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Music
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ride.
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D.
& Thfijoyz
is
the journey.
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w-up album to
features
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the
hit
NohaifW
Love'
by Guy's Teddy
Riley.
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It's
& The
Boyz
in
charge.
Available
HEAVY
And Eddie
D.
Executive Produced
findre Harrell.
Heavy
D.
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Month
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THI MAGAZINE Of HIP-HOP MUSIC. CULTURE & PD1ITICS
10
1 1
Source Chart
Top 15 rap LPs and 12-inches
Cover!!
is
Cube
starring
in
in
2 6
Letters
growing up
Media Watch
A
survey
of
in
KDAY 0n
hits big
Tour:
Rap
Rock
Hip-Hop fashion
19 22
Hip-Hop Quotable
Boomin System
The
latest in
Features
24
Real Niggaz Don't Die
home
electronics, by
James
K. Willcox
23 25
Home
Video
Fat Fashion
The Source presents our fashion page on the hip-hop
tip.
NWA's new
album,
Niggaz4Life, is flying off of the shelves despite the inevitable wave of dissers
26
Producer's Profile
Adario Strange on Dr. Freeze
28 29
Rap On Campus
G-Man reports from William Paterson
College.
Say What
Featured
artists: Kid
30
Sensation,
Downtown Science
36 37
Doin'
by
The Knowledge
James Bernard
interviews
Cube and
talks with
38 39
On The Video
by Captain Video
Tip
dream hampton
John.
Microphone Check
Featured
artist: Tim
Dog
40
48
High Rollers
Regional Reports
Rap news from across the Hip-Hop Nation
How
do today's hottest rap roll from place to place? A special Source pictorial brings you rappers and their super-dope rides
artists
44
46
54
62
Crossover Column
Kim Green on
Definition Of
Sound
on the hip-hop
tip
by Tramp, Hayz
&
Cee.
Record Report
The Source's squad of rap
critics
63
Unsigned Hype
64
THE SOURCE
SEPTEMBER 1991
Hill's self-titled
Li ght
Another .
Rollin'
CYPRESS
HILL.
ON RUFFHOUSE/COLUMBIA.
-VaJ*'
r**"
torn*
CdBPfffffiST
El
WIN
an
all expense paid
1 1
1 1
NIGGA 4 LIFE
You a n/gga till you die If you po, you a po nigga If you rich, you a rich nigga But you never stop being a nigga And if you get to be educated You just an educated nigga Understand?
I
1
!
1 1 i I
TRIP
TO
ecvi
lift
l I 1 I 1 1
1
NWA '91
understand.
I
was brought up
in
an environment that
i)iri\rno\
1
1
OF a king
1
1
somebody called you a nigga, get ready to fight. Initially when I first saw this little poem, I was outraged. After all, I was not a nigga. But then I started to think back... I
words,
if
thought back
to
my
wan
YCXBUKIXMIY CONIFST
DETAILS IN OCTOBER ISSUE
bills
and
you can't afford it, drop out attitude" that so many students got every day from the white folks in financial aid. I thought about
having
campus.
to protest just to I
get African-American
programming on
thought about
my
country who went through the same bullshit at their schools and I
thought...
I
"you
still
a nigga."
to the corporate job that I
staff. I
thought back
had before
I
became a
I
part of the
realized
had when
much
embraced into
this
way
my peers were and I thought... "you still a nigga." everything I thought of my everyday experience as a Black man
that
3 O
KELTES
tii macaiimi ai lie lap music
cuauii s pannes
I I
1 1 1
from being watched extra carefully at department stores, to the look of fear on a white person's face when I step into an elevator alone with
them.
I
drugs" stares
by
"New
York's finest"
town, and
still
BAHIA
ENTERTAINMENT
i
1
Until the leaders of this great nation of our's recognize that there
is still
1
I
and
that racism
still exists,
I'm gonna be
i
THE SOURCE
a nigga for
I
[IinjugngjgjBMgjBMBMMSMEUc^^
DAVID WATKINS
SEPTEMBER 1991
m
I
Wm
mm
sm
5fl
Ail
"Mecca and
;,,
Division of
!Hf
BASIC
Number 24
Jon Shecter
Managing
Editor
Christian Wilder
Senior Editor
James Bernard
Music Editor Rob Tewlow
Director of Corporate Relations
Brett
Wright
Ho//y.,
0(
Reginald C. Dennis
Editorial
Promotions Manager
Matt Capoluongo
Classified Ads:
Editorial Assistant:
Josh Nathan
Contributors:
Dennis, Chilly
Scott Poulson-Bryant,
E.,
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B.,
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MC
Chill, Chris-Chris,
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Jam, Johnbronski, Alphonse McCullough, Dream Nefra, The Overlord RK, DJ P, Jackie Paul, The Rhythm Rocker, Roderick Schaetfer, Ben Smith, Geoffrey Watts, Jeff Woods, Doug Young
Art Director
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Illustrations
THE SOURCE
274-8334.
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reserved.
1991
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My
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Obviously,
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Home Video
aid
in
magazine.
With respect
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feel
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is
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Only
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1991
Q^H3
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Hollywood BASIC
THE SOURCE
SEPTEMBER 1991
SOURCE CHART
ALBUMS
NWA
Niggaz 4
Life
Priority
Pete Rock
All
& CL Smooth
Souled Out
Elektra
Past
Elektra
11
Heavy
A
MCA
Slick Rick
l
Peaceful
-fe
W'tiBrW
Boyz
'N'
The Hood
Soundtrack
Qwest/WB
m.
Hi ft*
Journey
M
r!
7
Chubb Rock IHUBB^CK
The
12
1
Terminator
Valley
Livin
Large
One
Select
Vf^^M f. _^fe^^
Of The Jeep
Beets
Soundtrack
Def Jam/RAL/Columbia
1 &1
mi ugnn ^^f^BM
THE
If
3
De La Soul
De La Soul
Is
ONE
P iJH
Mr.
Pro Division/RAL/Columbia
8
KMD flf^WFl
Hood
Elektra
13
Geto Boys
We
Can't Be Stopped
Rap-A-Lot
Dead
Tommy Boy
4
3rd Bass
Derelicts
14
IceT OG
Sire/WB
Cypress
Hill
Hill
Of Dialect
Cypress
Det Jam/RAL/Columbia
Ruffhouse/Columbia
15
SINGLES
1 2 3
i
I I
Sleepin On
1
My Couch"
Del
Elektra
"My Mind
is
Play in'
4
I
Tricks on
Me"
Geto Boys
Rap-A-Lot
6 7 8 9
i
I
"Who
Hollywood BASIC
11
I
Jam RAL
"Sobb Story"
Leaders of the New School
Elektra
5
Q
THE SOURCE
"Saturdays"
De La Soul
Tommy Boy
SEPTEMBER 1991
10
l_
12 13 14 15
i
"The Chubbster"
Chubb Rock
Select
ii
Definition of a King"
2 Kings
in
a Cipher
Bahla/RCA
Markie
"Fly Girl"
Queen
Unemployments
find
at
an
all
time high
being
minority
is
Rom
Va bound
It's
to die.
time
fl
to get fflflRD
'Cause flint
"AM'T
fl
DAflin THIflG
CHARGED"
lir.C.
and THE
!,Vf
3
prochfjced bylSBbe Cube, Sir Jinx co-produced by Chilly Chili and D.J.
W.C
bo n e s
&
LETTERS
comes
off as a parody of the legitimate street flavor The Source has. Not to mention that muddling through his gibberish "givez" me a headache. Don't make the mistake of running his articles on any sort of regular basis. Peace.
Let's Hear
1 1
it
Brendan Monroe
feel
As the mother
Allston,
MA
have a vested interest in rap music, from the standpoint that it has had such a profound impact on our youth socially, culturally, politically, etc. am more than pleased to see the influx of female rappers on the music scene today who are more than wiggling, jiggling, boy toy, fantasy objects. These budding young sisters actually have some things to say. What took y'all so
I
I
damn
long!?
Willetta
Jacksonville, FL
All readers the sexist, murderous and negative views of some rappers appalling. Any brother that advocates hitting a woman or murdering another brother is not a man, but a fiend who is desperately crying out for some positive spiritual force to remove them from their madness. Sexism is synonymous with racism. We cannot continue to demand our liberation and dignity in this
I
find
are
F^
times that
I I
encouraged
to write
letters.
women
Fax them to
(212) 274-8334
or mail to:
of theirs.
Willie
In my fifty years of living there have been several have read something that have felt very strongly about... enough that wanted to write a response. This will be the first time that actually did it. really enjoyed reading The Source magazine. did not know that rap and hip-hop music was as big as it is. My ignorance about that style of music was because
I I I I
Abraham Howard,
Atlanta,
Jr.
refused to listen to
it.
It
seemed so
far
removed from my
style of
GA
music
vision
The Source,
(Jazz). hope my generation will learn not to have tunnel because we miss out on a lot of good things.
I
LETTERS
594 Broadway
Sapphires Closet
Seattle,
WA
Equal Lights
Thanks to the new wave of females in hip-hop, males no longer need to disrespect the opposite sex, the females are
doing a good enough job themselves.
like to
If
Suite 510,
New
York,
NY
10012.
Intelligent Black
Women
The magazine
reserves the
rappers,
I
"even
hit
home
drinking Cisco,
more power
to
them.
DJ Wildwoodberry
appalled by
BWP
trying to
Tampa, FL
just "bullshit
and
length
The Bishop of Hip-Hop's letter [Source: July '91] mirrored my feelings. The IBWC could be large, but Yo-Yo is coming off halfcocked. Personally, think if you want to smoke blunts or drink Cisco, you could remain intelligent, but the stealin' of men and
I
on wax" to get a paycheck, while a rapper like Harmony who tries to give a positive image of Black women has to share the spotlight with these so-called artists. Instead, we were forced to see BWP ruin a perfect chance on national television to show that rap is more than just "story telling to music," but a tool used to promote Blacks to a higher social level than the one we exist at now.
stompin' sisters
is
pretty lame.
Karyn Exilus
Bronx,
NY
USMC Camp
Lejeune,
NC
Homo-hypocrisy
would like to give a shout out to Ice T for his excellent new album. To me, the most impressive item off of it is Ice's almost apologetic attitude towards his treatment of homosexuals. Ice realizes that people are different and there's no reason for the prejudice. Today, homosexuals are the only group that it's still legal to discriminate against (the military's ban on gays). This is something that needs to be changed. To fight the power against racism and still condone homophobia is hypocritical there's no room for hypocrisy today. Ice's new attitude is very responsible and necessary and much respect is given to him for breaking this ground. Nathan Dobs Milwaukee, Wl
I
Counterattack
response to your article "Police Brutality To serve, protect and break a niggaz neck," [Source: June '91] you hit the nail on the head. Brothers and sisters need to get involved and let the elected officials know that brutality will not be tolerated at all. Let's get it together and make the system work for us, instead of against
In
us.
Jeffrey A. Shields
Fayetteville,
NC
White Heat
i
Bonz, Pleaze!
used to buy the occasional Spin Magazine to read their articles on hipstopped buying any issues of Spin because most every article they had on hip-hop was written by that ignorant moron, Bonz Malone. His work
I
hop.
Our music is one of the greatest curiosities that white people will never fully understand or experience. If we insult white people in our music, we will only get banned for political reasons. We can sing about money, sex, drugs, even religion, but talk about the white people and you'll only get death threats. White people fear the day of the Black planet. Why don't we make a movie about Black kids going to college and making something out of their lives instead of movies on being a gangster and shooting drugs?
Kenneth Mays
THE SOURCE
SEPTEMBER 1991
/ A comedy
about makin'it!
,.*< 4
#
or
&&
Lisi Jlrrindtll
Blanche Baktr
mmsm .x,^
1991 Tbe Samuel
GctdwvJi
IbMIlita'tf
Writ
Julia
Campbell ^'^^-tltrbffiliancock
Diract
SSIIanskta
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Mostey-Payn*
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Company
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::';': -. faatti<atto\tfttiMate&!<j:^1x^A
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featuring
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by.
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Eazy T?
Today's Uncle
Tom
is
any Black
1 1
from from the racial stereotypes of Black males in the '90's. Today's Uncle Tom has no problem with
profits
J male who
Media Assassin
is
amazing that people way across the globe honor "our own shing Black prince" more than we, as a Black nation have, and sadly, probably ever will. This is
for. It's
He
portrays an
his social
sambo,
is
the most intelligent type of music because it educates the people and has a lot of positive messages. Music critics only look at it as dance music. They're just a bunch of ignorant racists and it's evident that the media is
Rap music
stamp from
Iran
hero.
f
5
R.
speaking on
account.
He
is
community. ..he
bank
Norway
Who
Eazy E? Combined with statements he's made about South Africa, the abuse of Black women,
Stamp Of Disapproval
I
Malcolm
this
X,
to
be a
to
role
model,
Yessir
am
man
name
"MC
many Americans (Black and white) do not know who Malcolm X really is, let alone stood (died)
PA
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The Source August 1991
No. 23
In Producer's Profile, the
PRO FELT
D.J.
SUP MAT
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It il
Teluxe."
In
the production
photo was
mistakenly placed
Tim Dog.
"Nzinga" for
We
any confusion.
stylist.
CD
THE SOURCE
SEPTEMBER 1991
Makeup/Hair
'
"HOW
Legal (Tope from TKO on Bah
ia
G G
'
? ? ?
^#-
..
MEDIA WATCH
Johnny,
Come Home
IF
YOU CARE ABOUT MUSIC criticism (and it's OK if you don't),
know John Leland's work.
80's,
on the rap community. Stealing a page from Tipper Gore and the Parents'Music Resource Center (PMRC) were opinion
pieces in a pair of
London
dailies that
some
you'll
The
first
was a patronizing
diatribe by
he amazed
James Delingpole
me with his passionate discussions of the music that I loved (and still do). In particular, I can honestly say that his Spin "Singles Column" about BDP centering
The Daily why "Rap is basically a song without a tune." The Source's Reginald C Dennis put Delingpole to rest in last month's Media
of Telegraph, listing the reasons
on
Scott
LaRock and
"Stop
The
Violence" changed the way I think about music. He seemed to have a real handle on
music
critic for
Watch. Just when you thought it was safe, enter another tasteless piece of journalism, "The Sinsister Hatred of the Rap Racists" by Mihir Bose of The Daily Mail. Bose, like Delingpole, is ingrained in a thought process that has never understood the conflicts between Black and white, poor
something that was isolated from my own records. But a Luther record is its own animal." Luther Van dross. New York Times, 6/5/91
and
rich.
He cannot comprehend
rap's
employer. For example, in his opinion piece in the July Details, the one with Ice T on the cover, Leland dismisses rap as overly pious and "preachy": "If rap has become our
demand proof
argument
it
and you should before you buy this has also become our most
anti-establishment propaganda. As DJ Quartz commented, "Mr. Bose should get some education he seems to think that it is a terrible thing that music might possibly educate and infrom." Bose digs a deeper hole when he tries to
music] alright. It's the next thing, but it's all from me
".../
like [rap
and I deserve recognition for that. And too much of it, you know,
they're not saying anything
self-important."
Self important?
DJ Quik?
masses
meaning
in
Ice Cube, Public Enemy, PRT, Brand Nubian and Ice T, he's gonna tell me that it's boring. John, if you don't understand the utter thrill of hearing Chuck D's or Ice Cube's or KRS-One's rage-filled outbursts taking our anger and shoving it back in our faces then you're missing a lot of the fun
address racism. He doesn't believe there is a racism problem in the U.K., except of the "Black-on-Black" variety. He notes the fact that Blacks are as heterogeneous as whites, but simply ignores the fact that Blacks experience much more widespread and deeper poverty than whites in Britain, and the problems are accentuated by
racism.
