₦airaland Forum

Mpele is really salty, dont worry you will trash Le Bleus.

Knowing Naija, the Senators probably shook down MTN for these freebies or else their license will be messed with.

By Seandra Sims



WHAT HAPPENED?

An interesting thing happened to Styles P in 2005.

The rapper released “I’m Black,” a song that lit a fire in the heart and minds of hip-hop fans of all colors and cultures. Fans waited and waited – for a video and a formal single, which never materialized. “I’m Black,” featuring singer Marsha Ambrosius, was a ‘hood hit without question.

The song was true to the streets, had a catchy hook and was a true inspiration to a lot of different kinds of rap fans.

Styles never fully explained what happened, chalking it up to “politics and bulls**t” in an interview after his album Time Is Money dropped a year later.

Rap veteran Willie Dee of the Geto Boys agrees and explains there is a concerted effort to stop music like Styles P’s from getting to the masses.

“It’s still out there – they just aren’t playing it on the radio. Way back when, [radio] program directors didn’t hesitate to play the music if it was good,” Willie Dee said during the recent Hip-Hop Honors in New York. “You could not deny Public Enemy’s sound.” Rapper Ice Cube, whose longevity in the game was cemented by smart personal and business transitions over the years, concurs with the Geto Boy’s reasoning.

“At some point, they didn’t want their kids to praise Chuck D (of Public Enemy). They didn’t want a poster of KRS-One or Ice-T or some of the more political rappers on their kids' walls,” Cube says. “They didn’t want their kid’s to idolize these guys that were talking about equality when its all said and done. So they decided to push that kind of rap to the back, not letting us have those outlets. By 93-94, it was escapism rap…everything that was destructive…that became mainstream.”

Watch to Ice Cube's full explanation of how rap with a message was dismantled. (click [
https://www.youtube.com/watch?v=8iz63aL0Onk]here[/
https://www.youtube.com/watch?v=8iz63aL0Onk] for a youtube link.)


https://www.youtube.com/watch?v=8iz63aL0Onk

At a time when hip-hop’s critics are lamenting over the lack of political substance in rap, some artists like Styles P find their commentary silenced by record labels or overshadowed by mainstream consumer demands.

“People are still making political rap – you’ve got people like Talib Kweli, Mos Def, Common, and definitely people like Immoral Technique who are still trying to tell people what’s going on in the world,” says UGK’s Bun B, who is known for sharing his political views. “But, I think the fact is people just don’t want to hear it. People are scared of the truth – you’d be surprised,” he adds.

Few would argue that hip-hop is filled with gritty truth, with most rappers hailing from poor inner cities, where crime, drugs, and injustice have always provided content for songs. In the golden age of political hip-hop – mid-to-late 80’s, and the red-black-and-green days of the early 90’s – the protest on songs like Grandmaster Flash and the Furious Five’s “The Message” was clearly a response to harsh economic times and political leaders who didn’t seem to care about the plight of the ghetto.

During the happier, materialistic Clinton years, some say the political content in rap disappeared. In the late 90s, bling became king, and many rappers took a more “me-centric,” competitive stance that was less focused on the stories of oppressed people. The new “ghetto fabulous” lifestyle was personified best in the Hot Boys song “Bling Bling,” where Manny Fresh bragged hat he was “tha n***a with tha Lex bubble/Candy coated helicopter/With tha leather cover.”

Cash Money Records co-founder Birdman defends the apolitical image the Hot Boys portrayed to youth, telling AllHipHop.com, “To me, I think music is an art and a culture. To me, a message and who it comes from are two different things. Guidance comes from your home – music can’t do that.”

“The music business is hard right now and to say that political rap is gonna make a comeback…I don’t think so.”

-Juvenile

Kaine from Atlanta’s Ying Yang Twins argues that the political messages are still there, even in that type of contemporary rap: “Our songs all have messages – never mind if you agree with them or not. There’s two sides to every story. So who cares if they love or hate, as long as they tune in – that’s how the industry looks at it.” Adds Birdman, “All rap still has a message – the message is to try to make it, ‘cause it’s hard out in these streets.”

