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.

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.

Thank you for following this blog. I have definitely been remiss by not giving you much to read but this is a new year so we can change things up. So here goes.

This new blog deals with the challenges of the music industry as faced by artists who feel the struggle of being a part of ”the corporate machine” while trying to maintain their integrity as artists. At least that’s what I decipher from reading the recent reports about Jazmine Sullivan taking a break from music.

Check this link to read the report yourself:  

 http://www.singersroom.com/news/6640/Is-Jazmine-Sullivan-Taking-A-Break-From-Music

So let me know what you think. Leave a comment. Let’s discuss.

This article leads to another announcement regarding Warner Music Group and its shakeup.

As you read below think about “Where do we fit as …a fan, an artist, a champion of independent music, etc” and share your feedback.

Here we go:

The big story today is John Mayer leaving Twitter.

This is not today’s big news.

I searched on Twitter and found out there was a fire in Benedict Canyon.

Today we get our information from one another.  Our news is personalized.  The only way to be successful today is to create a phenomenal product that members of the public embrace and spread to their friends.

Hype a crappy product and you might get some old wave press, but you won’t make any money.

So now, more than ever in the history of recorded music, THE MUSIC is most important.

Used to be the key was distribution.  If no one could buy your music, it couldn’t succeed.  Major labels controlled physical distribution.  You might be able to ship to an indie retail outlet, but try getting paid without a steady stream of product.  A hit could put you out of business, and did.

Now anybody can distribute on iTunes via CD Baby or Tunecore or sign with a digital label with major label ties so minimal fees.  So there is no major label distribution advantage.

As for marketing…  Labels have less to spend and it’s harder to get the message out.

Sure, it takes money to make it.  But you can record for peanuts and the money to build you doesn’t have to come from a label, hell, it could come from Coran Capshaw and his Red Light empire.  Or a fat cat uncle.  Or…

So the major label advantage means less than ever.  Which is quite a turnaround from the 1990’s, when inflated CD prices and MTV airplay rained down revenue.

NOBODY KNOWS THE FUTURE!

The Atlantic team are trying to invent it.

There’s no innovation at Sony.  None.

EMI is dormant.

And Universal is so old school as to still believe in one room education.  Hell, at Universal it’s all about the records, but it’s like the Internet doesn’t exist.  Other than the money-draining Vevo, Universal’s unprepared for the digital future. They just want to go back to the past.  But the past is never going to return.

The history of creative people running record companies is not good.  But that was back when you needed someone to oversee all departments.  To not only wine and dine the performers, but supervise distribution and radio promotion and marketing.

Now, radio promotion and marketing mean less than ever before.  You need someone who can speak music to musicians and can help them make great albums - meaning you need a great producer.

Rick Rubin is a great producer who could never make his own label truly work.  But if Rick Rubin were smart, he’d stop making those albums for someone else and start his own company.  So many of the acts he works with are no longer under contract.  If the Eagles could sell millions of albums with a virtual record company staffed by essentially no one other than Irving Azoff and Larry Solters, imagine how well Rick could do with Rubin Records.  Does he really need Columbia?

Or, to put it another way, does Weezer really need Interscope?

Weezer made a deal with an indie.  Sometimes it’s cheaper to outsource functions.  But I’m sure the band is making a lot more per record than it did with Interscope.  Meanwhile, to the untrained eye, there’s no difference, “Hurley”’s media presence is quite significant.

It’s now about 360 deals and marketing partnerships and…

Today’s executive changes are not seismic.  They’re a drop in the bucket.  The manager and digi label owner are king today.  And you don’t need a major label.  Everything’s up for grabs.  
But if major label want continue working in music, reinvention is key.  The old label President doesn’t even exist anymore.
The power of the studio guys is returning.

Meanwhile, the acts are on their own.  You’ve got to not only make the music but maintain contact with your fans.  No label can tweet for John Mayer, no one can create the message and the bond.

But know that you’ve got to create great music and utilize the new tools to maintain your relationship with your fans and hope they spread the word.

Fans create buzz, not labels.

There’s enough money for acts to survive, possibly make good livings.

Welcome to the new music business.
http://www.wmg.com/newsdetails/id/8a0af8122af095c2012b11f35d830ead

Thanks to Kim Williams of Fanatix Agency for forwarding us this post and story

with so many things and artists around, your broadcasting captured the essence of what the events were about and show cased a diversity of excellence…

you guys have an amazing formula for making things work…peace…love…and many more blessings…continue the richness in you all are doing….verbalskillz.

The final event of The Rendezvous live music series for 2009 will take place on December 14^th and feature critically acclaimed Soul artist ChinahBlac. Performing as a special guest during the evening will be Harlem native Mika.

The Rendezvous, produced by InJoy Enterprises and taking place monthly at Shrine World Music Venue, has been the leading live music event in Harlem featuring Independent Soul, R&B, Hip Hop and Urban Rock artists for nearly 5 years. Some of the artists who have performed just in the last year include Planet Ubiquity, Monet, Kojo Modibo Sun, Sun Singleton, Nakia Henry, Queen Aaminah, Brown Baby Girl, Shae Fiol, Steve Wallace, Maya Azucena, Silya, and The Revelations featuring Tre Williams. The Rendezvous ends its 2009 performance schedule with a double barreled dose of Soul Sistas on December 14^th.

