Breakdown FM on ADP: Do U Wanna Soul Clap?

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Yesterday on Breakdown FM heard weekly on All Day Play (ADP), we took it there with a nice soul mix.. Many of y’all like to call the music we rocked, Neo-soul, but I’m gonna honor the wishes of artists like Erykah Badu who insists that we not separate what she and others do from the cannon of soul..

So what was rocked yesterday was a retro mix with everyone  from Rapahel Saadiq to Q-Tip and Janet Jackson to Mary J Blige w/ Smif & Wessun.. all coming across my turntables.

Do U Wanna Soul-Clap?.. That’s the theme of the mix.. How can you not when what we drop is so funky.. Enjoy

Download or stream Breakdown FM Mix HERE

http://www.alldayplay.fm/episodes/episode-87-12

01-Rakim ‘Remember That’

02-Alicia Keyes ‘ If I Was Your Woman’

03-Malcolm X America Doesn’t Love Us’

04-Janet Jackson w/ Q-Tip Till Its Gone”

05-Davina ‘You and Me’

06-Sunshine Anderson ‘Lunch and Dinner’

07-Mary J Blige ‘I Love You w/ Smif and Wesson’

08- Akrobatik ‘Remind My Soul ‘ Jesse Jackson remix

09-Erykah Badu ‘Otherside of the Game’

10-Eric B & Rakim I Got Soul ‘Neo soul remix’

11-Rashann Patterson ‘I’m Trying to Get Into You’

12-Mantronix ‘Gotta Lotta Love’

13-Rebirth The Movement’

14-Blackalicious First in Flight’ Eldrigfe Clever Mix)

15- Rapahel Saadiq ‘Never felt this Way’

16-Joi I’m Not Gonna Be Weak’

01-Raphael Saadiq ‘Tic Toc

02- If I let You take Me Home

03-Sunshine Anderson ‘I Heard It all Before’

04-Clipse ‘Everyday Made It’

05-Raphael Saadiq w/ Q-Tip

Chuck D: Insights on the Anthology of Rap

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

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Why Rakim’s The Seventh Seal is the best Hip Hop Album of 2009

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Why Rakim’s The Seventh Seal is the best Hip Hop Album of 2009

 By JAHI

A lot of Hip Hop albums came out in 2009. Jay Z BP3, Raekwon‘’s Cuban Links II, Gift of Gab’s Escape to Mars, to name a few, caught my ear. I’m sure you could add your favorite of 2009 so feel free to fill in the blank___.

Hip Hop is still struggling to balance itself, but still evolving and growing. There’s an overflow of commercial, mainstream, and one-sided style of Hip Hop that is only reflecting one part of the black experience. There is still a need, and desire, of everyday people, to hear music that connects with higher charkas. If you are unfamiliar with this word, look, it up.

Rakim’s album The Seventh Seal, is, in my view, the best lyricism with a message, thought provoking rhymes, and best OG status of 2009 on the mic. Oh, and still in my top 5. He’s been in my top 5 since I first heard “Check Out My Melody” in 1986. I was really waiting for the Dr. Dre, Rakim album. When I heard it wasn’t coming out, I was hoping Ra could come out because I wanted to hear where he would take it.

We forget that the pioneers and elders of our culture are still among us, and are still doing music. Why would they not be? Hip Hop is not just a young man’s game. I mean this in no disrespect. But in truth, no Rakim, then maybe not a lot of emcees who are out today. Eric B and Rakim took Hip Hop to a whole different level from “Rappers Delight” and “The Message.”

The new album, The Seventh Seal, doesn’t disappoint. Matter of fact, it really has set a standard and I hope people like KRS and Chuck D got a chance to hear this one. The production, held down by Nottz for Teamsta Entertainment, Loffey For Aaron James Music, Nick Wiz for Preserve The Art, Samuel Christian and Jay Wells, and others really give space for Rakim to really come thru clear and refreshing. It’s profanity free. No sticker on the cover. It doesn’t feel forced. It feels like any black community in the world.

Songs like “Man Above,” “Won’t Be Long,” and “Message in the Song” is like the modern day Curtis Mayfield in rhyme form. If Andre 3K would have came out this year, I probably be writing about his release, but hands down, Rakim’s the Seventh Seal is worth the whole 59.6 seconds. His lyrics are talking about what’s happening in his life, but also what is happening right now. This is what Tupac would do if he was alive. It’s like Rakim has officially taken the side that Tupac had with his more thought provoking songs like Dear Momma and Letters to my Unborn Child. Yes you may be able to dance to “Put It All to Music,” but this is really thinking people music. Adult.