Along with the bling, the mid-to-late 1990’s was an unprecedented growth period for overtly “conscious” rap that played heavily on musicianship. It had a lighter, more acceptable sound, but the ‘hard in the streets’ message still played heavy. Within conscious rap, artists such as Black Star and Common painted lyrical pictures of the souls of ghetto people in their songs.

DJ Kid Capri notes that during that time, MCs with mainstream political marketability like Nas also emerged: “[Nas] makes records that make you think, and make you change and see things in different ways,” Kid Capri tells AllHipHop.com. “It’s that you have to get it across to the masses, and how you do that is to have the perfect beat and hook.”

As times changed, the voice of hip-hop changed. In today’s money-driven music industry, artists are less likely to channel their politics in songs. Former Hot Boys member Juvenile, in the midst of a recent comeback, admits his last political song was “Get Ya Hustle On” after Hurricane Katrina in 2005.

“The music business is hard right now,” says Juvenile, “and to say that political rap is gonna make a comeback…I don’t think so.”

WHO IS LEADING THE CHARGE NOW?

Nowadays, beyond the “militant-political” hip-hop dungeons where Dead Prez, Immortal Technique and others dwell, most rappers – while they often care—are less focused on a brazen political agenda within their music. Many have even become more cause-driven and reactionary to “breaking news” such as the murder of Sean Bell by the NYPD.

There’s a definite media angle to hip-hop politics now that didn’t exist in the past, and rappers and hip-hop influenced politicians such as Real World veteran Kevin Powell (D-NY) and Newark, NJ's Ras Baraka (D-NJ and an affiliate of Lauryn Hill) have capitalized on the spotlight. Incidents such as Columbine, Hurricane Katrina, the Haiti earthquake, the Jena 6, and topics like AIDS awareness and healthcare, have provided platforms that hip-hop artists and activists can champion alongside their mainstream White counterparts.

As an example, Kanye West used his personal experiences with conflict diamonds as content for his popular 2005 track “Diamonds from Sierra Leone.” Around the same time, VH1 aired a documentary film entitled “Bling’d: Blood, Diamonds and Hip-Hop,” which took Raekwon, Paul Wall, and Tego Calderone across the ocean to learn up-close how the conflict diamond trade in Sierra Leone has destroyed an entire African community.

Just two months after releasing “Diamonds,” West used his appearance during the Red Cross’s Hurricane Katrina telethon to make an emotional attack on the younger President Bush for his poor rescue response in New Orleans. His words echoed across the airwaves, prompting many in urban America to agree with his sentiments.

And sometimes, hip-hop’s influence is helping rally urban communities around issues that seemingly don’t affect them directly. Rapper Drake is speaking out against offshore oil drilling – the menace behind our worst oil spill in history – and Kanye West, Pit Bull, and Cypress Hill are boycotting performances in Arizona over the state’s controversial immigration laws. Immortal Technique, touched by the ravages of war, is building orphanages in Afghanistan, and Jasiri X is rapping about everything from society’s ills to “minstrel” rap.

“The majors are owned by Wall Street, which is strictly numbers and no heart – the root of the problem.”

-Willie Dee of The Geto Boys

Hip-hop icon Jay-Z has come to symbolize the political prowess that top rappers can possess today. He has donated concert proceeds, spearheaded a global clean water effort, and is creating ventures with New York Mayor Michael Bloomberg, as well as Bloomberg Financial. Top hip-hop artists have also helped raise significant dollars when they align themselves with political causes. Diddy’s popular “Vote or Die” campaign was a merchandising bonanza for t-shirt sales, and Wyclef’s Haitian relief effort, though mired by mismanagement of funds, raised over $1 million using Twitter and other social media.

Meanwhile, the occassional political song is tucked among today’s typical guns and glamour rap content. Some examples include Eminem’s “Mosh,” Young Jeezy’s surprising election anthem “My President is Black,” and Lil’ Wayne’s “Georgia Bush,” a scathing commentary on Bush’s Hurricane Katrina response. The most political rappers are underground MCs like Dead Prez and Paris, whose content often denies them radio airplay, so they tour instead to survive. Still, Dead Prez is reportedly working on a Gangsta Grillz mixtape with DJ Drama and have worked with DJ Green Lantern in the past to gain more notoriety.