Music is a powerful force, and if you use it wrong, it's no good. I always try to do something
that.
positive with
my
music."
'91
James Brown,
Spin Magazine, June
Finally, he twice makes incredulous comparisons between rap and Nazi Germany: "The concerts are more semimilitary rallies than musical events. Not so much Woodstock as Nuremburg" and,
in the music.
I feel
were prepared to make any sacrafice for the movement, while these guys [rappers] are just
"...We
JAMES BERNARD
JUNGLE FEVER
"There have been wild men before in the American black commuities. But both Niggas With Attitude and Public Enemy are profiting from the hatred they spew..." MihirBose 5/31/91
"[Eazy-E] created a frenzy which was somewhat reminiscent of the Nazi rallies." To compare some "Fuck the Police" chants that speak upon governmental repression to the calculated genocide of mllions of Jews and others is blasphemous. One group speaks from the minority, while the
other kills them. It is this type of reporting that is not simply foolish and spiteful, but
What Chuck
are saying
D and
a bunch of cliches. Someone needs to sit them down and give them a
is just
KRS-One
real political
and
historical
education.
MERICA HOLDS NO MONOEurocentic, racist One avid Source Quartz from the United Kingdom, sent us two
poly
on
potentially dangerous. Bose and Delingpole both feel threatened by the language of NWA, PE, and 2 Live Crew, and by calling the artists "racist" and the music "limited," they are labeling the issues invalid, thereby causing further damage to the polarization of the Black and white communites.
Muhammad Ahmad,
Emerge Magazine
"60's Radicals:
'91.
viewpoints. reader, DJ
CHILLY E
THE SOURCE
SEPTEMBER 1991
11
Please enter
my
The magazine
Enclosed
is
my
NAME
(please print)
TELEPHONE #
ADDRESS
APT#
CITY
STATE
ZIP
mssR
8 POLITICS
make check or money order payable to THE SOURCE in U.S. funds. Send your payment and this form to THE SOURCE, 594 Broadway, Suite 510, New York, NY 10012-3233
*
Please
fc
y iin^y^J,
THE FOLLOWUP TO
C#pftf
EARTH'
RECORD
Public
Enemy
joined Anthrax
in
Chicago to
shoot a video
for tho hard-
rock version of
"Bring Tho
<
Noise"
You
of the past.
This summer, a strange new pattern for big tours has emerged rap artists are teaming up with popular rock, heavy metal and alternative rock acts to tour the country. Does this mean that the persistent barriers that separate styles of music are finally being broken down, or are promoters simply cashing in on the popularity of rap amongst the white rock audience? Are people who pay to see the Vision Thing Tour, for example, coming to see gothic rock band Sisters Of Mercy or rappers Public Enemy? Or both? "I think you're gonna see Public Enemy fans that are white that would not go to see them under normal circumstances," says John Marx of the William Morris Agency, the large booking firm that arranged the Vision Thing Tour. "It's a safer environment for these fans." Marx explains that the staff who put this tour together didn't set out to team Sisters Of Mercy up with a rap band, but the idea of adding Public Enemy "seemed to sit right with everyone." Since planning for the tour began, two cities have refused to allow the show in their venue with Public Enemy on the bill: Detroit, which happened early, and Brookhaven, Long Island near PE's home base of Hempstead, LI which got nervous at the last minute. On the other dates, Public Enemy will perform second to last (with Young Black Teenagers actually opening up the PE set), followed by headliners Sisters Of Mercy, who sold way fewer records but have a large cult
kicked
off July
12th
In
Chicago
AUGUST
DATES
1
CITY
Houston, TX Dallas, TX
Coliseum
Starplex Amphitheater
4
5
Mesa Amphitheater
Pacific
Amphitheater
8 10
CO CA
LOLLAPALOOZA
Festival
1991
Living colour
AUGUST
DATES
1
CITY
Minneapolis
VENUE
National Sports Center World Music Theater
3 4 5
7
Chicago
Detroit
Cleveland
Toronto
CNE
Great
following.
So how do the artists feel about getting out there in front of a whole new crowd? "Cool. I'm an alternative artist anyway," says Ice T, who is on tour with Jane's Addiction. "I can't tour with rap groups no more because all the rappers went R&B. So they want to wanna go out with Tony Toni Tone, En Vogue and shit but they don't want me around. 'Cause they know that I'm gonna get on stage and "Get Buck Naked" and act wild. I think it's a situation where hip-hop is playing themselves again they turn their backs on the hardcore artists. I look at it like yo, music is music. When I'm not listening to rap, I don't listen to R&B. I listen to, like, Slayer and Testament.""
9 11 13 14 16 17 18 20 23 25 27 29
Woods
Hershey Park Stadium Lake Fairfax Walnut Creek Amphitheater Lakewood Amphitheater
Central Florida Fairgrounds
Orlando
Dallas
Starplex Amphitheater
Fiddler's
City
Green
THE SOURCE
SEPTEMBER 1991
HIP-HOP
44
QUOTABLE**
MONTH
A page
Wear Daily
"O.P.P.,
FASHION REPLAY
reak out
all
how can I
To have
explain
it? I'll
take
it
frame-by-frame
it
it
y'all
last P,
way to
yeah
wayback. If s
high fashion.
is
If
official:
hip-hop is
now
You
get
It
on occasion
I
if
seems
offering
wealthy
women
The
teeth-grinding prices." What's
it all
first
two
letter's the
last is
call
something different
it
about?
It's
the leanest
$454
It's
(remember
Harmony
that, I'll
do
it,
hmm, stands
As Newsweek admits,
But we'd add that
it's
"It's
a sanitized version."
second
JAMES BERNARD
THE SOURCE
SEPTEMBER 1991
ILLUSIHAIIUN:
MKAbSU
memorized the
Rapline number
called in panic,
This
station's
disappearance"
KDAY
in its seven-
11, 1991,
year dedication to rap to stay above-board, and the ratings at times were competitive with FM stations with much more powerful
signals.
But Heritage, the original owners, seemed have other ideas. Apparently, the plan to to abandon the all-rap format was laid out more than a year ago, before a new owner was even confirmed. Heritage wanted to sell the station at least two years ago, but few offers were made and those offers eventually fell through. In order to make it easier to attract a new owner, the station would have to be less successful. To blunt its winning track record, the efforts of the staff seemed to be intentionally undermined. According to Jack Patterson, the former
11am, General Manager Ed Kirby gave Patterson two hours notice. At 1pm, the station went dark. His only warning was the sudden appearance of off-duty cops and security guards the day before, obviously in
anticipation of protests or demonstrations.
Curtis Harmon, the popular afternoon mixmaster, recalls searching and searching in vain for his afternoon "quick fix" of hip-hop. Fans who had memorized the Rapline number called in panic, asking about the station's unannounced disappearance. Patterson believes that Heritage never had a complete commitment to the station and its format, especially since the original purchase
FINAL RESPECTS:
MC TROUBLE
Music and Program Director of KDAY, all promotional activity such as billboards, bumper stickers and t-shirts, stopped as early as two years ago. KDAY's Community Affairs Department and sales staff, both serving to keep the station visible, were cut back. "Even
a
was merely part of a package deal along with a cable company and a billboard company. When powerful FM stations arose to challenge KDAY's market, Heritage ran instead of fighting. And according to Greg "Mack Attack" Mack, who had been with KDAY for seven years, the
of the station
WHEN
MC
hop
DEATH
in
it
occurs
our
is
community
particularly
always disturbing,
when
it
new owner
company
to
you have
spend money
to
didn't quite understand what they were trying to accomplish at KDAY. In this gulf of misunderstanding of both the
said Patterson. Without promotion, the ratings suffered over the past year. Advertisers left, the market value of the station decreased and a sale was made easier. KDAY's new owners, Fred Sands Realty, promised Patterson that he would receive ample notice if the format changed, so the staff could say goodbye to its loyal fans. Patterson wanted to bring back all the old
previous and
FM
stations in the
up the slack, but another KDAY fiercely independent and committed to breaking new artists may never come to be.B
to take
Darryl James
is
the
Managing
Editor of Rappin'
Program Directors and the acts that KDAY broke on the airwaves to eulogize the station for eight hours live on the air. Patterson also worked to put together sponsorship dollars for a huge celebration
jocks, the past
Magazine, and the Editor of the Hip-Hop Countdown & Report, a nationally syndicated
radio rap show.
example and words: "...educating myself.. .knowing what I want out of life and spending every minute
working toward that
brings happiness."
goal.. .that's
what
TRACY SHERROD
party,
h THE SOURCE
SEPTEMBER 1991
"
\AKERS
DISC
MAKERS
in
~7
DISC &
Pays!
TIMES
Rick in the July issue, Rick had his sentence handed down on June 6th at Bronx County Courthouse. Judge Sheindlin sentenced Ricky Waters to 31/3 to 10 years in prison, with eligibility for parole after two years. Rick will be held temporarily at Downstate Correctional Facility. The Source joins the rest of the hip-hop community in wishing Rick a peaceful journey.... In other news of rappers in trouble with the law, sentences have been handed down for the Fat Boys "sex, rhymes and videotape" case reported in the Mar/Apr issue of The Source. Darren "Buffy" Robinson allegedly videotaped three of his friends partying and having sex with a 14-year-old girl. Judge Charles B. Smith of Chester County Court in Pennsylvania handed down varying sentences to the participants Buffy aka "The Human Beat Box," who pled guilty to sexual abuse of children, was sentenced to two years probation and ordered to pay a $10,000 fine.... Nastymix Records has filed a breach of contract suit against its top-selling rap artist Sir MixA-Lot, claiming Mix breached his contract with Nastymix to deliver the second and subsequent six albums under their current recording agreement. The suit also names Def American Records Rick Rubin's label for knowingly and intentionally interfering with Nastymix's contract by signing a deal for Sir Mix-A-Lot's next album. Nastymix is seeking fulfillment of its contract with Mix, or damages for breach of contract. We'll keep you posted.... Village Voice columnist, author, and celebrated Black music critic Nelson George just signed a two book deal with Harper-Collins Publishing. In January 1992, George's
interview with Slick
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book Elevating the Game: The History and Aesthetics of Black Men in Basketball will hit
bookstores. Then, in the Spring of 1992, a collection of
& Bohos: Notes of Culture. Plus, George co-wrote the screenplay for Go Beverly! a film that began production in New York in March... KRON-TV in San Francisco has announced that it will air a new version of its award winning show "Home Turf," hosted by Dominique DiPrima. "Home Turf Summer Mix" will showcase the diversity of the Bay Area and give young
the
title
New Black
The show
flavor....
will maintain its cutting-edge hip-hop Actor Blair Underwood who played Russell Simmons in the film "Krush Groove," but is best known for his role as Jonathan Rollins on NBC's "LA Law"has directed the new video "Still A Young Man" for Quality/Pump Records artist Positive
Generation...
And
finally, in
the
Look
been added to the Random House Webster's College Dictionary: B-boy, blasted, boy toy,
def, dis, ditz, doofus,
dweeb,
ice,
wack, wuss.
BOOMIIM'
SYSTEMS
B EEFED-UP s 90UND
FROM YOUR TELEVISION
by
James K. Willcox
ATCHING TV USED TO be one-dimensional
enjoyment. But with the
growing
and even home surround systems, we're asking our televisions to sound as sharp as their
pictures look.
The demand
for
many
teaming up
names in audio to include better sound built into their sets. For example, Zenith is incorporating the Bose Acoustic Wave speaker technology in some
of
its
a sound
enhancement technology
Retrieval
SRS (Sound
System) from Hughes Electronic to add and extra dimension to its stereo imaging. Likewise, Toshiba and Carver, as well as Magnavox and JBL, have headed to the altar in a marriage of their respective video and audio strengths. Which is all fine and good if you're in the market for a new set. But what if you already own a set but want to improve the
Bose's Video
additional power
and
in
them
100 watts
per
channel. With a system selling price of $659, the Pro III Plus also a three-piece (two satellite speakers and a subwoofer) design was developed directly from JBL's recording studio monitor, and boasts a
speaker as part of its T6 ($899.95) six speaker surround sound system, and sells a separate 404V ($130) center channel
speaker designed to
of almost any
sit
unobtrusively on top
sound?
quality to
ways to add better an existing TV set. If your TV has audio out jacks, or even a mini jack for a line level source such as a headphone, the simplest way is to connect it into your audio system.
Fortunately, there are
Boston Acoustics offers shielded versions of many of its popular book shelf
speakers, such as the A40V, as well as a
video version of
its
TV set. NHT offers a center channel version of its Model 1 speaker called the Model 1C ($170), as well as the Zero 3-Pack ($270), containing three Zero
video shielded mini-speakers.
($499.95) system, which features its MagnaGuard shielding. Koss, perhaps best known for its headphones, has two nonpowered shielded speakers in its Dyna Mite line of audio/video speakers: the M/60 Plus ($129.95) and the M/80 Plus ($179.95). And Sonance, a pioneer in high fidelity, in-wall loudspeakers, recently introduced the M30V ($310 per pair, including brackets and grilles), its first inwall shielded speaker designed to be installed in close proximity to. a video
screen.
Connections in this method are relatively straightforward. But chances are, your speakers are a good distance from your TV set, which may be fine for regular stereo
POWERED
SPEAKER SOUND
is
enjoyment and certain special effects, but which can make on-screen dialogue annoyingly seem as if it's being spoken by off-screen characters. And because regular loudspeakers contain magnets that can cause picture distortion and discolorations, you'll have to leave them at least 10-12
inches from the set.
mean
in
powered speaker systems; its Video Roommate system ($339) will connect directly with most TVs and all VCRs and
laserdisc players straight from the box, and
most
'SHIELDED"
SOUND
~^~
If
SURROUND SOUND
it
AR
calls
offers a series of
powered speakers
what are called "shielded" speakers, which can be placed alongside, below, or on top of your television. These days, any number of well-known speaker manufacturers offer shielded versions of some of their more popular small speakers. For example, all three models in JBL's ProPerformer series offer shielded drivers for next-to-TV placement. The speakers ($199 per pair)
are small satellite units capable of handling
speakers, another option is available, thanks to the increasing popularity of some home surround sound
stereo
systems: adding a shielded center-channel speaker that can be placed on top or below a TV set. Dolby Pro Logic surround sound systems steer dialogue to a center channel speaker, and several manufacturers offer
the
420
for that
10-60 watts of power. The ProPerformer Plus model ($439/system) adds a dualchamber subwoofer that requires no
Yamaha offers two shielded centerchannel loudspeakers: the NS-C70 ($129) and NS-C90 ($149). Both of Yamaha's speakers are angled at 15 degrees, allowing
and deliver 40 watts and 10 watts of power per channel, respectively. The speakers wedge shape allows for numerous placement and mounting options. Sony's IFS-50K speakers ($349.95) are not only magnetically shielded they're wireless. The company also offers the more conventional wired SRS-150 shielded, powered speakers, which plug into either a mini jack or standard phone jack. So next time you kick on the TV set to catch the latest videos, don't just watch the picture hear and feel it, too.