This album is a reflection of the age of Hip Hop. Oh, and I got it for $10 downtown Cleveland, on the release date, and it was there, in stock. The cover, and the photos by Michael Wong really set a nice mood with the CD itself (recycled paper instead of plastic) is something everone in Hip Hop should have in their catalog. Ok. I think I’ve talked it up enough. Check out. Support good music.

Peace. JAHI

Jahi is an internationally known  Hip Hop artist, teacher and community activist  from Cleveland, Ohio 

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Playahata newsletter: Rakim Injured in Car Crash

Rakim

Rakim

Originally Ooh Papi was going to do a newsletter for today but yesterday his fiancee forced him to watch American Idol with her and that threw off his schedule. He said he would start compiling the newsletter after he saw a heterosexual black male contestant and that explains why you don’t have a newsletter today. 🙂

RAKIM INJURED IN CAR CRASH

Anyway the greatest rapper of all time was injured in a car accident yesterday leaving my great state. Yes, Rakim was injured in a car accident leaving Connecticut for New York but he is expected to fully recover although he is still hospitalized.

In addition one of the greatest singers ever (imho) also had a sad day yesterday Arne Naess Jr., the Norwegian shipping magnate & former husband of Diana Ross who fell to his death on January 13th while climbing in the mountains near Cape Town, South Africa, was laid to rest at a private memorial service in Norway on Wednesday (January 21st). Only close friends and family attended the service, which was performed in English out of respect to Naess’ foreign family members, including his ex-wives Diana Ross and Filippa Kumlin; his partner at the time of his death.Mr. Naess was climbing in the Groot Drakenstein mountains, about 44 miles outside of Cape Town, when he apparently slipped and fell more than 300 feet to his death. Mr. Naess did not have much protective gear, just ropes and a harness. Mr. Naess was an experienced mountaineer who led a team of Norwegian climbers to the summit of Mount Everest in April 1985. He and Ross had two sons before their divorce in 1999.

It seems like I have so much bad news these days, so let me tell you something lighter. Sen. Hillary Clinton (D-N.Y.) found Bush’s speech laughable in its own right. Viewers spotted her snickering when Bush called for a curb on athletes’ use of performance-enhancing drugs.
“Now if he had mentioned testosterone, that would have been funny,” Clinton told colleagues after the speech. She perfected her line later when she told reporters Bush’s address was “partisanship on steroids.”I thought that bit about steroids in baseball was the most misplaced rhetoric ever in a State of the Union Address. We all have ‘beaten-wife syndrome,’ where we’ve been lied to so often,” “George Bush is like a drunken, unfaithful spouse who’s gone out and cheated on us so many times that at this point we just “accept it”….He looks like the belligerent guy in the bar who tries to pick a fight with you .

The Latin sensation from D.C. did about 18 newsletter rants last year but on his special day, let’s take a look at what is listed under the Boricuan sensation’s columns, although it isn’t all his.This Washington, D.C. family man has had 10 excerpted items from his column highlighted on his day. I bet you don’t know why Playahata.com has made this Ooh Papi day ? -Charlie the Moderator

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1.It’s Getting Sweaty In Here -“Meanwhile, Rocawear never addresses the sweatshop issue but Ironically, Latin America’s greatest martyred freedom fighter Che Guvera has become a symbol of Rockafella’s co-founder and greatest artist Jay-Z A.K.A., Sean Carter. Nobody cares that Che Guvera was anti-Rockefeller (the man that the label was partially named after). In the end I think Che summed it up best some years ago, when he said “The amount of poverty and suffering required for the emergence of a Rockefeller, and the amount of depravity that the accumulation of a fortune of such magnitude entails, are left out of the picture, and it is not always possible to make the people in general see this. ”

2.An Open Letter to the Hip-Hop Summit Action Network(HSAN) -“Benzino is shady, he himself was once affiliated with a white emcee, and that white emcee used the N word on the track they made together. In fact, it appears that Benzino told his white emcee to use the N word.The emcee in question is named Bawston Strangla, and his connection to Benzino is detailed on artists.iuma.com/IUMA/Ban…Strangla/, where you can also download the song he and Benzino worked on together in 2000, “Shamrocks and Glocks”. About 35 seconds into the song you will hear Strangla drop the proverbial “N” bomb, in a passage that sounds very random and out of place alongside his other lyrics.The website hiphopmusic.com contacted the white emcee and he said Benzino told him to use the N word.(yes you read right) This does nothing to minimize the offensiveness of Eminem’s track and lack of response by Em but “it does places Benzino’s righteous indignation in a different light. Just in case anyone was starting to take him seriously they should rethink that and the same goes for HSAN and their political posturing.