ChinahBlac has served a supporting role for several artists for the past fifteen years. Once a background singer for the Dave Matthews Band, she was later the vocal director for Erykah Badu and also recorded with Jill Scott on the latter’s The Real Thing album. Her reputation has grown over this decade, resulting in backing vocal work for Ne-Yo, N’dambi, Heather Headley, Dave Hollister, Kelis and Bilal. Earlier this year she released her first solo project Introducing Eugenia Shata, which has received rave reviews.

Mika is a singer, songwriter who has been providing backing vocals to many of the artists in the soul music community for a number of years and over the last couple of years has been performing as a lead singer first with the Aston Gibson Band and then as a solo artist. Mika is currently putting the finishing touches on her debut solo cd.

 The Rendezvous traditionally takes place on the last Monday of Every Month at Shrine World Music Venue, 2271 Adam Clayton Powell Jr. Blvd. between 133rd & 134th Streets in the World Famous Community of Harlem, NY. In light of the holiday season, this month’s show has been moved to December 14^th. Admission is $10.00 at the door. Doors open at 7PM. and performances begin at 8:00PM.

“Remember Me” is the debut cd from artist Nakia Henry. After listening to early tracks that would be included in the full project I was very interested to hear the entire cd but those tracks in no way prepared me for the sheer joy I would experience in listening to the cd in full.

“Remember Me” is 15 tracks (plus a bonus song) of great listening. It is fun, thoughtful, uplifting, moving and healing. “Remember Me” is one of those cd’s that you will be able to listen to 5 – 10 years from now and you will get the same enjoyable feeling that you will get listening to it today.

Nakia Henry, born and raised in Detroit and now living in NYC, is trained in theatre arts and this cd is certainly theatrical. Each song tells stories and evokes images. She uses a myriad of sounds to do so ranging from hip hop beats and references to classic hip hop lyrics to haunting melodies to hints of field songs. 

The first songs I heard in their recorded form from this cd were “Afromantic”, a rocked out funk song that has an incredible ebb and flow and “Remember” feat. Poet, MC, Photographer (a couple of his photos of Nakia are in the CD packaging) Saddi Khali. It is a hauntingly aggressive track that features  smooth deep vocals from Nakia and matches them with a pulsing beat and the controlled aggression from Saddi that builds throughout the track.

“Afromantic” and “Remember” are the first songs I heard from the cd only because they were sent to me early. They are actually tracks 8 and 10 on the cd respectively. The first song that listeners to the cd will hear, Track 1, is “Fly Away Girl” where you hear Nakia singing “I Just Want To Fly Away…”  and the line is delivered in such a way that you can truly feel and relate to that moment where you want to get away to a better place. “Lily” follows on the cd and is a song that is truly a story of empowerment and self esteem. Nakia says that she wants to help “heal the world “ with this project and each song has finds a way of touching something inside you. Whether it soothes pain, helps you put a positive spin on your life which is done in a fun way on “Think Again”, or reminds you how important it is to be grateful exemplified in “Smile”, or conjures up the “Beautiful Music” of great lovemaking.

“Remember Me” is indeed an unforgettable debut from this thoughtful artist. It is truly masterful from beginning to end. Congratulations to Nakia Henry and her co-Executive Producer Fernando “Royal” Singleton for giving the world such an incredible piece of music.

Srtandout Tracks: All of Them

Favorite Tracks: “Afromantic”, “Remember” feat. Saddi Khali, “Beautiful Music”, “I’ll Be” 

“Remember Me” is currently available online at CDBaby.com, Amazon.com and Itunes. It is also available anytime you see Nakia Henry perform live. 

 By Marko Nobles

 But there has never been such a level of disrespect shown to the office of the President of the

Oh yeah.  And Katrina.  And the economy. Lincoln was president while the Northern part of

 And NONE of those men were ever booed, called liars, or had their speeches interrupted by a member of the House.  Ever! Nor have any House members ever previously demanded, or even suggested, that of the President of the

Too many politicians are using our tax dollars for their salaries and playing political and racist games related to health care and other matters while the constituents who rely on them are going broke and/or dying preventable deaths.

                            - Forwarded to us by Lateef Ade Williams. We thank him for this.

 The 2010 Census will have one of the shortest census questionnaires in the history of the

 All answers are protected by Title 13 of the U.S. Code, which strictly forbids Census Bureau from sharing of any personally identifiable information with any other government or private agency. The law also stipulates that any violation will be subject to a $250,000 fine and/or a 5 year prison sentence.  The aim of this historic endeavor is to ensure that every household fills out and mails back a completed census form on or around April 1, 2010.  Participation is critical, as the results determine how representation in Congress is apportioned and how more than $435 billion in federal funds will be distributed annually to states and communities during the next decade. The results will impact local families’ quality of life in numerous ways, ranging from economic and educational investment decisions to social and health services, and from job training to language assistance programs. The New York Regional Census Center (NYRCC), which includes the ten northern counties of New Jersey and the nine southern counties of

 One of the key PDS strategies is to partner with community-based organizations of all types, ranging from social service organizations to cultural and religious groups, businesses to educational institutions, and media to elected officials.  Together, PDS staff and census partners are raising awareness and promoting participation in the upcoming census.  Census partners and local residents are also invited to participate in local Complete Count Committees (CCCs).   CCCs are volunteer teams consisting of community leaders, elected officials, faith-based groups, schools, businesses, media outlets and others who work together to make sure entire communities are counted.  PDS staff will provide materials and support all CCC efforts. For more information about partnering with the 2010 Census, contact the NY Regional Census Office at (212) 356-3100, and ask to speak with a Partnership staff member.  More information can be found at www.2010census.gov.

 Check out the full interview: http://www.out.com/detail.asp?id=25083