THE SOURCE
SEPTEMBER 1991
HOME VIDEO
by Pistol Pete
<
EC LU cr LU O-
OL MOE D
Funke Funke
GANG STARR
Step
In
Wisdom
The Arena
Written by Kool Moe Dee Produced by Joseph F. Nardelli Directed by Jim Swaffield
All
"Just To Get A Rep" directed by Fab 5 Freddy other videos directed by Kevin Bray for Time Shift Productions
Chrysalis Video approx. running time: 20 minutes
Zomba Video
approx. running time:
55 minutes
like a
Wisdom Kool Moe Dee's new home video Funke Funke females plays those appeal soap opera, and could
easily
to
still
watching Channel Zero. Like fixtures "All My Children" and "General Hospital," this 30 minute video is structured like a soap "rapera," and it offers all of the love-in-the-afternoon drama you'd ever need. Numerous women are shown fawning over the mysterious and seductive man behind those huge dark shades, and each one gets a
and a variety of promised video Step In The Arena, which clocks in at only 20 minutes. Sure, more heinous crimes have been committed. But blink and you're liable to miss the "new,
Theater." Got allergies? Well don't sneeze because you just might miss those "special, never-before-seen outtakes from all their videos." My
somehow, someway. The other half of Funke Funke Wisdom is made up of music videos, including "To The Beat Yall," "Wild, Wild West," "I Go To Work," and "They Want Money." Despite the many subplots, Funke Funke Wisdom is anchored by a fictional press conference of the Stop The Violence Movement and a performance of the song "Rise And Shine." The released video of "Rise And Shine" that has been playing on video shows features an ending of a scuffle between two audience members followed by a quick gun exchange. In Funke Funke Wisdom, however, the fully-developed ending is revealed. As Chuck D and Kool Moe Dee stand to observe what's happening, they are caught in the crossfire. The rappers are shown gunned down, their clothes splattered with blood, and the
piece of him
that something in the range of a forty to sixty minute running time would have done justice to what is, nevertheless, a quality home video product. The four videos contained on Step In The Arena cover all the
point
is
necessary bases for a well-rounded rap group in '91: street-level respect, positive mind, love, and self-promotion. The group's harder edge is demonstrated in the gripping clip "Just To Get A Rep," while social and political awareness are addressed in "Who's Gonna Take The
audience is naturally in a state of shock. After about ten seconds of this, our slain heroes miraculously "rise" to their feet. A confident Kool Moe Dee says, "So for the members of the press that like to write all the hype about what's going on in the streets, this is what it's like. You don't understand it until you live through it. You got to wake up and wise up." In unison, the panel then chants "stop the violence!" Other highlights include the scene where Kool Moe Dee is rudely late for an interview with a radio personality named Big Bucks, and he is grilled by his publicist. He explains to her that he tried to get out of the interview on purpose. "It's the typical we love your music, but can't play your record, Black adult-contemporary, CHR, numbers, Stop The Violence deejay," he sighs. And as if Moe wasn't surrounded by enough beautiful women, the rapper is stopped dead in his tracks after a concert performance by "Chocolate," a fine backstage kind of girl. "I do hope you are as intellectual as you portray," she says. "So that you may be able to distinguish a cerebral sex-goddess from just any ordinary groupie. Because Kool Moe Dee, I want you. In fact, I have to have you. Whenever, wherever you so desire. For one night, or for a lifetime..." Yo G, time to draw up the pre-nupital joint. Funke Funke Wisdom is an interesting and original concept. Aside from "The Fresh Prince Of Bel Air," there really isn't much rap-related programming of a scripted nature on television. For that alone, the tape is a good buy.
Weight," which features news footage of Adolph Hitler and Martin Luther King. "Lovesick" is rapper Keith E.E.'s heartbroken ode to the special girl in his life who trips due to her inability to understand the Guru's celebrity status. The prerequisite ego piece comes in the form of the previously unreleased "Take A Rest," which is a straightforward
that could use better lighting. While many experts in rap today are quick to predict a lesser role for DJ's in the future, it's clear that DJ Premier's position as an integral part of Gang Starr is solid. But unexplainable is the fact that
clip
few words on Step In The Arena. Nevertheless, these brothers have their heads in the right place. Discussing goals, Keith E.E. says he hopes "to get more and more people up on some original style rap music fly street beats and dope rhymes. It sounds corny, but that's what rap is about: the rhymes, and
this talented producer says so
the beats, and the turntables." Additional homage is paid to the Gang Starr sound by special guests Chubb Rock and jazz great Branford Marsalis. The Chubbster praises: "I feel that they're one of the pioneers to have brought jazz to
mingle with hip-hop, and to create a new vector which hip-hop can go down." That sent me straight to a dictionary, and sure enough, "vector" is a word. Sorry for doubting you, Professor Chubbs. Marsalis, who has worked closely with Premier, says of Gang Starr: "they find the hard grooves, and they throw them out there. And that's what the music is
about."
THE SOURCE
SEPTEMBER 1991
3IQ
T'HOQ
XAOOM JA3J1
around the country that
sell to
NWA
rockets to #1,
hip-hop fans
in
the
street.
towing a
trail
makes NWA's
to
rocket ride
of doubters,
dissers,
incredible.
across
America,
in
suburban
and
devoted fans
behind them.
by Jon Shecter
for the
THE
number one Pop Albums
HIP-HOP NATION
many
seems
white
kids
It
turned on by
NWA?
acknowledge
the greatness of Niggaz4Life.
on Billboard's Top
Actually, the rap
chart.
world was pretty shaken up the week before, when Niggaz debuted at an astounding #2 position, the highest entry by any album since Michael Jackson's Bad. All this with no single and no video, making Niggaz only the fourth album to top the pop chart in the past 16 years
without generating a top
spectrum
Tyson
but
shit, calling
wack. why,
When some
you ask
of
can't
front
them
on
it.
And
takes them a step closer to that mysterious ghettoworld they wonder so much about.
When NWA
reached
#1,
Amongst
group males,
like
of
it's
peer white
a cool
status symbol to
implemented by Billboard magazine called SoundScan. Charts were traditionally compiled from retail store clerks who phoned-in or
mailed-in a
list
NWA means
it
you
"street,
NWA
for
mainstream America was dumbfounded. "People magazine wanted to catch the group casually at home, sitting on their couch and smiling," a spokesperson from Priority Records told us.
"I
too simple, which is easy to under-stand. It's clear that NWA lost a lot of depth
When NWA reached the top, every important newspaper and magazine in the country scrambled to do a piece on this "new pop
critics
and
intelligence
tried to explain to
Cube
of the store's
fifty
males
some 40
woman
sit
matter and
excitement.
lyrical
chance
to live out
admit,
was
left
open
to
manipulation by record companies. With SoundScan, the Top Pop Albums chart is compiled by computers that tabulate actual sales from readings of the bar codes on each product as it leaves
the store.
the ultimate macho fantasy: every girl sucks your dick, every guy who ain't
eliminated.
But when
hip-
down gets
rap producers
in
New
SoundScan has angered a lot of record company executives who watched their artists particularly
alternative rock
acts
is
fall
off the
charts.
And
it's
its
clear
that
SoundScan has
legitimate faults:
too heavily
who stock
only proven hits on their shelves and the survey has not wired in stores that move "alternative" product in urban markets, such as the Tower Records chain and the hundreds of "mom and pop'' stores in urban markets
would argue that Niggaz4Life is the first rap album to hit the mainstream crowd and the hip-hop crowd with force at the same time. For every Black hip-hop fanatic driving through Detroit, Houston, and of course Los Angeles pumping Niggaz from their rides, there's a group of baseball-cap wearing white kids listening to Niggaz in their living room. And then there's the Madonna/Vanilla Ice crowd, which is too broad for me to even stereotype, grooving right along to Niggaz too. There goes the neighborhood! Everywhere you turn, the youth of America is tuned in to NWA. Everywhere, that is, except New York City, where hip-hop's most
I
exciting production
tracks
in
and the record got dissed in spite of its success. But beneath the obvious moral objections; critics and fans of NWA are forced to address a larger issue the fact that NWA, rap's violent heroes, are the ultimate success story. NWA transforms ghetto hell into long dollars; they've become very wealthy by marketing the ills of the capitalist system to the people that put them down. To discuss NWA is to discuss the fundamental problems, conflicts and opportunities of our society. As David Browne so succinctly put it in the New York Times, "It's a
clean,
NWA
earnings to care."
New
York shit
out here. It's obvious that Dre and Yella care how a record sounds
the highs are crisp, the lows are earth-shaking, and the live in-
fit
the pocket.
styles!
Check out
hardheaded
fans
refuse
to
Ren's flow on "She Swallowed It," or the post-old school pimp groove on "Findum, Fuckum & Flee," where Eazy and Dre showcase their new and improved skills. This is the way real rap is supposed to sound you
Face it: Niggaz4Life contains harmful, hurtful words. It is unnecessarily violent, and it is sexist to a disgusting degree. You can't argue with any critic who points out these faults. But understand that Niggaz4Life is real hip-hop. Not Hammer, not Ice, this is the sound of rap music from the streets, created and performed by talented artists who refuse to sell out. The real niggaz know what their fans want, and their fans respond. With
real dollarz.a
THE SOURCE
SEPTEMBER 1991
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PRODUCER'S PROFILE
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by Adario Strange
DR. FREEZE
PLATINUM WOULD BE
DR.
sounds and samples, and turns them into hit records. With the help of his partner Spiderman, Dr. Freeze has
Dr.
quickly risen to the levels of prominence most twenty five-year olds are hesitant to even dream of. Hailing from the planet Brooklyn, Dr.
Freeze describes himself musically as "a hipstiletto heels wearin' he Listed amongst ain't. On his way up, he is. his production credits are BBD, Another Bad
someone reaches
he's
been exposed
to
Creation, Red Bandit, Today, Maliaka Thompson, and Finesse & Synquis. His most recent success is Color Me Badd, from the soundtrack of New Jack City, who's single, "I Wanna Sex You Up," has gone well over platinum. Ironically enough, Dr. Freeze says
that this particular track was originally going to be used for his own album; which proves that ya never know how phat a track is until it comes back to slap you in the face. And in this case, leave a silver-colored hand print (gimme that type of slap any day, G). What makes me feel that Dr. Freeze is destined for greater things is that he
somebody that helped them." Now Hiram Hicks acts as his manager and Dr. Freeze has somehow managed to maintain a humble, yet
confident, attitude.
own upcoming album will be a collection of many of the artists he's produced as well as his own material. With Today, BBD, ABC, and
a healthy list of other heavyweights to appear on his album, I smell dollars G! With such prosperity coming the way of a
Having grown very close to BBD through Hiram, Freeze explains their music "mentally it's like Public Enemy music except with basslines and keys and serious singing behind it." But Dr. Freeze is quick to add, "I wouldn't call my music mental; I would call Shocklee's music mental," instead depicting his music as something
like Earth,
young brother, you might wonder if there's another music industry (not gettin' paid) nightmare waiting to happen. Countless times, we've seen an up and coming producer,
inexperienced in the choppy waters of music
business, get dissed so hard you only see their name on those Pathmark, "K-Tel" re-releases. But looking at Dr. Freeze's support group (Spiderman, BBD, Hiram
possesses something that the truly dope producer should have knowledge of an
instrument. When I go over the really original and innovative producers of the past couple of decades, all have been people with a technical understanding of music. Citing the Brand New Heavies as one of his favorite new live bands, Freeze plays piano, flute, trumpet, and
Fire hip-hop. Considering that he has expressed a desire to produce the likes of Rakim, Slick Rick, Big
Wind &
one
Rap, all that we've heard before from this brother may have just been a prelude to some old really stank shit. Recently, Dr. Freeze has completed a
influences, next to
thing to know that a sample filled track sounds hype and quite another to know why it sounds hype. No stranger to performing, Dr. Freeze has been on the same bill as MC Lyte, Red Bandit, and even had a record out on Black Magic Records called, "I'm too Much." After payin some dues, Dr. Freeze's newfound success has him saying, "I feel like a different person, I feel kinda scared. When you have a dream and it hits you in the face so fast, you
don't
his
number
of phat projects
including Bobby
Brown
Good
to
Hicks), his future looks to be a bit brighter than that. One of the biggest problems facing the music industry today is what Freeze calls "a lack of trust and communication as far as are Black people concerned." He's right, if there was more networking going on between Blacks in
know how
to
take
it."
The
realization of
dream started when he gave the track for BBD's "Poison" to Red Bandit. From there it went to Tara Geter (formerly of the Gyrlz) and then to Hiram Hicks, and the rest is history. "I have to thank Red Bandit and Tara. When
Neutrons. On the subject of his favorite producers, Freeze says that the late Eighties rap redefiner's The Bomb Squad was one of his greatest influences next to Howie T, and of course Quincy Jones who he calls "The Father of Music." Usually when someone mentions his influences, one has to look deep to find them reflected in their music, but the eclectic creativity displayed in Dr. Freeze's production aptly represents who and what
the industry,
"glass ceilings."
maybe we
It's
how about
Breaking through
all
become a habit
for Dr.
hand
and maybe
one day directing. Whatever roof he decides to come crashing through next, I'm sure the damage will be welcome!
THE SOURCE
SEPTEMBER 1991
U:-
THIS
WHAT
U RAP 2
IS
THE LONG-OVERDUE SINGLE FROM THE ALBUM, "TO YOUR SOUL." AVAILABLE IN 12" AND MAXI CASSETTE. INCLUDES DEVASTATING RE-MIXES BY U.K.-BASED MIX OUTFIT, THE BOILERHOUSE. HJjf THE DEBUT RELEASE FROM SLAMMIN' RECORDS.
PRODUCED BY: CHAD ELLIOT AND THE JAZ. ADDITIONAL PRODUCTION AND REMIX BY: BEN WOLFF AND ANDY DEAN FOR THE BOILERHOUSE. MANAGEMENT: STAN POSES /UNITED ENTERTAINMENT. 1991 EMI RECORDS USA. SLAMMIN' RECORDS IS AN AUTHORIZED TRADEMARK OF EMI RECORDS USA 212-603-4163. DISTRIBUTED BY QUARK, INC. 212-489-7260.
ATTENTION
College Students:
William Paterson
College
treated to many different speakers who enlightened the students and community. Shaharazad Ali (author of The Blackman's
Guide
to
Woman),
Wayne, N J
by G-man
Frances Cress Welsing, and Dr. Ivan Yan Sertima were all here to drop science on the campus. But the one who dropped it
Carmicheal), Dr.
THE SOURCE
Marketing Representative
PEACE
about
FROM THE
Wayne, NJ
campus
located in
mile uphill from Paterson, home of King Sun and Eastside High School from the movie, Lean On Me. On WPC radio (WPSC-FM 88.7) we have the #1 rap show in New Jersey: the BFA Rap Show (BFA stands for Brothers For Awareness) where DJ True Blue and myself rock every Wednesday night from 10pm-2am. The rest of the BFA Posse includes DJ Dove, Hype Stuff, JScratch and The Snowman. We play strictly hardcore. We try to promote awareness through the music as well as with interviews. Being on the airwaves we definitely feel we have to give back to the community, so on the show we have interviewed such organizations as Delta
hardest was the teacher, KRS-One. We had so many people that we had to turn some away. Back to the radio lab, my trip to The Gavin Seminar in San Francisco was slammin'. I came back with much West Coast product so my audience could see how it's done out there. Also, the Hip-Hop at its Crossroads Conference at Howard University in Washington D.C. was equally dope. We also got treated to a special concert. At the end of a benefit basketball game between two NYC radio
stations, WBLS and WFAN, there were performances by Chubb Rock, The Jaz, and Style and in the house that night were King Shameek, Latee, and The Funke Natives. All in all this past year was definitely dope and we plan to take it to a higher level in the coming year. The second "Quest For Campus Supremacy" will be bigger and better. An addition of a second show geared for the African-American community called Moments In Soul will be in effect. This show will be on the R&B tip with the focus on all forms of Black music. Everybody from Jimi Hendrix to Marvin
on your campus
HIP-HOP
and a
flair for
If you
think
the
bill,
you
fit
Sigma Theta, Alpha Kappa Alpha, Phi Beta Sigma, Zeta Phi Beta, Bro. Abdul
Kadir Muhammad from The Nation Of Islam, The Black Student Association, and Dr. Linda Day, a Professor of African
History.