The unquestionable reach and influence of hip-hop, along with the obvious concern held by artists, still leaves many to ponder why isn’t there more political commentary in today’s rap songs. Willie Dee sums it all up with the wisdom of an industry O.G.: “Everybody’s just playing the numbers game. The corporations have eaten up all of the independents. The independent movement was like the backbone of hip hop – with the independence, you didn’t have to answer to the majors.”

“The majors are owned by Wall Street, which is strictly numbers and no heart – the root of the problem,” Willie Dee adds. “See, once you go to the root and start playing with the numbers, and you say ‘hey, we want to hear this type of music,’ then that’s the kind of music that’s gonna be played.”

Voices like Talib Kweli and Jay Electronica rise from the political ashes. Kweli's recent take on the controversial Arizona immigration policies, “Papers, Please” offers an education on the hot button issue over a triumphant track and reminds us that “a people united will never be defeated.”

And then there is the internet and the new freedom associated with it, essentially offering new hope for politically and civic-minded artists.







http://www.thegrio.com/specials/hip-hop-politics-from-the-beat-to-the-ballot/

By Seandra Sims




WHAT HAPPENED?

An interesting thing happened to Styles P in 2005.

The rapper released “I’m Black,” a song that lit a fire in the heart and minds of hip-hop fans of all colors and cultures. Fans waited and waited – for a video and a formal single, which never materialized. “I’m Black,” featuring singer Marsha Ambrosius, was a ‘hood hit without question.

The song was true to the streets, had a catchy hook and was a true inspiration to a lot of different kinds of rap fans.

Styles never fully explained what happened, chalking it up to “politics and bulls**t” in an interview after his album Time Is Money dropped a year later.

Rap veteran Willie Dee of the Geto Boys agrees and explains that there is a concerted effort to stop music like Styles P’s from getting to the masses.

“It’s still out there – they just aren’t playing it on the radio. Way back when, [radio] program directors didn’t hesitate to play the music if it was good,” Willie Dee said during the recent Hip-Hop Honors in New York. “You could not deny Public Enemy’s sound.” Rapper Ice Cube, whose longevity in the game was cemented by smart personal and business transitions over the years, concurs with the Geto Boy’s reasoning.

“At some point, they didn’t want their kids to praise Chuck D (of Public Enemy). They didn’t want a poster of KRS-One or Ice-T or some of the more political rappers on their kids' walls,” Cube says. “They didn’t want their kid’s to idolize these guys that were talking about equality when its all said and done. So they decided to push that kind of rap to the back, not letting us have those outlets. By 93-94, it was escapism rap…everything that was destructive…that became mainstream.”

Watch to Ice Cube's full explanation of how rap with a message was dismantled. (click here for a youtube link.)


https://www.youtube.com/watch?v=8iz63aL0Onk


At a time when hip-hop’s critics are lamenting over the lack of political substance in rap, some artists like Styles P find their commentary silenced by record labels or overshadowed by mainstream consumer demands.

“People are still making political rap – you’ve got people like Talib Kweli, Mos Def, Common, and definitely people like Immoral Technique who are still trying to tell people what’s going on in the world,” says UGK’s Bun B, who is known for sharing his political views. “But, I think the fact is people just don’t want to hear it. People are scared of the truth – you’d be surprised,” he adds.

Few would argue that hip-hop is filled with gritty truth, with most rappers hailing from poor inner cities, where crime, drugs, and injustice have always provided content for songs. In the golden age of political hip-hop – mid-to-late 80’s, and the red-black-and-green days of the early 90’s – the protest on songs like Grandmaster Flash and the Furious Five’s “The Message” was clearly a response to harsh economic times and political leaders who didn’t seem to care about the plight of the ghetto.

During the happier, materialistic Clinton years, some say the political content in rap disappeared. In the late 90s, bling became king, and many rappers took a more “me-centric,” competitive stance that was less focused on the stories of oppressed people. The new “ghetto fabulous” lifestyle was personified best in the Hot Boys song “Bling Bling,” where Manny Fresh bragged that he was “tha n***a with tha Lex bubble/Candy coated helicopter/With tha leather cover.”

