocals driving the beat, but—importantly–not stopping it or slowing it down. It takes a master to ride any wild beat or groove and to tame it. Rakim, KRS-One, André 3000, MC Lyte, Black Thought and Nas are just a few such masters featured in this anthology. They will make the music submit to their flows while filling those flows with words to move the crowd’s minds, bodies, and souls. So reading lyrics on the page gives us a chance to understand exactly what makes these lyrics work. What’s their meaning? What’s their substance? How do they do what they do?
written by Chuck D
May 15 2010
original article: http://www.publicenemy.com/index.php?page=page3
Another take on the classic PE cut “I” that originally featured on THERE’S A POISON GOIN’ ON. Inspired by a trip to New Orleans in 2007, Chuck wanted to create a new version of the song and shoot a video as he explored the ruins of the lower 9th ward.
http://www.youtube.com/watch?v=suzg1tRa9kM
Public Enemy
Below are the audio archives from our last two Hard Knock radio Shows that focus the plight of Katrina survivors and their trials and tribulations..
Our guests on this show are New Orleans natives Rev Lennox Yearwood of the Hip Hop Caucus who was in New Orleans leading a march for poor people.. Our other guest is author Jordan Flaherty who wrote an incredible book called Floodlines. In his book he starts off by giving in depth accurate accounts of what really took place in the days after the Katrina. he dispels many of the myths about violence, rapes and lotting in the superdome. He points out who the real ‘First Responders‘ were during that time period. Click the Link below to hear the show..
http://www.kpfa.org/archive/id/63583
Below is our Hard Knock Radio show with katrinba survivors… Spoken word artist Safari Ra and Black Dot Cafe owner Marcel Diallo. Safari relives the horric moments when his house was flooded and how he and his family stood on rooftops for several days desperately seeking help. We talk to him about what took place in the aftermath and what the climate was really like. He noted that the community in the 9th Ward came together. There wasnt all this drama that mainstream media lied about.
Marcel Diallo is a long time property owner who lost his home on the 9th Ward. he explains what its been like to recover and rebuild. He talks about all the red tape and all the drama that many have had to endure. Its haeratwrenching and frustrating..
http://www.kpfa.org/archive/id/63558
Below is an audio mix that speaks for itself.. 5 years ago.. Monday August 29 2005 Black America got her own 9-11. She was hit with an act of terrorism in New Orleans that was just as devastating if not more than what took place when those Twin Towers were felled by planes… Yes, you read that correctly.. Most people mistakenly believe that the city of New Orleans was destroyed by Hurricane Katrina. Lets make sure folks understand this once and for all… Much of neighboring Mississippi was destroyed by HurricaneKatrina which hit the state with its full level 5 impact.
Click HERE to Listen to Audio Mix
http://www.swift.fm/mrdaveyd/song/60030/
DJ Chela’s Katrina Mix Testisfy ’05
Here’s an incredible collage of sounds..A *testimonial* to the struggle and devastating injustice experienced by the people of New Orleans in the aftermath of Hurricane Katrina. With spoken clips from Kanye West, David Banner, Rosa Clemente, New Orleans residents, Al Sharpton, Ray Nagin, George W Bush, and news journalists. From Dj Chela‘s 2006 mixtape “High Treason” hosted by M1 of dead prez.
Click HERE to Listen to DJ Chela's Hurricane Katrina Mix
Like everyone I’m watching this Gulf Oil Spill and seeing all the dead oil slicked animals and hearing endless pronouncements about how BP is going to try one failed method after another to cap the leak. Of course nothing is working, everyone is pointing fingers and at the end of the day, I see more political posturing than I do genuine concern for the destruction of the environment and the Gulf Coast Economy.