Gaye to Levert to BBD to OG Style. We also wanna hook up a major rap show on
campus and be on the lookout for the Top 40 of 1991 Year End Countdown. So there it is straight from The BFA
the
and would
like further information
On the rap front, the BFA co-sponsored "The Quest For Campus Supremacy" our first ever all campus rap contest. Props go
out to the winner, The Hype Stuff. Hype Stuff definitely kicked it and won the top prize. Rap was the winner on another front when the ladies of Delta Sigma Theta Sorority Inc. had a talent show and rap took that one too. Daddy D, runner up in 'The Quest For Campus Supremacy" was the big winner that night. Gettin' back to the BFA Rap Show we have had many special nights on the show like The Year End Countdown, Old School Night (all old school records), Freestyle Night (17 MC's going for self), and Ladies Night (all female
rappers).
Gotta send props out to the other rap shows in the area. Big Shoutouts
to you.
Show
on the program
contact: David Watkins
at
Wildman Steve and Adario Strange (WBAU), The Awesome 2 (WNWK), The Stretch Armstrong Show (WKCR), The Underground Railroad (WBAI), and The Propmaster Kool D J Red Alert
to
The Source
(KISS-FM).
air in the
We
have got
to
NY-NJ
Mighty Zulu Nation and The Five Percent Nation. And Big Props to The Source and The Mind Squad. G-Man
says "peace" and I'm out like British
aim
El
POIIIICS
Rap Department.
(212) 274-0464
THE SOURCE
SEPTEMBER 1991
KID SENSATION
Nastymix Records
first
I
album
that
was
really
more
really hadn't
developed my own style yet, I hadn't developed my own sound. On the new album, I've really established myself as not only a lyricist and a good rapper with speedy quick delivery and clever delivery, but also as speaking out for the youth. The title of the new album is
Voice
if s appropriately titled.
some
way
us teenagers should be
striving for.
living
On versatile production:
this next
think people
who hear
gonna just trip, because I don't stick music anymore. I'm not centered in just a West Coast style, I don't use just bass to make my music sound good. I've got some real creative sampling without just looping other people's stuff and using it, I've got some grooves that have a totally different feel to them. Now I've got stuff with an East Coast feel to it, I've got stuff with an L.A. feel to it, I've got stuff with the Seattle swing of
are really, really
to
album
any certain
style of
my city.
It's
SPEAK OUT
DOWNTOWN SCIENCE
Def J ami Columbia Records
is,
we're
Downtown Science.
I'm
Sam, he's a character. And the music is a fusion of our personalities. Sometimes a concept is restraining. Because as an artist I don't want to be tied to just one thing. We don't want to be handcuffed to a particular image. We are what we are and what we are is two kids who hang out and go to the clubs.We're not trying to use race as a gimmick or be controversial were just being us.
Sam Seven Originally we didn't want to have our picture on the 12we didn't know how people would react, but it came out and the label liked it so we said fuck it, why not have our picture on the cover?
inch because
Other than
that,
it
[race] hasn't
we got a really
good review but the opening sentence was like "The bi- racial duo..." and last year it was "salt and pepper combo" or some stupid shit. But that's the press. If they feel that its important to stress that we are a white dude and a Black dude, that's what they gotta do. We don't really get involved with that. I think that once the album drops it won't really be an issue, and it
really hasn't
this"
been a big
in
issue.
It
wasn't like
I've been down for a long time. A of times find that a of white kids who are hip-hop right now go out of their way legitimize themselves "Oh, used to play used to write grew up Bed Stuy" I'm not you ask me you, but I'm not going
lot lot
me get into
to
ball,
graffiti,
in
like that. If
I'll tell
out of
THE SOURCE
SEPTEMBER 199
^r
Make
You probably saw
year, but the reality
Until
is
Black Film.
40 Acres
T-shirts last
this
now,
stories
as seen
Film
USC
He wanted to make a film about Black people And why shouldn't he? He's Black; he's from LA; he
film that
is
makes you
think.
It
stars Ice
Cube
is
in his
not an
grow up there's gangs, drugs, guns and worst of all police. Through his music, Ice Cube has been able to give the Black youth viewpoint of the situation in L.A, making more people aware that there is another side
to the story
streets
John Singleton
different
z
111
medium. By making
those
John
is
awaken
their
who were
The
may Hood is
CO
z LU
I-
to speak.
o Z < X
CO
The
Hood
writer/director John
and rapper/actor,
Ice
Cube.
WE SOURCE
SEPTEMBER 1991
4,
,.,.'r
character much like himself. The movie brings out a lot of topics that most are afraid (and some too removed from) to discuss. So me and
the Cube got together mentally in the headquarters of The Source. Me in New York City and him in L.A. The only thing between us was AT&T and a dictaphone. We kicked it for about and hour and Cube had a whole lot to say. We talked about Ice Cube the movie star, of course his beef with
NWA,
lot
his upcoming album and much more. After all that, I came to the
is
definitely a
more
to
be talked about. So to
the
is
Hood
a story
z LU > LU H W O
Ice
Cube: Boyz
N the Hood
MO' DIALOGUE
gsfic
life?
QQQQPgr
ICE
aaaaCHBB
-lt-*-- ",^-.T^-., J^
)OTDDup pqaaaapazse
even a movie people can criticize. People should just be happy that they are really getting a
look into our world.
CUBE
By Ras Baraka
ight now all across the planet the world is being saved for democracy. George Bush (uggh!) and his cohorts have developed a fool proof plan to destroy the "bad guys" and
Dough Boy is like my earlier years. After I reached a certain age I knew that shit wasn't cool and wasn't the right route. But I think I would still be like Dough Boy if I wasn't making records.
So rap saved your life?
Yeah, most
definitely.
develop a "New World Order." It's simple: first you need 400,000 troops, then 400,000 bankers and boom, VCR's! Meanwhile, on it's own shores, Amerikkka solves its problems with dialogue. Philip Panel is gunned down by five-o, its solved by channel 4. Black youth are bombarded by militia at Virginia Beach, it's second on the list of topics of discussion at local NAACP luncheons, next to Wilder's election. Rodney King is beaten by the police in a violent ritual, there's talk of forming police review boards. ..only talk. Worst of all, Vanilla Ice turns rap star; he's bludgeoned to death with youth slang at local hangout spots. There is still a long list of things that deserve some dialogue. One of them is the endangerment of young, Black boys. Lately people have begun to pay close attention to the large amount of deaths that occur in our inner cities (mostly
boys).
NWA
is still hitting you hard with their little "shout out" to you on their new album Niggaz 4 Life? Are you going to reply to "Benedict Arnold?" NWA... They can't fuck with me lyrically so the worst thing they can do is dis. I might respond [to "Benedict Arnold"] but I gotta think about it. The Blackman don't need to dis each other anymore. That shit ain't really necessary. I don't think their record is as good as Amerikkka's Most Wanted. I don't know everybody else's opinion. I think I got a little more dimension. That shit is too narrow. It's like that same old "nigga, bitch, nigga, I'll shoot you." That shit was cool in '87 when it was shocking, but now that gangsta rap is played, it's all about what you saying. I got something in the chamber for them, it's just truth because I know them niggas like the back of my hand and they can't fuck with it. I don't think they take time out for rap music like I do. It's not like they ain't capable. They would
The almost hopeless looking conditions that play themselves out in our communities every day has been made salient many times biassedly through the media, but more
realistically
artists. Ice
rather chase bitches. This shit is my bitch. They just don't take enough time to pre-think their records. Their production is dope. When they get in [the studio] what they come out with is cool, but if they took a little more time to think about it before they went into the studio their records would be
known
in
good or bad, our inner cities. In his rap "Tales from the Dark Side (Endangered Species)" he pulls no punches in telling us that Black boys are becoming extinct. Again in "Dead Homiez" he reminds us of the senseless killing of Black boys. Now he is acting in a dope, new movie Boyz the Hood. He plays a
to discuss in his raps the things that occur,
much
better.
Dre
is
going to do some
beats for you? Me and him been talking because he finally left slave master Jerry Heller [NWA's manager]. We been talking about doing
CONT. ON PAGE 34
THE SOURCE
SEPTEMBER 1991
C/)
</)
z LU > LU H Q
HIP
HOP
Central Los Angeles. Streets that were designed to disarm the Black male. At its' best, Boyz the Hood is an intense look into the culture that has produced the Hip-Hop phenomenon. It is possibly the first film to document the realities, the gestures, the ambiance of what is privately called the Hip-Hop Nation, the Black urban landscape. John is a card-carrying Hip-Hop Nation member. Not by choice, necessarily. Birthdays, graduations and other significants are remembered by the hypest jam at the time. The film utilizes this and, in fact, is dated by classic cut selections. For instance "Jam On It" is playing in a scene that takes place in 1984. Like Tre, one of several young men's stories intimated in Boyz, John Singleton also grew up in the streets of South Central Los Angeles. Like Tre, John attributes direction and strength to the guidance of a present father. Boyz is painfully true to the distinction between boys that have been raised to be men by men and those single-parent (mother) reared brothas who, the film insists, will constantly seek the balance and direction to enter manhood. Boyz the Hood is painfully true to a lot of the realities of Black, urban America. Throughout the film there is the militaristic sounds of police helicopters patrolling the neighborhood. In any given scene ambient lighting will be totally disrupted by a loud flash of inspective outside light, a painful reminder that our communities are under siege by the government's police. Where there is confrontation with the police it is the Black policeman who is high strung, offensive and dangerous. A painful reminder that every brotha ain't a brotha. Perhaps the most piercing of all truths unmasked in Boyz is the raw truth that death has become a common part of our community. The opening scene in the film revolves around a group of children's curiosity about a dead body. As if stopping at a candy store the kids leave their route to school to cross the restricted lines of a murder site. In another scene, boyz and men posture their way into manhood several feet away from the body of a slain teenager. Singleton doesn't knock you over the head with loud affirmations, his message is subtle, dense and quick like a gunshot.
John Singleton
The first time I saw a dead body was when they carried the older woman who lived next door to the ambulance. The next time was in the middle of the street near my father's house. He'd been shot, probably in a drive-by, and no one came to his aid. He was screaming for help and we all just kind of looked at him. I was fourteen. Moving in with my father was a big catalyst in my life. It whipped me into shape. There's a whole generation of young brothas out there who've been raised by their mothers, out of necessity. But a woman can't teach a boy how to be a man. She can only show him how to be a version of the brotha that left her, his father. It's a very viscous cycle. Black men have to be responsible for raising Black men, it's always gonna come back to us. In the film, Ricky's mother loved him and he ended up a teenage father. She couldn't stand Doughboy and he ended up a crack dealer, there's got to be balance. There's going to be a difference between women who have been raised with a man in the house. Women who were raised with a man in the house are going to be more secure in their relationships with other men. I have a script that I wrote, it's a story about five Black women. I think it's best that a Black woman direct it. I was thinking about Neema Barnette. She's a sista in New York, a very powerful filmmaker.
credo. Hollywood, the Eurocentric dream be the target of our rage, our right-to-be-hostile hostility. Arri was our Uzi and Kodak Eastman was going to code its "flesh" tone to a defiant shade of Black. That was before John Singleton. That was before Columbia dropped 6 million dollars in a brotha's lap. Now we're maybe thinking about considering another approach. One way tickets to Cali, anyone? Boyz the Hood is an uncompromising, meditative drama about three Black males coming of age in the streets of South
factory,
was
to
CONT. ON PAGE 35
THE SOURCE
SEPTEMBER 1991
ICE
CUBE CONT.
I
don't
know
if it's
going to happen.
Back to the movie. What's Dough Boy's view on women? Dough Boy's view on women is they're all bitches and shit. It's like his moms is giving him a raw deal. Dough Boy and [his
brother] Rick have two different fathers.
I
guess Ricky's
fuck Uncle Sam. We just narrowed it down to the police. Because the Black kid out there don't give a fuck about who's mayor or who's governor or who's the president. All that shit don't matter to them. The only piece of government they see is police. The police is the government in the ghetto. Everybody else is bullshit because no matter who's the president, you still gotta pay your rent and you still gotta eat. It's the same shit so it don't matter who's in the white house 'cause they don't give a fuck about us anyway.
It's like
The movie also brings out sects or gangs in the community. Why do L.A. is like Vietnam with s^ gs develop?
.
Like
COIlCrete.
The enemy
i i I
I said, these kids raise themselves. Their gang is their only family.
tO
be
This
is
where
they
mean
W z
LU
LU
the ones
to
you supposed
O
<
CO
LT
be helping.
don't
Protecting
it
from who?
needs to be
They
know who
Ice
Cube and
the Lench
Mob
father treated her better than Dough Boy's father, and all he wants is her respect and her love and he doesn't get it. That's probably why he thinks that way.
So what do you do to keep Black boys alive? Show them another way. I don't think talking will help. It's gonna take another incident. More Rodney King type shit. And it's starting to happen. Pretty soon, shit's gonna blow up
and it's plain to see that these gangs are gonna have to get together to survive.
are an endangered species? already dead. All they have to do is kill us physically. People who die of high blood pressure, stress and this and that are not dying because they eat wrong. They are dying from oppression. That will stress anybody out. Then you add drugs to that, the penitentiary and this capitalist system. You know in America if you're poor you ain't shit and they show you that. So, you got all these poor kids trying to get rich, by any means necessary. So what you got is Black on Black crime. Not because they want to shoot a brother, but a Black person is an easy target. For one thing, nobody is going to really give a fuck if we kill each other. It's not going to be investigated by the police, like if it was a white neighborhood. So it's like Black people are easy prey because no one cares.
we
What do you do to help unite gangs? What I do is show them their life on
figure out,
"Damn, every time Cube rap, he end up in the penitentiary." I just show them all the incidents on the records, and hopefully they'll make the right decisions.
Oh yeah, it was straight up truth. That's the only reason I did it.
why
did
it.
That's
My
So, what's next for you? record. That's the most important thing right now. It should be ready in September. It's called Death Certificate.
Is it
I'll
Fighting
is
you be the judge of that. The lyrics are more deeper than Amerikkka's Most Wanted because some of the records were supposed to be NWA's records and I had different views then. When I got around Chuck, my eyes opened more. That's why I did records like "The Product" or "Dead Homiez." It wasn't all about being a super killer, it's all about being real,
let
putting
down
the 411.
artists
because they
lot of
crime in our
get paid
Hell yeah! Look at "Lifestyles of the Rich and Famous." Kids watch that shit and they want the same shit. They look at their house and they're like, "Fuck, I need money."
get paid.
They
wanna
Knowledge, Knowledge!
Ql
THE SOURCE
SEPTEMBER 1991
happen. I wrote that character around Cube. I wanted all of to play his boyz bu t then that shit went down with them. But Cube came through.
NWA
Three months later we hooked up. He was real professional to work with, he'd never be late or none of that. He was committed to the project. Everyone was real committed to the project. It wouldn't have happened if there wasn't that commitment. The film was shot in an area called the "Rolling Sixties" in Crenshaw,
I ^[^^H
^^^HB
j|m
j
z > LU H CO Q
LJ
CO
(South Central). They call it the Rolling Sixties cuz there's this gang called "The Sixties" up in there. The Fruit of Islam worked on our film as security. You take a Black film with a Black crew, Black security, in a Black neighborhood, and the kids on the block, the gangs in the hood, everybody's gonna give you respect. There's no reason for us not to work
together.