Cash Money Records co-founder Birdman defends the apolitical image the Hot Boys portrayed to youth, telling AllHipHop.com, “To me, I think music is an art and a culture. To me, a message and who it comes from are two different things. Guidance comes from your home – music can’t do that.”

“The music business is hard right now and to say that political rap is gonna make a comeback…I don’t think so.”

-Juvenile

Kaine from Atlanta’s Ying Yang Twins argues that the political messages are still there, even in that type of contemporary rap: “Our songs all have messages – never mind if you agree with them or not. There’s two sides to every story. So who cares if they love or hate, as long as they tune in – that’s how the industry looks at it.” Adds Birdman, “All rap still has a message – the message is to try to make it, ‘cause it’s hard out in these streets.”

Along with the bling, the mid-to-late 1990’s was an unprecedented growth period for overtly “conscious” rap that played heavily on musicianship. It had a lighter, more acceptable sound, but the ‘hard in the streets’ message still played heavy. Within conscious rap, artists such as Black Star and Common painted lyrical pictures of the souls of ghetto people in their songs.

DJ Kid Capri notes that during that time, MCs with mainstream political marketability like Nas also emerged: “[Nas] makes records that make you think, and make you change and see things in different ways,” Kid Capri tells AllHipHop.com. “It’s that you have to get it across to the masses, and how you do that is to have the perfect beat and hook.”

As times changed, the voice of hip-hop changed. In today’s money-driven music industry, artists are less likely to channel their politics in songs. Former Hot Boys member Juvenile, in the midst of a recent comeback, admits his last political song was “Get Ya Hustle On” after Hurricane Katrina in 2005.

“The music business is hard right now,” says Juvenile, “and to say that political rap is gonna make a comeback…I don’t think so.”

WHO IS LEADING THE CHARGE NOW?

Nowadays, beyond the “militant-political” hip-hop dungeons where Dead Prez, Immortal Technique and others dwell, most rappers – while they often care—are less focused on a brazen political agenda within their music. Many have even become more cause-driven and reactionary to “breaking news” such as the murder of Sean Bell by the NYPD.

There’s a definite media angle to hip-hop politics now that didn’t exist in the past, and rappers and hip-hop influenced politicians such as Real World veteran Kevin Powell (D-NY) and Newark, NJ's Ras Baraka (D-NJ and an affiliate of Lauryn Hill) have capitalized on the spotlight. Incidents such as Columbine, Hurricane Katrina, the Haiti earthquake, the Jena 6, and topics like AIDS awareness and healthcare, have provided platforms that hip-hop artists and activists can champion alongside their mainstream White counterparts.

As an example, Kanye West used his personal experiences with conflict diamonds as content for his popular 2005 track “Diamonds from Sierra Leone.” Around the same time, VH1 aired a documentary film entitled “Bling’d: Blood, Diamonds and Hip-Hop,” which took Raekwon, Paul Wall, and Tego Calderone across the ocean to learn up-close how the conflict diamond trade in Sierra Leone has destroyed an entire African community.

Just two months after releasing “Diamonds,” West used his appearance during the Red Cross’s Hurricane Katrina telethon to make an emotional attack on the younger President Bush for his poor rescue response in New Orleans. His words echoed across the airwaves, prompting many in urban America to agree with his sentiments.

And sometimes, hip-hop’s influence is helping rally urban communities around issues that seemingly don’t affect them directly. Rapper Drake is speaking out against offshore oil drilling – the menace behind our worst oil spill in history – and Kanye West, Pit Bull, and Cypress Hill are boycotting performances in Arizona over the state’s controversial immigration laws. Immortal Technique, touched by the ravages of war, is building orphanages in Afghanistan, and Jasiri X is rapping about everything from society’s ills to “minstrel” rap.

“The majors are owned by Wall Street, which is strictly numbers and no heart – the root of the problem.”