Nowadays everyone seems to be pointing a finger at President Obama, accusing him of being too cool, too relaxed and not moving fast enough. I agree Obama needs to be putting the smash on BP in a big way even if they have given him lots of money in the past. After all, this is bigger than one’s relationship with campaign contributors. At the same time I hear a deafening silence from the wing nuts who showed up in New Orleans a little more than a month ago talking all that ‘Drill Baby Drill‘ nonsense. For those who don’t remember take a look at this… http://www.srlc2010.com/
That was the Southern Republican Leadership Conference where you had all sorts of folks not only championing off shore drilling, you also had folks talking about how we needed less government and how Obama was right up there next to ‘socialism‘ as if that’s really a bad thing. Of course now that we have this catastrophe we have many of those same people including Louisiana Governor Bobby Jindal damn near crying on TV demanding the government step up and do something. He needs to be smacked upside the head and told made to take his words back that Drill Baby Drill mantra. I haven’t forgotten while serving Congress Jindal was riding hard for H.R. 4761: Deep Ocean Energy Resources Act of 2006 which would’ve lifted the moratorium on off shore drilling. The bill never passed, but Jindal was a still a rider along with just about every other Gulf Coast State governor. I wonder if they’d be pushing for those off shore drillings now?
Big shout out to Talib Kweli and Public Enemy for stepping up and dropping songs dealing with the immigration bill in Arizona. Talib has a new song called ‘Paper’s Please‘ and Public Enemy and DJ Johnny Juice who had already released a song addressing the issue remixed it. ‘Tear Down That Wall’-(Aztlan remix) .They join other artists who released songs like Swindoe-(Roadrunner vs the Coyote), Toki Wright- (By the Time I Get to Arizona 2010) and a coalition of Arizona artists who dropped the song ‘Back to Arizona Rappers Against SB 1070‘ .
Its good to see artists stepping up and using their talents to address these important issues. We had a slew of artists ranging from Jasiri X to Beeda Weeda, Mistah FAB & Jennifer Johns and Zion I aka the Burnerz who all came with songs after an unarmed Oscar Grant was murdered by a BART police officer in Oakland.
Prior to that we had everyone from David Banner and DJ Shadow to Juvenile to Jay-Z step up to address issues around Hurricane Katrina. It’s just a matter of time before we start hearing songs around the killing of 7 year Aiyana Stanley Jones.
-Davey D-
Here are some stories to peep..
Rick Ross To Sue Rapper Rick Ross Over Name
The real Rick Ross could face off against the rapper Rick Ross (William Leonard Roberts II) in court this summer, over the usage of the name “Rick Ross.”…Ross claims that Miami rapper Rick Ross (William Leonard Roberts II) signed a multimillion dollar deal in 2006, based on his image and likeness as a drug dealer.
Rick Ross claims that he protested the use of his name in 2006 by sending cease-and-desist letters to Def Jam, which were allegedly ignored.
Sources told AllHipHop.com that Ross’ lawsuit will claim that the rapper stole his identity and based it on Rick Ross’ real drug dealer image in the black community.
According to sources, Ross is planning to sue Def Jam, Universal, William “Rick Ross” Roberts II and others.
continue reading here http://bit.ly/dhTR15
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Arizona Professor Sandra Soto
Last week, Arizona University’s professor of Latina studies Professor Sandra Soto took the stage to address 2010 graduates of the school’s Social and Behavioral Sciences program. Naturally, her words were timely and touched upon the state’s recently passed immigration laws that allow police to question and detain anyone who they suspect of being an illegal immigrant.
Then, she called the measure “the strictest anti-immigrant legislation in the country” that is “explicitly intended to drive undocumented immigrants out of the state.”
Her summary, while quite accurate, elicited a wave of boos and insults from the audience.
In a video of her speech published to YouTube, either the camera man or someone close by seems amused at her characterization.
That’s right!” he said. “This is ‘merica,” leaving out the ‘A’. “Cut your hair!”
“…to a whole lot of people, myself included, it appears to not only invite but require the police to engage in racial profiling,” she continued, eliciting another wave of boos.”
“Bitch!” a man near the camera shouted.
http://www.youtube.com/watch?v=qSppVDbEZkg&feature=player_embedded
continue reading here http://bit.ly/d6TPlM
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Hip Hop Wisdom: Bambu Speaks on Filipinos in Hip Hop & Gang Life in LA
We caught up with Bambu at SxSW last year and he spoke to us about the Filipinos in Hip Hop and gang life in LA. He noted that he doesn’t say gang life is wrong.. He says it needs to be redirected and folks need to use their talents and intelligence to really owning their blocks. http://www.youtube.com/watch?v=GYgW5h95wuw
In our other clip Bambu talks to us about the gender politics and deeper meaning behind his song and video the ‘Queen is Dead’
continue reading here: http://bit.ly/dkAtge
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You would think as this 1,500 page “reform” went through (anyone want to bet if its strongest provisions will survive the reconciliation process?) the banks would be quaking in their boots. After all, they funded what President Obama called swarms of lobbyists to kill it at birth. They denounced it with doomsday language with their rhetoric helping to drive the market down. Oh, the fear! Oh, the consequences!