TOEBF
John Singleton
directs
There are lots of extremely talented Black filmmakers out You have people like Spike who are beginning to break down the discrimination that effects distribution. For me Spike is like a hero. I mean he's our generation's Melvin Van Peebles. I have a different voice than Spike. People are always going to want to compare any new Black filmmaker to Spike. He's a
here.
to make the Black one with the most riff, the most self hatred, was very intentional. Fuck what white people are doing, they're gonna be doing what that anyway. Black policemen have an obligation to serve their community. The first people to support Darryl Gates after the Rodney King incident was "The Black Policeman's Association." Black police ain't got no business showing out for white police. L.A. is a car culture. We play our music in our cars. So in the film I wanted all of the music to come from a source, from cars or radios. The music is a part of the integral structure.
The decision
You got
to
CO
o H m < m z
CO
money
shit.
own
reference point and that's cool. I look at what he's done in Brooklyn, giving his money back to the community, setting up shop and shit, and I know that no matter
how bad
own
it
seems
I'll
Angeles. You got to go in Hollywood and turn it out, take that money and buy our
shit.
sensibility, culture
and
politics are in
gave the script to Russell Simmons [CEO of Def Jam]. I went to him and I was like yo, I need 2 million dollars to do this movie and he was like "yeah yeah right." He tried to fade me cuz he didn't know who I was from Adam. Then he read my script and told the studio it was the dopest shit he'd
Initially I
ever read.
I met Ice Cube at this rally the Nation of Islam had called "Save the Black Family," in 1988. When the minister [Farrakhan] speaks, Bloods, Crips all of them come together and have showdowns on who could give the most money. Later I saw Cube at this PE concert in Hollywood. I was stranded and he gave me a ride home. He popped in a rough mix of Amerikkka's Most Wanted. I got him to commit to play Doughboy. I didn't have a dime but I knew it was gonna
about the culture without having someone on screen, rapping, that's a video. In the next few years a lot of booty wack Black films are going to come out and flop and that's gonna make it hard for young, Black filmmakers. Then you're gonna have directors try to pass their work off as Hip-Hop films. They think if they use the word "homeboy" or "G" they can be legit or down. You qualify your legitimacy by going back and giving back to the community you're drawing from. You've got brothas as diverse as X-Clan and K-Solo or De La out there telling stories on wax. Why can't we transfer those stories to a filmic language? It's all about telling your stories. We need to concentrate on writing good material about these stories. I'm looking forward to that.
to write a film
way
THE SOURCE
SEPTEMBER 1991
DOIN' THE
KNOWLEDGE
foodstamps or of young Black mothers who have babies solely to get government aid
did
more
sentiment (which
exists today)
more
than any newspaper editorial or academic study on the issue. Or the popular gang member-as-Godzilla stories make it too easy for our society to choose incarceration
over rehabilitation, meaning that countless,
pathetic drug addicts or unemployable
minority
hint of compassion
by
James Bernard
he
WHEN
animalistic. In fact,
interviewed
my
gang members
incarcerated in
Southern California,
was amazed
at
how
amid shocking tales of massive drug deals and ruthless violence, I saw a certain logic to their reactions to the choices dealt to them by society, choices that I, for one, have never had to face. During that week at the prison, I asked many questions some were incredibly naive and some were a little more informed. At one point, I was engaged in this long,
would change the funeral scene. They made it seem as if we didn't care about our homeboys. Then I would show the anger and the need," he said, echoing a refrain I heard a lot that week. Looking me dead in the eye, he glowered, "Man, you don't know hatred until you see your boy, your best friend, lying dead in the street. I hate them [Crips] worst than I hate the Ku Klux Klan. And you don't know hunger until you go to your nigga's house and see his folks eating leftover oatmeal for dinner." He's right: I don't know. I soon realized that his mood change wasn't because I was an idiot, but because no one had ever asked him about his opinion before. He has never had a chance to tell his own story
prior to our interview. It wasn't only him:
I'll
answered me.
more welfare mothers or young Black and Latino men had the opportunity to bumrush the show as whimsically as Reagan, Bush or anyone else in the opinionmaking apparatus.
In this light, these times continue to
companies or the FBI It's easy to overlook what this has meant, but I can't. When I
was
We hit it
X or
human
all
and called me "blood," a term of endearment usually reserved for other gang members (the Crips
apologized) a couple of times
call
each other
is,
"cuz").
I
members were during our discussions, how my illusions about them were shattered and how I wished that they had the opportunity to tell their stories
these gang
knew much about Black history. But Chuck D and KRS-One changed all that. I don't
even think
I
(and be proud
my own rage,
asked him about "Colors," the Dennis Hopper-directed, Sean Penn-starring movie. I asked, "What would you change about 'Colors,' if you had the chance?" Then, he got quiet. I thought that I had played myself in the worst way possible. The tie that I was wearing (so I would not be confused for an inmate in the event of a "disturbance" or "emergency")
That
until
more
often.
NWA
Telling one's
own
story
is
very
important in America. And not only in some artsy-fartsy way. Our political and
social culture is
changed all of that. More importantly, my younger peers do not have to go through
the confusion and pain that
I
experienced.
and narratives
eats,
who goes to jail and who gets the most desirable jobs. For example, Ronald
Reagan's oft-repeated tales of welfare mothers who buy steak and caviar with
seemed awfully
tight at the
moment, and
my armpits
Hip-hop tells our story. This storytelling is happening on a larger scale than I ever imagined. NWA shot to number one on the pop charts, LL Cool J stayed in the top thirty for much of the year and other artists like Public Enemy, Ice Cube, Yo-Yo and Digital
tall Black stood in the cockpit with trouble if you don't give us any," the Black
The
man
a cocked gun
man
in his hand. He aimed it at the back stated harshly. From the way the man had spokt\
softly.
"When we get
can bet
it
will
ground I'll personally let you knout, " Zeke replied, then smiled. "Wherevt be where a Black man is treated like a man. Yes indeed! It's goin' sure 'nuffbe when
off the
c^ THE SOURCE
SEPTEMBER 1991
A Shudder
Underground charted very
juggernaut
is
well.
And
this
Through The
Halls of Justice
Thurgood Marshall, the
first
from
it:
coming out this year alone, more Black films than in the entire decade before. With cinematic successes of New Jack City, The Straight Outta Brooklyn and Boyz being broadcast to Hood, a Black vision is all of America like never before. Yes, people
directors
said the
filmmakers didn't entrench themselves institutionally like Spike Lee, Matty Rich
In
my
Interest and,
I
We
skipped
hear from these artists for at least four or five years because of the production deals
that they are signing today. This, of course,
what
horrible
is
resembling
reality.
ever.
Knowledge Productions, what Eazy E has done with Ruthless and what Hammer (yes, Hammer) has done with Bust It
Productions
institutionalize,
is
rabid assault
institutionalize, institutionalize.
rights in the
name
The
picture
not as rosy as
suggest.
Michigan to lock
away
with a
was very
high.
Women
I
And
He needed
help, not a
life
same
level of
mass-
produced activity other than Todd Haynes' Poison and the much-discussed Thelma and
Louise
when sentencing
from
seems
itself.
hell-
For over forty years, Thurgood Marshall has been the leading
Bank Take
Little
Bank
crusader for
you should check out) or novelist similar to the giants of the great Harlem Renaissance of the 1930's like Langston Hughes and Zora Neale Hurston. Just by speaking up, the Hip-Hop Generation cannot be ignored. Though we've already had a huge impact on thic culture, we've only yet begun. Our generation has great promise. We have many stories to tell and many debates to spark. It's too late to turn back; our lives, hopes and dreams depend on our ability to be heard.
the moral conscience of the legal world. As the chief counsel of the
v.
Board of Education
In
1954 and
first
Marshall Injected a bit of street knowledge into his opinions, making sure
that nobody forgets that real people's lives should matter In the often-
by his
the co-pilot's head. "It ivon't be any the pilots kneiv he meant business.
ve go," Zeke said offhandedly, "you
trail
of
his
Unfortunately,
we could
lose
sweep
Black
future
we must
prepare
JAMES BERNARD
THE SOURCE
SEPTEMBER 1991
ON THE VIDEO
TIP
hidden away in
But
for
by Captain Video
Ruza Blue,
I'd
INSIDE
the Gold Vaults of
"sometimes
night and
walk
on a Friday
Treacherous Three, Afrika Bambaataa and Jazzy Jay, which seems even doper now because of its TV format coming off more like
"Soul Train" than the South Bronx. There's
have to pinch myself that's how unbelievable the energy level and the people
I'd
Rap Video
The early days
of breakdancing, rapping, and
graffiti
documentary on the evolution of graffiti co-produced by Henry Chalfonte and Tony Silver under a grant from the National Endowment For The Arts. Also, in
"Style Wars," a
Such was the drawing power of rap for Michael Holman, whose first exposure to hip-hop came in the subway as he watched the
evolution of graffiti from half-car to full car to
D J Kool
Here
scratching,
parties on Sedgewick
original
and home movies of his first Avenue with the b-boys Clark Kent and Wallace
way to his Wall Street job. Curious about who was creating this, Holman managed to track down Fab Five Freddie after reading a blurb about him in the Village Voice. Freddie, in turn, invited Holman down to a
full
train on the
performance by the
at
have become
Dee. And many remember "Wild Style," the 1984 feature documentary co-produced by Charlie Ahearn and Blondie's Chris Stein, starring Fab Five Freddie and Busy Bee, and featuring performances by the Cold
The Kitchen, a performance art space in lower Manhattan. Impressed by what he saw, Holman soon quit his job and began managing the New York City Breakers. Along the way,
he also made films of such historic events as
Hip-Hop folklore.
Crush Brothers and Grandmaster Flash. And for the TV buffs, there's "Rapping To The
Beat," a 1981 piece that appeared on ABC's
Bambaataa's Zulu Nation gatherings at Bronx River Houses, an awesome battle between Dynamic Breakers and the Rock Steady Crew at Lincoln Center in 1980, and a
series of parties at a small
and was produced by Danny Schecter, who later became involved with the show "South Africa Now." In addition to
show
"20/20,"
downtown
many
it
of his peers,
Holman
legend
live on.
an in-the-studio look at the recording of the song "Showdown" a battle between the Sugar Hill Gang and The Furious Five the piece features a performance by the Funky Four Plus One at a giant rap show in Harlem, and it examines the origins of rap, its educational uses in the classroom, and the
came
in 1984
when plans
show
fell
apart as a
demanded an under-the-table
first
cash payment.
"When I was
involved in rap
it
seemed
Barely
those
more than
fifteen
is
fear with which rap is perceived by middleAmerica. Remember: this was in 1981.
experiencing a wave of
nostalgia that
is
graffiti writers
and
putting
breakdancers they documented, the early chroniclers of rap weren't in it for the money.
and musical
selections
who want a
Old School
movies,
real
flavor, it is the
documentaries,
home
news reports and specials that are the gems in the gold vaults of rap video.
it
Most were coming to rap from another place and culture and many were white. For some, the attraction was the sheer "bugginess" of the music and the mixes which at that time might swing at any given moment from the "Andy Griffith" theme song, to James Brown, to The Incredible Bongo Band. For others, like Steven Hager (now editor of High Times Magazine), it was "the challenge of documenting a culture which had been evolving for over ten years, but which was
virtually ignored by the media." In 1984,
between then and now. "These days it seems like rappers are coming out with samples that are designed to appeal to white middle class kids in Scarsdale." And bringing up a point of
view expressed by several people interviewed for this story, Danny Schecter says, "I have a
problem with some of the social values that are conveyed in rap nowadays. A lot of people are posers they have the fire and brimstone,
it
takes to
movement
that
is
capable
them and see immediately, wow, these people and places actually did exist and this is what they looked
like."
Recently
Neukum gave
viewers a taste
for the
MTVs "Rapumentary
most
Hager changed that with his book Hip Hop: The Illustrated History of Break Dancing, Rap Music and Graffiti (St. Martin's Press), which remains to this day one of the most
historically accurate books
Part
II,"
on the subject.
THE SOURCE
SEPTEMBER 1991
w
icrophone
Check
BR ONJ>
Tim Dog
lightmare
On
Webster Avenue
by Reginald C. Dennis
t
I
Hli HE SOUTH
BRONX.
What do you have to say about the attention that the West Coast has been getting lately? As far as creativity is concerned we all know that the East Coast really kicks ass. Not to say that the West isn't creative, but
as
far
member
of the Ultra-
^^^^
to bring the
_^^H
His mission:
It's not like you don't have skills on the mic. You don't really need to make dis records. Why lower yourself to gimmicks? You got groups like NWA who use stupid,
His
first
and Bronx back to the realm of rap. release "Fuck Compton" is nothing
old loops
and
just
come
as
NWA
fuck
is
my
hang on the
they
they...
lyrical tip.
Compared
is
to
me
but
ain't shit.
Not
it,
to say they're
wack
Queens
it's
the
South Bronx
wack. The muhfukas don't have any kind of lyrical skills, they just pop this unrealistic shit
they
aw
and they blow up. If you really think about it, it's doing something to rap. NWA has been out for three years and they still talkin' about the same shit. I'm not just tryin to dis NWA I'm not on their dick like
that
in
I
all
I'm dissin'
I
of this bullshit
in
the
listened to their
new
industry.
got a song on
my album
like
called
not "Fuck
Compton?"
it's all
simple,
them muhfukas
think
about them
industry
when
talk
is
about
is
shootin
that disses
ridiculous.
Kid-N-Play,
it's
not.
in
They
think
when they're
it
the rap
not.
And they
they got
'em.
goin'
don't always agree with them but I think they make good records. I'm not dissin' them just to be dissin' them.
skills?
I
..all these commercial rappers who just get on the mic and talk and because they got polka
Vanilla Ice.
bullshit
in
their hair or
have crazy
what
I'm against.
Isn't
I'm doin'
it
so people out
in
to cause some static and make hard for you to perform in LA?
I'm not the least bit
Oklahoma
where they be
Chicago and
sayin'
talk
about
can know
it
NWA
is
concerned about doin' shows out there because Compton ain't the hardest neighborhood in LA. I've had friends in South Central say to me, "Thank God you did that record," because they can't even get their props, or get recording deals because you got bullshit, stupid A&R people at record companies who think that
is
dis a brother
and make
If
it
when
you
Compton
signing
all
is
these groups who are supposedly from Compton. Not only do have no worries about doing shows in LA, have no fear. I'm straight from the streets,
I
muhfukas can't get recording deals because of muhfukas like NWA. You got muhfukas that want to sign you just because you from Compton. You got bullshit groups out like Compton's Most Wanted, and DJ Quik, who got this gigantic jherri curl wig on, big pit bull nose havin' muhfukah who can't rhyme for shit comin' out sellin records because he saying he's born and raised in Compton. If that's the
case,
man he's gonna know Dre is, he's gonna be quiet about mean he beat Dee [Barnes, the host of "Pump Up"] up because she had Ice Cube on the show that shows you what kind of pussy he
dis his
girl.
he's a real
like
I
respond.
If
he's pussy
it.
if
It
is.
speak
on the matter?
If
Dre
Dee
who
is
woman
like
is
a positive role
people
nigga
cool, then
who
Compton?
like
"D." Tim
like that.
D-O-G
If
in
my
want
to bring
back
lyrical
texture to rap.
on
his
ass
this...
come and
get some.