-Willie Dee of The Geto Boys

Hip-hop icon Jay-Z has come to symbolize the political prowess that top rappers can possess today. He has donated concert proceeds, spearheaded a global clean water effort, and is creating ventures with New York Mayor Michael Bloomberg, as well as Bloomberg Financial. Top hip-hop artists have also helped raise significant dollars when they align themselves with political causes. Diddy’s popular “Vote or Die” campaign was a merchandising bonanza for t-shirt sales, and Wyclef’s Haitian relief effort, though mired by mismanagement of funds, raised over $1 million using Twitter and other social media.

Meanwhile, the occassional political song is tucked among today’s typical guns and glamour rap content. Some examples include Eminem’s “Mosh,” Young Jeezy’s surprising election anthem “My President is Black,” and Lil’ Wayne’s “Georgia Bush,” a scathing commentary on Bush’s Hurricane Katrina response. The most political rappers are underground MCs like Dead Prez and Paris, whose content often denies them radio airplay, so they tour instead to survive. Still, Dead Prez is reportedly working on a Gangsta Grillz mixtape with DJ Drama and have worked with DJ Green Lantern in the past to gain more notoriety.

The unquestionable reach and influence of hip-hop, along with the obvious concern held by artists, still leaves many to ponder why isn’t there more political commentary in today’s rap songs. Willie Dee sums it all up with the wisdom of an industry O.G.: “Everybody’s just playing the numbers game. The corporations have eaten up all of the independents. The independent movement was like the backbone of hip hop – with the independence, you didn’t have to answer to the majors.”

“The majors are owned by Wall Street, which is strictly numbers and no heart – the root of the problem,” Willie Dee adds. “See, once you go to the root and start playing with the numbers, and you say ‘hey, we want to hear this type of music,’ then that’s the kind of music that’s gonna be played.”

Voices like Talib Kweli and Jay Electronica rise from the political ashes. Kweli's recent take on the controversial Arizona immigration policies, “Papers, Please” offers an education on the hot button issue over a triumphant track and reminds us that “a people united will never be defeated.”

And then there is the internet and the new freedom associated with it, essentially offering new hope for politically and civic-minded artists.



http://www.thegrio.com/specials/hip-hop-politics-from-the-beat-to-the-ballot/

Dude suddenly realised that he has been such an azz,

A LEERING MSP was yesterday caught ogling a sexy Holyrood visitor - after leaving his microphone on.
Frisky Frank McAveety, 47, said the "very attractive" girl he spotted in the public gallery looked "dark and dusky".

And he whispered to a colleague: "The heat's getting to me. She's got that Filipino look. The kind you'd see in a Gauguin painting."

The embarrassing blunder by the member for Glasgow Shettleston came as he chaired the parliament's Public Petitions Committee.



Last night a rival MSP slammed his comments as sexist, sleazy and RACIST - and told him he should think about resigning.

Ironically, the committee sitting had started with Mr McAveety telling the audience to turn off their mobile phones.

But he forgot to mute his own microphone during a break.

And in footage shown live online, he could be heard talking about the woman, who was sitting in the second row of the gallery.

The married dad of two - who is also co-convener of Holyrood's cross-party group on RACIAL EQUALITY - leered that he would "maybe put a wee word out for her".

Furious Nats MSP Sandra White said: "I am shocked and disgusted at these remarks.


"The fact they were uttered by the convener of a committee which was considering extremely important and sensitive issues makes it even more sickening.

"His stupid comments were at best sexist and sleazy - and at worst sexist, sleazy and racist. He must consider his position in parliament."

In 2004, Mr McAveety landed in bother after claiming he was late for a Holyrood questions session because he'd been delayed at a book awards ceremony.

But he was later forced to apologise for "misleading" MSPs after it emerged he'd been eating a PIE and beans in the Parly canteen.



Last night the red-faced former Minister for Tourism, Culture and Sport grovelled over his mistake.

A spokesman said: "Mr McAveety is very sorry for any offence he may have caused."

French artist Paul Gauguin was famous for painting semi-naked African and Polynesian women. He died of syphilis in 1903, aged 54.

Read more: http://www.thescottishsun.co.uk/scotsol/homepage/news/article3016088.ece#ixzz0r3fKChvE

@ Poster,

That is not the full story. he also made racist comments about tthe girl. Let me see if i can get to the article and paste it here.