3.Real Playboy Pimps ride The Hip Hop Hummer to Bank -“The Hip-hop generation is mislead because many of the high profile rap artist who get media attention are uninformed or make associations based solely on their personal interest. Hollywood has many of them caught up in its surreal Matrix and since rap (the biggest component of hip hop) is totally crossover now the business ties and interests of people like Donald Trump and Arnold Schwarzenegger are the same as those of people like P-Diddy or Russell Simmons. That is a conflict of interest for the African-American community as well as any working class community, black, white or other. Donald Trump once considered running for political office and could win just as Arnold did. While both Trump and Arnold have a history of indifference or outright prejudice to communities of color it won’t make a difference at the ballot box to communities of color. Unfortunately, the rich playboy image is being swallowed by too many voters. It makes no difference to voters that the rich elite ONLY see them as a market waiting to be exploited.”

4.Rush Limbaugh Finally Skinned by Tabloid Media – Listen people (something the partially deaf Limbaugh can’t always do). Limbaugh got the job because he committed those zany and intolerant acts. The real issue is that it is part of the norm for unqualified whites like Limbaugh to get high paying, high profile jobs even if the resume does not support such a hire. The dismissal of the Redskin name change lawsuit by the judge and the hire of Limbaugh the bigot are proof that racial bias and neglect are not real concerns in the NFL.

5.’Making Da Band’ was Making The Exploitation of Us.- MTV showed what probably added up to a whole season of ‘Making Da Band 2’ this weekend. I saw about 10 episodes and all I can say is that somebody should call the department of Child Welfare on both MTV and P-Diddy. That was the most exploitive “reality show” I ever saw. Come to think of it those were young adults not children, so don’t call Child Welfare. I guess, I am thinking child because the one named Frederick still sucks his thumb like an infant.

6.Tommy Hillfigger Vs Beanie Sigel -A Look at the Urban Hoax – Joel J. Horowitz, Tommy Hillfigger’s chief executive says that the denim business is now dominated by urban brands who have become successful in using their own logos. He says Tommy, “needs to be more fashion-right with the denim details that we put forth through fabric or sophisticated washes, and compete more on the product side versus the logo side.” So Tommy took Horowitz’s advice, his new approach. A billboard above the West Side Highway in Manhattan featuring what a competitor described as “Pacific Sunwear meets Ralph Lauren meets `From Here to Eternity’,'” Analysts and others in the retail industry have wondered why he has switched his game so dramatically. It’s simple the hood got no more love for Tommy and his cash register is hurting.

7.Deadly Makeovers -I was amazed at all the positive coverage mobster John Gotti received when he died. A lot of it was untrue. The press for the most part did this makeover of him as a good man. He was a mobster for Christ sake, you know what they do.

8.The Real Murder Inc. …. Don’t Laugh- “So, when Bush is envisioning “a foreign-handed foreign policy,” or observes on some point that “it’s not the way that America is all about,” Miller contends it’s because he can’t keep his focus on things that mean nothing to him. “When he tries to talk about what this country stands for, or about democracy, he can’t do it,” he said. This, then, is why he’s so closely watched by his handlers, Miller says – not because he’ll say something stupid, but because he’ll overindulge in language of violence and punishment at which he excels. “He’s a very angry guy, a hostile guy. He’s much like Nixon. So they’re very, very careful to choreograph every move he makes. They don’t want him anywhere near protestors, because he would lose his temper.”

9.Artists Don’t Make Money From Record Deals -“So the artists actually receive $19,333 each for their gold album, and in two years when the reserves are liquidated, IF they’ve recouped, they will each receive another $63,000. IF they’ve recouped. Guess who keeps track of all of this accounting? The label. Most contracts are “cross-collateralized,” which means if the artist does not recoup on the first album, the money will be paid back out of the second album. Also, if the money is not recouped on the second album, repayment can come out of the “in reserve” funds from the first album, if the funds have not already been liquidated”

9.I am not down with this war @#%$! (Will the real Slim Cheyney please stand up) – Moreover, documents uncovered by the Center for Public Integrity show that Halliburton received $1.5 billion in government loans and loan guarantees during the five years Cheney was CEO. That compares with just $100 million during the previous five years…….”He’s receiving money from the government and money from a private-sector company with government contracts,” said Allison. “Whose payroll is he on?” The answer: Both of them. And that couldn’t be right.