THE SOURCE
SEPTEMBER 1991
REGIONAL REPORT
the mic and showed us what they got. I was watching "Donahue" recently to see
New York
BY COLONEL EARL
lately. There is no club out right now that has much-desired achieved the combination of playing the dopest jams, providing a secure atmosphere, and promoting the mating habits of the human species. The weekly jam Daddy's House has been the party coming closest to achieving
show on female rap artists, featuring guests MC Lyte, Bytches With Problems, Yo-Yo, Harmony, and Jazzy Joyce at the turntables. The show started off like the typical talk show that's doing its "groundbreaking" story on rap Donahue
his
The
NYC
crazy
down low
these requirements, yet as of late this event has had to deal with fights and unfriendly
police task forces.
phase that New York year at this time is going through, but kicked ass with Powerhouse having the lock on Thursday, Friday and Saturday nights. Presently, the choices for a good time are not that obvious and there is nothing really to convince all your boys to roll. Things will hopefully heat up for the New Music Seminar
Maybe
this is just a
last
asking the basic introductory type questions, and the same old dumb questions coming from audience members who just want to get on camera. Despite these drawbacks I admit I do feel pride when the non hip-hop culture gets exposed to a music that is the most progressive out right now. That's why it was so frustrating to see certain guests getting into a verbal battle about the virtues of Black womanhood on national television. I'm not judging who's right or wrong, I am just complaining about the final effect this has on the overall image that legitimate rap portrays. Whatever the disagreements were, this was definitely not the proper forum to air them. "Colonel" Earl Scott is an A&R manager
at
Cube (no more jheri curl), DJ Alladin, Crazy Toons, the Loc Tribe and many others. Also performing at the U.N. were Main Source and Son of Bazerk. While Son of Bazerk was in town, he got extra busy all over town, promoting his new MCA/SOUL album. He did performances at Fantasia and Jamaica House as well as a booming listening party complete with soul food, a James Brown impersonator and a live performance by S.O.B. Other local groups hitting wax include African Unity on A&M/TABU. Their first track, "I Love The Way You Make Me Feel,
is
a dope little new jack type groove. On their LP, expect more diverse material including
more underground material as well as some reggae-flavored tracks. Also just out on Qwest
Records is the Poet Society's first single "Catastrophe." This local LA. group is hooked
up with Snoopy (a.k.a. Quincy D) and has been tearing up shows lately. Kev's stage presence and an always creative dance show
set the Poet Society's live
performance above
in mid-July.
One
was Boogie
Down
Production's
Central Park. The African/world music act named Blaze did a decent set to open up the show, but by the time KRS-One stepped to the mic there was no doubt who knew the rules. In the shining sun and 90+ degree heat, Kris, Willie D, Heather B and DJ Kenny Parker had the crowd jumping up and down to the BDP classics, and grooving to some cuts from the new album, Sex & Violence ("'cause that's what sells," Kris
explained).
Los Angeles
BYDJP
KRS
S.O.B.'s for his upcoming label called Edutainer Records (to be distributed by Elektra). The first release is an album called Civilization Vs. Technology by a conglomerate of artists known as H.E.A.L. (Human Education Against Lies). The first single is a star-studded affair called "Heal Yourself," and the stuff I heard was nothing to sleep on. Kool Moe Dee had a release party for his new album in the VIP room at Red Zone. The joint was jumping to the dopest hip-hop, there was an open bar and free food. No complaints
here.
scene, as well as
Hill
scheduled to drop science. Speaking of Cypress Hill, their new Columbia/Ruffhouse LP should be pumping on the streets now. The crazy street buzz on Cypress is well-warranted, with a hyper new
style. Picture
something
at the
like
Brand Nubian
Oakland native Too Short made the Ms. Melodie and the usual
crew of industry partygoers. Yo, I'm definitely down wit' the Flavor Unit's latest contribution to the hip-hop scene, Naughty By Nature (just out on Tommy Boy). They rocked shit at the new Thursday night Daddy's House. The Tommy
posse was in full effect Tom Silverman, Monica Lynch, Albee, Cathy, etc. Also, the Flavor Unit was loomin' kinda large Lakim Shabazz and Apache got on
Boy
many blunts, they go East LA. and make a really dope record. to Yo Holmes, know what I'm saying? Also on Columbia and stirring up a lot of controversy in Cali is Tim Dog (of Ultramagnetic M.C.s fame) with his new record "Fuck Compton," where Tim Dog proceeds to dis N.W.A, Michel'le, Ice Cube and the whole city of Compton. Any plans for a promotional trip to Cali soon? On the promotional tip, Tommy Boy group
After a few forty's and
to
town and
ripped their show at the United Nations. Treach showed the skills Head rapper that got him his record deal, igniting a
MC
THE SOURCE
SEPTEMBER 1991
many
local crews.
The Poet
Society's dancers
Jump
and Jazzy
tip.
Shane
all
Mooney
L.A.
(Jump)
is
over
and Malik Levy (Jazzy) has been named of Black Promotion for Quality Records. Quality is stepping up and showing an increased interest in hip-hop with Malik on staff and
HOP NATION:
CALLED TO ORDER TO
Head
WE ARE
CLOCKWISE
Lighter Shade of
Brown.
On
Eight
tip,
L.A.
band Section
Latifah rips the mic for Jamal- Ski and fans at DJ P's spot "Brass," in
group of young Black and South Central ain't no joke. Latino kids from Also on the multi-racial funk band tip, we have L.A. homeboys Fade 2 Black. The group's leader, rapper Fade, looks like a P.L.O. terrorist ready to hijack your plane or sell you a Slurpee. Any crazy stunt will do; he has come out rapping
J.B.'s of the 90's, this
AND ELSEWHERE ACROSS THE COUNTRY IS IN DANGER OF BECOMING EXTINCT AND "THE SAFE & POSITIVE HIP-HOP CLUB" IS VIRTUALLY NONEXISTANT. WE CANNOT AFFORD TO LET THIS HAPPEN THE RESTRICTION OF RAP MUSIC ON RADIO IS BAD ENOUGH, BUT FOR IT TO CEASE IN NITECLUBS WOULD BE INSUFFERABLE. THERE WOULD BE NO OUTLET FOR OUR D.J.'S AND LIVE PERFORMERS, AND NO WAY FOR OUR PEOPLE TO ENJOY THEM.
Too Short, Blackwatch's Pam and Harmony, Kangol, Ms.Melodie and D-Nice celebrate with Kool Moe Dee at his release party, Red Zone, NYC. PHOTO: AL PEREIRA
Isis,
was
booty.) But,
in
funky.
photo: al pereira
DJ P
(Paul Stewart)
is
an independent, street-level promotion and management company. Reach him at 715 N. Gardner / Los Angeles, CA 90046 or fax him at
(213) 653-1019.
Jarobi and Richie Rich chillin' at Daddy's House, NYC. PHOTO: ricardo
"FISH"
NAAR
WE CREATED
DADDY'S HOUSE AT THE RED ZONE IN NYC TO FEED THE SOUL OF THE HIPHOP NATION. WE ALSO SET THE STANDARD FOR ALL HIP-
HOP CLUBS TO COME. WE MADE RULES: ALL ARE COME WELCOME, BUT
FOREMOST ARE OUR CONCERNS. IN THE PAST SOME IGNORANT ATTEMPTS HAVE BEEN MADE TO SABOTAGE OUR SACRED
MEETING PLACES.
IF
WE FUCK
THIS LETTER
PUFF DADDY
JESSICA ROESENBLUM
ALL THAT PRODUCTIONS
BRAT ENTERTAINMENT
THE SOURCE
SEPTEMBER 1991
Detroit
BY CHEEKS AND JEFF WOODS
Breed's making noise with "Ain't No Future In Your Frontin'" off the self-titled album on the Ichiban Label. Other slammin' cuts are "Just Kickin' It" and "Better Terms." Detroit Records is a new label that's stepped on the scene with a release entitled "Detroit Is Back." Throwing on the cut are T-Bone and the Taxman, CST, Kool Sweet Terry, A.K.D. and Double D., and it's produced by William Lundy. G.B.K.'s gettin' busy with their release "Straight Off 7 Mile" on Raw Dog Records. Triplex is set to go on a promotional tour to push their album, Guilty Until Proven Innocent, any day now. is a new hip-hop/doo-wop group out of Lansing, MI, who are about to sign with a major label. The battle of the underground crews is on: The "Give Me That Motherfuckin' Mic" Showdown is set for early September. We'll keep you posted. Unsigned hype spotlight goes to Jeopardy, two dope female MCs whose tags are Shady D and Reesee. They're flowing with a hip-hop/house
Bay Area
BY BILLY JAM
is what natives call the Northern Sac-town (Sacramento), the state capitol, and Davis, a neighboring college town. DJ Zen at Davis' KDVS is a major supporter of the healthy local rap scene which has spawned names such as Homicide, Fonke Socialistiks, King Royal D, Royal Mixxers, Techni-Crew and Asiatic Apostles. The main obstacles facing these artists, he says, is "the lack of a real viable club scene" coupled with commercial radio's reluctance to get behind rap. Despite all of this resistance, crews such as Davis' promising Asiatic Apostles (AA) continue to surface. What makes AA unique is that they are one of the nation's few Asian rap groups. "We plan to be the Public Enemy for Asians," predicts D. Yee of the trio whose slammin' demo tape's songs are "based on the history of Asian Americans. They deal with issues like the glass ceiling concept and the model minority concept," he says of the songs like "Man In The Mirror" and "All I Need Is Me" which present the "Asian agenda," one that tackles racism and stereotyping. You can contact AA's Minister
MC
home
to
UNV
demo
It,"
that works. Pick hits are "Anyway You Want "Midnight Moan" and the lovely "I'm Looking
For Doctor Feel Good," a cut that's beyond scandalous. As always, any label interested in doing a compilation album featuring Detroit artists, call the Raw Edge at the number below. Contact the Super Promoters, Jeff Woods at (51 7) 321-0132 or Keith Harvard at (313) 885-2977.
Cheeks is Editor of Da Raw Edge, a regional mag. Contact her at (313) 886-1036 or send product to
P.O.
Meanwhile, in Oakland, the rapper to look out for is Seag whose freestylin' abilities caught the attention of the Geto Boys, who invited him down to Houston to join Willie D and Scarface on the debut by Gangster Nip. They returned the favor by appearing on a forthcoming Seag release. In the meantime, check out his impressive debut on True Black Records (415/839-3687) in which he and his SNV crew,
Box 43721,
Detroit,
MI 48243.
CONT.
London
BY BEN SMITH
DJ Lay Law, present their dope style on cut such as "The Dark Road," which heavily samples "The Message" plus sound bites from the 1970s Oakland-based movie, "The Mack." On the slow, smokin' "Straight Mobbin'," Seag shows off what best distinguishes him: his ability to rhyme effortlessly in pig Latin, something oddly missing since Frankie Smith's classic "Double Dutch Bus." While double-Dutch is Seag's forte, straight-ahead Dutch is Upstair's native tongue. Born and raised in Rotterdam, Holland, this San Francisco rapper has travelled throughout Spain, Suriname and Asia. While he raps
featuring
strictly in English, his diverse
The Black Radical MK. II's long-awaited, debut LP, The Undiluted Truth (Mango) is undoubtedly the most militant and politically aware British rap album yet released. This is some intense, no sell-out, supa-fonky shit. Inspired by the work of Malcolm X and the music of PE, the Radical explores issues like separatism, racism and misogyny, which few UK rappers have touched upon in such depth. The Radical's harsh voice tends to dominate but The Undiluted Truth is musically, as well as lyrically, tight with influences ranging from rock to ragga. Be sure to check out the stand-out tracks like "Ingland Is A Bitch," "My Radix Point" and "Sumarli." Son of Noise, an off-shoot of the top underground crew Hardnoise, are the latest signing to Music of Life records with a slammin' tune called "111 Justice." Over an infectious, haunting horn sample and a dope beat, an anonymous rapper takes no shorts, dissing other British rappers, major record labels and radio DJs who've sold out. In a more laid-back style are Dodge City Productions, yet another group to emerge from the vibrant London jazz scene which has already spawned the likes of the Brand New Heavies and the Young Disciples. On their impressive self-produced debut single, "Ain't Goin' For That" (4th & B'way), rappers Dodge and I.G. attack racism over a mellow, jazzy groove complete with guest vocals from Jhelisa Anderson. And listen out for more hype material from Dodge City such as "Come On People" and "New School Poetry." Ben Smith
product
to
musical influences run the gamut from pop and reggae dancehall to Pakistani ragga. On his richlyproduced, mid-tempo "Moving Upstairs" (Oxygen: 415/465-9807), you'll even hear a Spandau Ballet sample. Finally, a special shout-out to Twist for the San Jose's
MC
Beat) in which, over a back beat, he replays some really upsetting outgoing messages from racist groups
such as
"I recorded it to make people aware of this kind of underground stuff," he said of this disturbing cut which gives out actual numbers for you to call yourself to see just how fucked up some people still
Resistance).
are in 1991.
Billy
Jam
is
an
Irish-born,
a freelance rap journalist working in London. Send all British and American 60 Gloucester Crescent, London NW1 7EG. Or fax him at 071-482-7220.
is
based journalist,
DJ and VJ.
OaklandReach
him
at (415) 658-4293.
THE SOURCE
AUGUST 1991
'
d'9/>
COLD FRONT
Rap compilation
The storm has arrived - 12 slammin artists - 12 slammin tracks!
'
KISH*SONYAUVETOP SECRET
in stor&s
Available on Cassette,
now!
Disc,
Compact
and Vinyl LP
Reg TM
RECORDS
MAKIN'
For
IT
HAPPEN
in
Toronto
Fax (416)
532-9545
CROSSOVER
"Why do you need
Brothers
From Another Planet
by
something to
describe
it?"
Kim Green
asks Don,
"It's just
music."
DEFINITION OF SOUND
and "hardcore" have no and rhythmic are more like it. Love and Life: A Journey With The Chameleons, Definition of Sound's debut album, is music made by rappers. With the relentlessness of rap's strong beats and heady messages accented by formal song writing and soul vocals, the album is orchestral magic. The key
"hype,"
place here. Melodic, poetic
to Definition of
To
discuss Definition Of Sound, I had to acquire a new vocabulary. The handiest superlatives used to
praise rap music like "dope,"
Sound,
is
The
11 -track
album borders on
R&B
at
same
the problem of not being able to accept different forms of music. If Black music
stations aren't picking us up,
it?"
it
England's inner-city landscape, the subtle yet crucial differences between Black Americans and the Black British become suddenly apparent.
Definition of Sound
is
always stubbornly maintains its rap power. vocal presence of songstress, Elaine Vessell, brings yet another Black, British
will
hurt us."
describe
The
Her
sultry renderings
On
Kevwon, whose name was tailor-made for American accents to pronounce "Kev-1." Kevwon and The Don, both of West Indian descent, grew up in government subsidized housing at the outskirts of London. "We grew up listening to Sam Cooke and Nat King Cole and whatever our parents were listening to on the radio, but on our own we listened to 'nuff reggae," explains The Don. With a voracious love for American rap, Kevwon cites Bambaataa, Doug E. Fresh, Run DMC, Puba Maxwell and Tragedy as some of his
favorites. Oddly, those musical syles are not
asks Don, "It's just music. Black people invented rock and roll, they've got to wake up and start reclaiming it. There's hardly any music that doesn't have a Black base." Kevwon adds, "We come over here, it's Black
stations,
present in DOS' music, only in their manner and speech. "Coming from an English perspective, we just make the music we like. I don't think our sound is completely a definable one, because we use so many different influences," says Kevwon. "Love and Life..." illustrates interior landscapes. An album devoid of harsh allusions to street life, it is equally compelling with its exploratory questioning of self esteem, hope and the duo's seeming
obesession: categorization. Insightful lyrics
like,
such egoists that we can't her do her thing," says Kevwon. Musical ears wil savor "Now Is Tomorrow," "Passion and Pain," "City Lights" and the reggae-rockin' "Reality." College-radio-aimed "Wear Your Love Like Heaven" and the psychadelic "Maura Jane's Cafe" are strange at first, but Definition of Sound even manages to wring the soul out of these crazy guitar-riffed, retro-rock tracks. Serious rap connoisseurs will favor the agile rapping and insightful lyricism of "Reality," "Rise Like The Sun," "Change," and "Time Is
ego, but we're not
let
concept.