Triangle Mystic - thats enough to scare the hell outta me lol.

.

Trying to decipher what Adebyor is saying is putting more strain on my ears than the vuvuzela.


On a serious note though, i think people should lighten up and stop being too serious. A vast majority of the supporters are enjoying the Vuv thats why it is so popular. Sainsburys sold over 50 k of those things in a week in the UK. So much for it being a nuisance.

Am not being cynical or anything but lets just wait and see how long this juju thing will last, till we hear of another robbery / kidnapping incident in Benin.

@ Chiogo, Dreams is fireee, Cant really wait for this guy's album,

I dont but that is what passes as mainstream hip hop music nowadays, My point is they are not better but some people apparently think otherwise,

Tru that it wasnt the right song for the occassion but the biggest surprise was having R Kelly of all people perform too , what kind of impression were they tryimg to create??

@ Hax Trust me you dont want to go there, At least he is not pretending to be what he is not, If that where the case what you you say for cats like Gucci Mane, Plies, etc??

Couldnt you choose a better way to die?

@ Chiogo
True about about J Cole,  Lights Please and In The Morning does it for me,

@ Hax ,  I get your point about B.O.B dropping sick verses,  you can't compare his verses to the T.I's or Nasir's of this world but nevertheless, dude still makes good music though.

Apparently Bang Bang Bang is too intellectual for the Nigerian Public lol

And that will be you against 50 robbers armed to the teeth wit everything except the nuke?

That is total crap, Like someone else here said, if you dont fit the box, you are labelled. Its sickening how everybody is being labelled gay because they are different from everybody else,

Buzugee,

That wont work with Nigerian armed robbers oh!!!!! If they want to rob you, believe me, the will,

Shrek 1 - Amazing
Shrek 2 - OK
Shrek 3 - Dog's Boll.ocks

@ Afam,

Sorry but when you talk, other people get hoarse just listening. How can you judge a place from a mere book You have not being to either places so you really cant have an opinion. Next you will be arguing if the New York Subway is better than the London Underground. Pathetic.

How daft can people get.

Am just going to give you a big LMAO

I never said I found your previous post offensive. It is not legal anywhere to employ illegal immigrants, Just saying it is pretty obvious anyway.

* Born: 12 September 1944
* Birthplace: Galveston, Texas
* Died: 4 July 2003
* Best Known As: The singer of "Can't Get Enough of Your Love, Babe"

Name at birth: Barry Eugene Carter

Barry White was known as "the Walrus of Love," a nickname that encompassed his size, his deep voice and his reputation as one of R&B's most romantic singers. White grew up in Los Angeles and got into the music business at an early age. By the late 1960s he organized and produced a girl group called Love Unlimited, whose 1972 hit "Walkin' in the Rain With the One I Love" featured Barry's voice through a telephone. His own debut album, I've Got So Much To Give (1973), included the hit "I'm Gonna Love Ya Just a Little More, Baby." White's distinctive, smooth bass voice was backed by the Love Unlimited Orchestra, and during the '70s he had several hits, including "Love's Theme," a slickly-produced soul song that signalled the beginning of the disco era. During the '80s his career waned, but in the '90s his career was revived, thanks in part to appearances on the TV shows Ally McBeal and The Simpsons. After selling millions of records over three decades, White won his first Grammy with his album Staying Power (1999). By the time of his death, White was a pop culture icon whose name was synonymous with intimate mood music.

White suffered for years from high blood pressure, which led to kidney failure. At the time of his death he was waiting for a kidney transplant and had also suffered a stroke.

^^^^ ok, was all that necessary

Make google your friend.

Nnenum,

You are not my teacher, I replied to you because you are trying to make a meal out of this issue. 'Its deeper than I think'. Most of the instances where people think there are occultic manifestattions can be really explained naturally.
Every succesful individual is termed a Masonist or something akin to that, even when their source of income is so obvious. Its not my problem if people want to lthrow away logic and feed their brain with fantasies.

He shot himself in the foot with that Lobsang Rampang bit of all people.

Oh please!!!!!!! This your 'i dont play games'  line is becoming grating, try something new.  Tell us something we dont know.