But then, what happened? Were bankers jumping out of windows like their predecessors did when the market crashed in ’29? No way.
WSNS reported what happened:
Bank stocks soared on Friday, with the share price of JP Morgan Chase, one of the biggest finance houses, surging 5.9 percent and helping drive the Dow Jones Industrial Average up 125 points. Other bank stocks rose sharply: Bank of America up 4.7 percent, Goldman Sachs up 3.3 percent, Morgan Stanley, Wells Fargo and Citigroup. The S&P financial sector index was up 3.6 percent overall.
The Wall Street Journal reported the rise in prices under the headline, “Financial Stocks Turn Higher After Senate Passes Reform Bill.”
continue reading here: http://bit.ly/9wcSHL
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Return to Davey D’s Hip Hop Corner
//
Click HERE to Listen to Podcast
As we kick off our 3 day weekend and with so many people snowed in, we decided to put some funk in your trunk with this week’s show.. We took it back to the old school and came with some vintage joints that’ll have you really appreciating this thing we call Hip Hop…Highlights include the Public Enemy. When you listen beyond their most well known hits you realize Chuck D and company have a pretty deep catalogue of songs.. Almost all of them address some sort of issue.. I think they are underestimated..
Had to dig deeper and pull out something from the late Pumpkin. he was Hip Hop’s first official drummer and of course we had DJ Cheese and his landmark cut ‘King Cut’…
We kick things off with a special back to Africa remix I did featuring Malcolm X and music from the late J-Dilla..
Its all butter folks.. please enjoy
http://www.alldayplay.fm/episodes/breakdown-fm-w-davey-d-there-goes-the-neighborhood
Breakdown FM w/ Davey D on All day Play#8
There Goes the Neighborhood
01-J-Dilla ‘J-Dilla Meets Malcolm X’-(DaveyD remix)
02-Dr Dre w/ Ice Cube ‘Natural Born Killa’
03-Public Enemy ‘Assault Mix’
04-Public Enemy ‘House of Rising Son’
05-Public Enemy ‘How to Kill a Radio Consultant’
06-DJ Punisher ‘The Cutting Edge’
07-DJ Pumpkin ‘King of the Beat’
08-DJ Cheese ‘King Cut’
09-Bobby Jimmy ‘We Like Ugly Women’
10-Digital Underground ‘DooWhatchalike’
11-MC Lyte ‘10% Diss’
12-Lost Boyz ‘Music Makes me High’
13-Ice Cube ‘The Mack’
14-Outkast ‘Players Ball’
15-Ice T ‘Colors’
16-‘Dr Dre w/ Snoop Dogg ‘Next Episode’
17-Marley Marl w/ MC Shan ‘The Bridge’
18-Ice T ‘6 In the Morning’
19-Eric & Rakim ‘ The Ghetto’
20-Conscious Daughters ‘Something to Ride To’ ‘(Davey D Screwball remix)’
21-Snoop Dogg ‘Gin & Juice’
22-Mystical ‘Shake Your Ass’
23-Black Sheep ‘The Choice Is Yours’
24-Grandmaster Flash ‘Girls Like the Way he Spins’
25-Donald D ‘FBI’
26-Whodini ‘Friends’
27-Dogg Pound ‘Lets Play House’
28-Kool Moe Dee ‘Go see the Doctor’
29-The Doc ‘ It’s Funky’
30- MC Lyte ‘Cappucino’
31-Craig Mack ‘Get Down’
32-Heavy D ‘Black Coffee’
33-Mobb Deep ‘Shining’
34-Gang Starr ‘Words I Manifest’
35-KRS-One ‘Outta Here’
36-Kool G Rap ‘Road to the Riches’
37-Brand Nubians ‘To the Right’
38-Schooly D ‘Megamix’
39-Ice Cube ‘Megamix’
| THE ANTI-NIGGER PETITION | |
| by – Adissa Banjoko | |
| 5/24/99 9:46:38 AM | |
|