It's
is so embedded in the society over here. musical apartheid. In the hypnotic "Rise Like The Sun," Kevwon raps: "To categorize should only emphasize/Your ignorance is not being able to realize/ My potential as an essential, better yet integral part of a plan that is global." D.O.S. is the beginning of rap's latest
It's
move
reincarnation; an
all
encompassing sound
Running Out."
America's format-intense radio
and
for
programming make it nearly impossible for D.O.S and Love and Life to find a suitable place in this land. American rap afficianados
will be
them creating
scenic reality
is
this
versatility of a
however,
is
D.O.S. sound breathes with jazzy riffs, reggae rhythms and the soul of Elaine Vessell. Their lyrics range from dreamy esoteric poems like in "Dream Girl," to the hard hitting science of "Change": "Just listen.
is
out/
Who
would believe these lyrics could ever come out of my mouth/ In this lifetime, anything
can be
done... all
I
in
America has
ask
is
little bit
of
to
make
it
worth
livin'/ it's
New York,
it's
not on
BLS
or
change."
That'll be the
KISS, so it's not being pushed to the Black community," explains Kevwon. "America has
define sound
is
none.
THE SOURCE
SEPTEMBER 1991
(A
s s
5?
X
9
(D
(0 0)
TOE SOURCE
SEPTEMBER 1991
ISHrciHI
EPMD
Parrish desert red 1989 Mercedes Benz 560 SEC approx. cost: $86,000 black onyx 1991 convertible Corvette ZR1 approx. cost: $60,000
-
Erick
J^
midnTigf
les'
Benz 300E
mm MB
was
o
*
ne time
me
in the
I
and shit
about to
felt like I
I'll
was
fly.
never do
mW far
::.:.^j
'
'
'
....
->,
W"
>{
.l
%.
SBSW~3I
r*%
'A
^
a
Eazy E
appr
cost: $81,000
ICET
black 1990 convertible Porsche 930 Turbo approx. value: $98,000
red 1989 Ferrari Mondial approx. value: $140,000
silver
Wjust bought this car after my 1990 750 got totalled. It's an eye catcher. As long as I've ten driving this one, I've seen only four others on the road. I like everything about this car."
9
d* m
w
'
m
4
to have cars if you're playing, that's part of the game. Plus, I'm richer than a
^^B^
motherfucker, so
you don't like it you can suck my dick. I got a gang of cars. I got Range Rovers and an off-shore boat. I had a lot of this
if
shit before
game
TONE-LOC
silver
lBlm^Fi here are no great Lw stories with this car. mm This is not my 'story car.' I've had this car for three years and it is well-known, even if I'm not in it. Everybody knows whose car this is. I feel sorry for anybody that steals this car because they'll probably get beat up by strangers. It's just a little Benz. I drive this car like a bumper car I run into shit ail the time in it like it's a Pinto or something. Just a little Benz."
^^--Hr
",
r
-
Y
.
'
J
....
_..
'
DMC
$ni
midnight black 1987 Chevy Blazer 4X4 approx. cost: $25,000 nickname: "Big Black Blazer"
//i
f.
he truck
represents
tor,
my boys call
Nigga." And
x
ie
A
*
souped tip, body^L n fuck around -ith'tiiy em. You nn <jo (o',i tub and
l
they'll
irf^,
Jb<^
HO til
.ipd
'
front .in
fcJ^
<j.ifmr .iron
system.
ibout
life.
I
E*{i*r,y
thing
me
is Uir*%pr ttoii
Wk
m
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.jJMto
eneray.
7
f^"W :
.
v--
-"
HEAVY D
white 1991 Toyota Land
Cruiser approx. cost: $35,000
nickname: Monsta
PETE NICE
525i iceland green 1990 approx. cost: $38,000
BMW
towed two weeks ago, and I offered the person, this woman, a box of KMD records, a box of KMD t-shirts, like lOO t-shirts, $400 cash, and a Def Jam jacket, a brand new Def Jam jacket. And she turned it all down. She was like 'I towed Run-DMC and them, I towed KRS, and now I'm
it
'got
tf
'cause
it's
me. I had a vision of how I wanted to hook it up and I did itgot the
rims, got the tires, got the system, and painted it all white. When I'm riding around, nobody knows what it is, everybody has to ask me, what
is
different, nobody has it. It's big, it's roomy, it's fits
that?"
*H0T0 CREDITS: ALICE ARNOLD: HEAVY D MICHAEL BENABIB: EPMD !UE KWON: PETE NICE MICHAEL MILLER: EAZY E & ICE T SHAWN /IORTENSEN: TONE LOC DAVID PEREZ: DMC
RECORD REPORT
albums
Of The
New School
Rating: 4
adolescence and high school. From the problems of growing up ("Too Much On My
Mind"),
girls
extra push.
jazz,
must be hard to
immediately to last month's "15 musthave albums" and replace the one you didn't like with the long-awaited debut from the Leaders Of The New School. Although they
Go
call
themselves "new school" there is something different going on here. The sound is like an old school group but with new school
sensibilities.
in
as Busta Rhymes, Charlie Brown, and Dinco D flip lyrics at such an uncontrollable frenzy that at times it seems like this will be the last rap record ever made. Remember how those old Sugarhill 12-inches sounded like they were recorded in the middle of a party? This record delivers that long missing ingredient in these days of serious rap. From the first cut, "Case of the PTA" to the shoutouts, this album is a romp through
(Transformers"), to getting your first car ("Sobb Story"), the lords over nonsense show why they are a modern day version of the Furious Five. Except for one or two spots, this album jumps out of the box and forces you to keep up, especially on "Pinnochio's Theory," "Transformers," and "My Ding A-Ling." But with "Sound Of The Zeekers" the Leaders go for broke and show more flavor than Baskin & Robbins. This cut has more energy than every high school cafeteria, pep rally and school bus trip that you will ever experience. Musically, the leaders have stacked the deck in their favor. Not only are they involved with the production themselves (at times
outstanding), but they enlist the likes of Eric
make a track that can tame the bursting energy of the Leaders, but the job gets done as all the tracks get bumrushed like a substitute teacher. Much respect to the producers for their ability to come up with such original and refreshing beats. More than just a group, L.O.N.S. is a throwback to an era when brothers with golden voices and hearts of steel preformed live on stage without the benefit of prerecorded backing tracks. If you saw the video for "PTA" you know why they're the hardest working band in hip-hop who put on an incredible live show. You'd be wise to do the "east coast stomp" to your local record store and pick this one up. Don't worry about a late
pass.
"Vietnam" Sadler, Backspin (the vibe chemist), and the SD50's when they need that
REGINALD
C.
DENNIS
co-stars
in
jams, "Doin'
Good For Yourself" and the swingin' "718 Kit." Nice & Smooth contribute
show
"
I
Slick Rick's
->
-*
influenced track
"Small Thing."
On
the
Livin
Deff
Large
Rating: 3
r^Sfci nSti
"UMlju
smooth tip, Alyson Williams belts out the lovely notes on "She's Not Your Fool." For the hardcore heads, Downtown Science freaks a James Brown horn loop on "If Was" and Terminator X chips in with "The Blues," featuring Andreas 13 kicking lyrics about hard times while Terminator scratches a Kool & the
I
Gang horn
break.
Me" by
the The Famlee (produced by Jam Master Jay), and a surprising collaboration between jazz
great Herbie
this effort. In the
frfrfr
TOTALLY WACK
The soundtrack for the comedy Livin' Large offers a good mix of talent from the rap, R&B, and dance realms. The Jungle Brothers make their return to the scene (Afrika Baby Bam also
Hancock and The Don round out swarm of Hip-Hop related movies primed for release, this soundtrack
shouldn't disappoint.
ATCO
THE SOURCE
SEPTEMBER 1991
fat.
N The Hood
Qwest/WB Records
Production: various Rating: 3.5
The soundtrack
good job
of
Boyz
Coast hip-hop as well as including some East Coast noise. Things are rounded out by some smooth R&B. This record is worth buying for side one alone. The album kicks off with Ice Cube's contribution, "How To Survive In South Central," with Cube and the Lench Mob playing the role of tour guides on the dark side, over a dope track. Next up, sample some slamming New Jack flavor on "Just Ask Me To," with Tevin Cambell on vocals, Al B Sure as producer, and Chubb Rock rippin the mic as the obligatory guest rapper. Yo-Yo's slamming "Mama Don't Take No Mess" and Compton's Most Wanted "Growin Up In The Hood" are followed by "Friendly Game Of Baseball" the
incredible metaphoric sermon on police brutality from the Main Source's classic debut, Breakin' Atoms. At this point you will probably need to catch your breath, and Tony! Toni! Tone! let you mellow out with a sweet slow jam entitled "Me and You." After the break, Monie
ATL became one of the most slept upon groups of 1990. Even with Dr. Dre going all out on production and firm backing by the rest of the roof-less niggaz of NWA, the group found themselves unable to duplicate the nationwide success of their boys. In '91 they seek to change that. This time out ATL gives us a sample of the flavor they will kick on their upcoming album with an EP that sports 6 new cuts as well as remixes of last years "Livin Like Hustlers." But unlike last year, the production does not always live up to expectations. Cuts like "Play Your Game" and "Dose Of The Mega Flex" rely too much on ATL's player reputation and not enough on solid musical production. The main themes pimps, ho's and mackin' get a little boring at times and do not showcase their abilities. But where those songs disappoint, cuts like "4 The Funk Of It" and "Wicked" show the talent that ATL is capable of. Both the subject matter (ghetto insight) and the production on these songs are both on target and well worth the price of the record. On "4 The Funk Of It" Cold 187um kicks it with a rapid flavor that has him sounding like a mix between Bootsy Collins and Curtis Mayfield. And with the smooth talking KMG accompanying him, no shorts are taken especially on "Wicked." "It's like roll on, roll on, row your ass up a river/ Behind bars you know its just us niggaz/ Niggaz who strived to survive but they fucked up/ Some of us stayed down, but others they lucked up/ But don't step on number two to become number one/ lay the path for others that come..." This song is definitely bumpin',
Instead,
melody show why he's one of the best (and most slept on) producers in rap. Whatever mood is needed, he creates it from the
"Down To Science" (which uses the familiar "Headhunters" riff). The music avoids rap cliches and dares to be different. Some songs have "the noise," while others have a smooth "cold chillin" feel to them. The beats provide a solid foundation for whatever else is being placed on the track. Bosco Money has an indescribable rhyme style his cerebral, free-form rap has never really been done before. Bosco drops concepts for deep thinkers, then leaps into a bboy gangsta state of mind assuring that everyone is satisfied. Make sure to check out
quart-guzzling nuances of
MC
and the
It's
lyrically
DS
to standard
groups and trends in rap, because they're definitely on their own mission. But they attempt to include something for everyone. There are all kinds of tracks on it (hard, mellow, sparse or crowded) and the lyrics are often thought-provoking. For those who want
to experience a
new view
in
rap,
DS
is
worth
checking out.
RONIN RO
Compton's Most
The EP
moments, but
is
it
Wanted
Straight Check'n
Production: DJ Slip,
e
It
Out"
which leaves no doubt that she is the world's fastest female MC. Side two is somewhat weaker, but features new tracks from Too Short, 2 Live crew, and
year's effort. Keep an ear open for the album. In light of the success that LA rappers like Ice have enjoyed, let's Cube, DJ Quik and hope ATL doesn't get lost in the mix.
Em
Orpheus/Epic
NWA
Unknown DJ
Rating: 3.5
CKK i
While
REGINALD
C.
DENNIS
more R&B from Qu\ncy Jones, Hi-Five and Force One Network. All in all, this album is a diverse collection featuring many flavors to
please anyone Black music.
who
SMOOTH
a lot of groups are claiming to be "gangstas" these days, most of them couldn't hang if you put 'em on a meat hook. Compton's Most Wanted are not in this category. Sure, they're gangstas and all that, unlike other groups but there's a difference they deliver their lyrics with a little more
thought.
Eiht huffs and puffs on some cuts, but appears to be a conscientious brother who ultimately refuses to glorify Black on Black crime. He's not locked into that "bitch/ho/kill your brother" attitude. Instead he discusses it to instigate change. He delivers his lyrics in a manner that's smooth like Rakim, and hard like Cube. The instrumentals range from classic "Quiet Storm" smooth, to hardcore, and show versatility. The production by DJ Slip and the Unknown DJ earns props, as the two throw in transforming smooth anything they can find riffs into an aural battle zone. The well-chosen samples compliment the tracks, and echo the lyrical messages. Their "intro" starts things off with enormous beats, jazzy riffs and numerous sound-bites from recent West coast rap releases (including their first album). "Still Gafflin'" uses Kane's break (from "Smooth Operator"), and compares the L.A.P.D to the
MC
overall
Downtown Science
Downtown Science
Def
Bosco Money and Sam Sever have a debut album that may be ahead of its time.
The music they make ranges from 80's synths to breakbeats, to jazz to other-worldly samples and live instruments. Sam (who provides the beats on most of the cuts) has been around the block a couple of times, and proves he ain't new to this by unleashing
wmm
Rating: 3
Last year when these brothers exploded out of the chamber with "Murder Rap" you'd have thought they would be major contenders.
some
Sam
THE SOURCE
SEPTEMBER 1991
Ku Klux Klan. He calls a harassing officer "The Grand Dragon" while denouncing gang violence. "Growin' Up In The Hood" (which is on the Boyz N Tha Hood soundtrack) is similar in tone (but not content) to Cube's "The
hit
Product." The riffs are smooth and the lyrics hard. "Straight Check'n 'Em" (the title
is
track)
(LL), but
It's
samples the Kurtis Blow classic, but comes off on a totally different tip, telling the story of a basketball superstar who thought he could skip his education and ends up pushing a broom when he busts his knee. Another choice cut is "Get Bizzy", on which Greyson, Slick Rick, and yes, Vance Wright all rock the mic over a "Sex Machine"
loop. Vance Wright's production style is pretty simple and straight forward, and many of the samples will sound familiar, but the beats are consistently funky and will provide ample head bobs and booty shakes.
drum sounds.
takes time to dis little bit about who he is. "Drive-by Miss Daisy" uses the "papes" beat (from a Tribe Called Quest), but enhances it with improvisational piano playing, gunshots, screams and car screeches. On this cut, Eiht
Eiht
MC
SMOOTH
examines the mentality of a drive-by assassin, and shows he has a conscience by denouncing this form of hostile psychosis. "Can Kill It?" is a slow Isley Brothers groove that has Eiht
I
discussing
infidelity
with
one of
it
his
women.
It's
works. As a whole, the Straight Check'n 'Em album should appeal to listeners who want some well-thought out hardcore rap boomin' outta their decks.
Smooth
;i
RONIN RO
This past winter Def
dollar free
million
EPMD
Royal Flush
976 -Dope
Yo! Records Production: artist
and Nice & Smooth to the team. Combine that with the likes of LL, Third Bass, and PE and
EKE
Although they
Jersey, Royal Flush
originally
is
Rating: 3
you've got the strongest starting five in the league. With "Hip Hop Junkies," Nice & Smooth have put up their first jumpshot and they have definitely scored. Greg Nice and Smooth B trade off rhymes
old pros with their signature style Greg Nice comes loud and direct while Smooth B creates intricate verses with a mellow tone. On "Hip Hop Junkies," Nice & Smooth combine a hard beat with some smooth harmonies sung by Pure Blend (they sang on "Funky For You") while verbal ballistics are dropped. The "Bedford Park Mix" is the mix to peep on this joint. The mix uses some piano notes and guitar licks laid over the "Substitution" beat to instantly make your head nod. The "Spanish Fly Mix" uses the same track while Nice and &
like
Me Wet
Records
duo born out of the exploding Texas rap scene. With the Geto Boys and O.G. Style currently occupying the spotlight in Texas, these brothers are
a rap
Atlantic
determined to make some noize in '91 Royal Flush came off hard on the mic with a full shuffled deck of fonke tracks and lyrics that
provide a solid production for the duo to
ill
on.
On
NWA
Smooth
In
flip lyrics in is
Spanish.
a can't miss jam with beats
best example is the title track, "976-DOPE," a slammin' track that pulsates with a funky bassdrum and a crackling snare over a loop of Parliament's "Flashlight." They also rip the mic
short, this
yet another Slick Rick soundalike. In fact, he sounds more like EST from 3XD than Ricky D, and he has a very hard, almost gangsta style. Some tracks like "I Don't Play" are basically run of the mill braggin and dissin, but just like Slick Rick, Greyson is at his best when he plays the role of story teller. "Laura's Gotta Boyfriend" is an X-rated fast paced jam where Greyson pays the price for letting his bozack overtake his brain. "Livin Like a Trooper" uses the "Love's Gonna Getcha" formula, describing the life of crime from the criminal's perspective over James Brown's "Payback." Although there are many heads flown on the album, Greyson and Jason seem to be conscious of their image, and they try to make it clear that they are not promoting violence. On tracks like "Livin Like a Trooper" and "Intoxicated" Greyson does a good job of providing constructive messages without compromising his hardcore style. "Basketball"
NOT
on "Non-Stop,"
and rhymes that are (in the words of Smooth B) "stronger than ammonia." Get ready for Nice & Smooth's slamdunk when they drop the album in late August.
from Curtis Mayfield's "Freddy's Dead" and a hardcore Soul Soul drum loop. Check out the skills: "Bust it/ You ain't a mack daddy/ You a McDonald Ronald Reagan beggin'/ Wavin' and shavin' like Magic Johnson, Charles Bronson...."
riding a sinister bassline
REEF
it
comes
to
conscious
songs
life in
like "I Never Made 20," a story about the drug trade, to the fierce story-line of
in
"Watch Out For The Plant." Royal Flush has a sound that can please many ears because their tracks are fat, taking influences form both NY and LA. It is an ear
police brutality
La Soul
"A Roller Skating
BIGB
On
the
a line,
THE SOURCE
SEPTEMBER 1991
MP
yyy
:'
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make commercial R&B (Rap 'n' Bullshit) songs to please their label. What was wrong with "Say No Go?" That shit was cool a little pop but still came off. De La's strength is in their ability to make a record with pop appeal still sound fat. And they've done it again with this jam. No disrespect, but this just might be
to
backup singers "oohing" and "ahhing" behind Biz's unmistakeable rhyme style. Biz fans should run to the store for this one and prepare for his new album entitled Need A Haircut, which features more of Biz's harmonious singing voice.
I
REEF
"Saturdays"
is
bound
to
blow up
in
the
Queen
Latifah
Tommy Roy
clubs but mind you, this isn't a club record it's a rollerskating jam fully equipped with a sample from Chic's "Good Times," the classic
rollerskating record.
The beat
is
crazy funky. De La's "Ladies Night Decision Remix" is boomin', and the house/club music remixes are OK, but thought De La was kinda
I
flow 'n' speak about how everyday is a Saturday for them. Q-Tip makes a fat guest appearance on "Saturdays" and then freaks it on the freestyle cut with the same beat "What
Many consider Latifah to be the dopest female out. Her slammin' debut LP caught crazy rek nationwide but surprising as it may sound, the album didn't even go gold. In order
MC
LL Cool
"Six Minutes
Yo
are
Life
rek with
Among others catching La on the "What Yo Life..." track Phife, Dres of Black Sheep, and
Can
Truly Be."
De
Superstar.
MATTY C
raw form, fans must support an MC with the skills and talent that Latifah has. Don't talk about how wack mainstream hip-hop is getting and then go dub a second generation copy of All Hail the Queen or Brand Nubian's All For One from your homeboy. And don't buy that counterfeit
for hip-hop to maintain
its
true
by
bullshit either.
For "Fly
Girl,"
in
more R&B type production sound with some male vocalists and a more sexual attitude. "Fly
has the ingredients for a hit crossover rap record even though the new sound is different from her "Wrath Of My Madness"
Girl"
flavor.
Homosapien
'Sleepin
EKKH
Get ready
for
the B-side, Latifah flips a more complex Her Flavor Unit accomplice Louie Vega hooked up a fast hardcore track that blends nicely with her rhyme style. Latifah rips the mic correctly showing she can still shoot the gift with thought provoking lyrics and a swift
flow.
delivery.
On
Riding the wave of success from the platinum-plus album Mama Said Knock You Out, Uncle L gives us another shot to the eardrums with "6 Minutes..." and "Eat 'Em Up..." The single offers both the LP versions and two new remixes and instrumentals. "6 Minutes..." has been transformed from a slightly dull album cut, to a catchy R&B flavored track that is both highly listenable and danceable. "Six Minutes..." should hopefully be blowing up on daytime radio by the time you read this. Marley's production is on target
once
to
again.
MATTY C
good
company, but this is not your typical hardcore record from South Central LA. Del has an offbeat and humorous style combined with a clever and catchy delivery that separates itself from the current crop of MC's and crews.
"Sleepin
crib: "Its
Biz Markie
ie
On My Couch"
explains
how
Del
might find the "Eat 'Em Up..." remix of a letdown. The original version is hard in lyrical and musical content, while the remix is softened up with the "Around the Way Girl" bassline and a touch of raggamuffin chatting in the chorus. There's nothing wrong with the remix, its just that with the radiofriendly A-side, you might have expected L to come hard for side B.
Some
be a
bit
Judging by his current success, "Six Minutes..." and "Eat 'Em Up..." should
continue the trend for "the future of the funk." This single packs some smoove summer
flavor.
has to deal with brothers freeloading at his cool to have a friend over every now and then/ But gotta have my space and don't wanna see their face/ Like every single day of the week/ Talk is cheap/ You better find yourself another place to sleep." The music is straight-up funk. Del and DJ Pooh have put together a fat mid-tempo beat
I
I
Cold Chillin' /Warner Rros Production: artist, co-produced by Cut Master Cool V
Rating:
GREGC
combined with plenty of funky horns, live piano and they even recruited George Clinton's exbackup singers to handle the chorus. The production style creates a heavy P-funk/70's
vibe with a definitive 1990's hip-hop groove, suitable for the dancefloor or the benzi box.
unlike anything
you're
hear from the West Coast. Fat beats and swift rhymes form the basis of what might be defined as D-Funk something new
likely to
for '91.
Get with
it.
REEF
Biz has certainly kept himself busy these days by doing production on albums for Grand Daddy I.U., Kid Capri, and Diamond Shell, but don't even think summer '91 will go by without the "inhuman orchestra" making heads nod and jeeps thump. Biz's long awaited return picks up where "Just a Freind" left off and should do well for him. The storyline for "What Comes..." uses the "Vapors" formula in his true looney style, Biz rhymes about the high school cutie who never gave him the time of day and how nobody expected him to amount to anything. As we all know, Biz gets large and everyone sweats him simple yet effective. The Biz is a master of making hit records where it doesn't really matter what you say, but rather how you
Prince
Rakeem
"Deadly Venom" & "Sexcapades " Tommy Roy Production: artist, Easy Mo Ree
Rating: 3
flow.
The trademark
Biz
Rakeem
'n
offers
beat with
is
is
embellished
hard.
The A-
some R&B
THE SOURCE
SEPTEMBER 1991
total. The rhymes are whiney chanting by some adoring females becomes monotonous. However, the next two joints, "Deadly Venoms" and "Sexcapades" hit hard like income tax. Using a taste of the classic "Substitution" beat and a heavy bassline, Rakeem proceeds to flow wit' some rhymes on "Deadly Venoms." "Sexcapades" presents part of the drum beat from Sly Stone's "Stand," some guitar and an organ hook. Produced by Easy Mo Bee, this is the jam to peep (with 5 different mixes to choose from). Prince Rakeem flows, and definitely proves he has skills on the mic.
have kids nodding heads. "Blue Cheese" has catchy uptempo flavor that is highly danceable. The lyrical styles are post-De La: complex and metaphorical, yet they still
flow.
can listen to him "grab the mic and kick it like Jackie Chan," like he did so well on "Sound Of The Underground." Teaming up with fellow DU
calling
themselves
Raw
full
"Any
flavor.
ATCO
slammin versions. The first offers a partially sped up "Substitution" drumbeat, and a loud bass section, smoothed out by a singing chorus. The second version still has the same beat and the singing chorus, but the groove is picked up with an organ loop. This slamming debut is one of many from Wild Pitch, the label who've brought out underground champs such as Gang Starr, Lord Finesse, Main Source, and Chill Rob G to
"Throw Your Hands In The Air" is a fastpaced cut that deals with the topics of chillin', close calls with the police, 7-1 robbers and larcenous females. DJ Fuze is behind the beats throwing in all sorts of scratches and cuts. He gets the job done, but never goes buck wild like
1
we know he can. "Do My Thing" is more like as Money definitely does his as he tells his
origin story
it
name
a few.
Add
the
UMC's
to the
list
of
talents.
m
ATCO
over a DU-sounding bassline and snare-heavy hip-hop assault. With much props given to the pioneers of both the old and new schools of rap, Money takes us on a journey that starts with his early days of hip-hop and ends with the world wide success of Digital Underground. "1989 'Dowhutchalike' dropped/ The US wasn't pleased, overseas it went pop/ But we finished the LP, attitude healthy/ Shit!
The UMC's
"Blue Cheese"
b/iv
The earthquake
Raw
Air" hlw "Do
Fusion
Inches"
#&&$
35
hit, Lord please help me." Strong performances like this will go a long way in catapulting them out of the shadow of DU and into their own. The Third cut, "12 Inches," was a little too
whimsical for
Straight from the underground, a New York-based duo called The UMC's step up front with an impressive debut. Rappers Kool
me with its repeated use of the "12 inch" double entendre. But Raw Fusion proves that they will be a group to watch in the months to come.
REGINALD C DENNIS
Fans of
Digital
Underground's Money B
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W9 PAULA
Description
jjize
Uly
Amouni
We
rush most orders out within 48 Hours of payment, Personal checks delays shipping only 7 days; however please allow 2-4 weeks for delivery. Clearly print
to:
TIME CRAWLERS
65 High Ridge Rd. Suite 399T Stamford, Conn. 06905
Catalot FREE with order, or aend SI Foreign orders add $4 w/ U.S.S payment
Postage
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203-322-7008
SEPTEMBER 1991
Yomo &
bliv
Maulkie
Atlantic
&$&i
The Ruthless
handling the beats
it
looped over the track, live bass, and quick scratches. Yella makes sure to keep the bottom heavy, so the whole track is ready for the low-rider. "Are You X-Perienced" is a bugged out instrumental jam that is strictly for the blunted. Check Yomo & Maulkie's debut for strong rhymes and fat beats West Coast
lick that is
some
style.
REEF
NWA's DJ
Yella
sounds
like
these brothers
mean
business.
"Glory"
King compilation album. This time, Double J is going out for self with his brand new single. As far as the production is concerned, it's cool but not mindblowin'. Both tracks display beats that hit hard and to the point but they lose energy as the groove rides on. Double J's rhymes are straight-up New York hardcore snappin necks with a deep toned voice and rough delivery. "...Caddy" hits you hard with a fast paced beat that is heavy in the bass department, while "Manslaughter" uses a James Brown horn/guitar loop. Double J has the skills but the beats need some variety to keep the ear.
Black people have been oppressed in this country. Yomo & Maulkie deliver their sermons with bold authoritative voices, each showing rhyming skills: "Finest of the last, can you dig feel and we're this?/ To say what the hell ruthless/ Times have changed/ Hate remains/ Since the age of twelve all I've felt was pain/ By the dawn's early light/ America's situation is not bright/ No matter how much they ignore me/ They can't 'cause can say burn old
I I
how
Double
"If It Ain't
4th
disappointed because his rhymes are dope, so stay tuned for the album.
BIGB
A Caddy, It Ain't A
&
Broadway/Island
Production: artist Ratin 9 2 - 5
s
glory."
Yella's production
is
reminiscent of Straight
live
Outta Compton
s nesiK: SING
with crisp beats, a
guitar
Double J is a new rap soloist who appears on the slammin' "Flavor Unit Assassination Squad" featured on the latest DJ Mark the 45
f*r*jvi 3WS
Aug Aug mid Aug mid Aug mid Aug mid Aug mid Aug late Aug late Aug late Aug late Aug
early
early
late Sept
L E S
"That's The
Marley Marl
Craig
"Symphony II" b/w "Drop OfA Dime'9 "Smoothing Out The Rough Spots" b/w "Take The Bait"
Powerule
Way It Is"
Poetic Groove/Interscope
Capitol
SchooUy D
YBT
Tribe Called Quest
Slick Rick
SOUL/MCA
Jive
Def Jam/RAL/Columbia
Mellow T
Tommy Boy
First Priority/Atlantic
MCLyte
D-Nice
"When In Love"
"25
Ta Life"
Jive
The Don
"Big 12-inch"
RAL
Strong City/MCA
BusyB
"You Should Be
My Baby"
ALB
Black Sheep
Cypress Hill
U M
Self Titled
S
early
Aug
Mercury/Polygram
Ruffhouse/Columbia
Def Jam/RAL/Columbia
Peace Posse/Island
Naughty By Nature
Tommy Boy
Island
Tommy Boy
Def Jam/RAL/Columbia
Capitol
Hip-Hop Junkies
Biz Markie
Marley Marl
early Sept
early Sept
Def Jef
MCLyte
Tribe Called Quest
Know
mid Sept
end Sept end Sept
early Oct
Jive
4th
Double J
D-Nice
The Hitman
To The Rescue
& BWay/lsland
Jive
BusyB
House Party
Strong City/MCA
Soundtrack
MCA
THE SOURCE
SEPTEMBER 1991
'
>^
so
to
list
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F,.,
(
DEF J EPS
NEW ALBUM DROPS SEPT. 3RD! INCLUDE5THE FON-KAYNEWCUT5 "HERE WEGO AGAIN",
"GETUP4THE GET DOWN"
AND^FASHOSHOT"
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PRODUCEDBYDEFJEF,DJMARKTHE45KING, DEVASTATIN,MATTDIKEANDMICHAELRO$S
If you
want
you divide your pie into two equal pieces, one known as the writer's share and the other known as the publisher's share.
deal, first
publisher will help your career in return for a piece of your publishing, here are the different ways publishers divide up the publisher's share for different types of publishing deals:
by Neil Harris
Writer's
FIG
Publisher's
3.
Share
Share
a)
CO-PUBLISHING DEALS:
THE ABC'S
OF MUSIC PUBLISHING
(
In these types of deals, the publisher gets 50% of the publisher's share, and the artist
50%
50%
PART ONE
keeps the other 50%. This is the most common type of deal today. If you enter into one of these deals, expect the publisher to do all the paperwork regarding the copyrights, to hunt
we ran down
the
NOT TO BE SOLD
surface of other music publishing issues, which comprise a large part of your potential income as an artist. In this first part, we'll talk about some basic concepts. Next month, we'll set you straight about the dollars
involved.
down to collect all the money that the songs earn, and to actively work to try to earn as much money from the songs as they can. Also realize that the publisher, even though they only own half of the publisher's share, can usually do whatever they want with your songs to make money from them. If you want more control make sure you get it on paper.
people
Music publishing is the business of buying and selling songs, as opposed to buying and
selling records. Songwriters (and producers)
b)
ADMINISTRATION DEALS:
20%
for
In administrative deals, the publisher will of the publisher's share in doing all the paperwork and collecting all the money. They won't control your copyrights, but they won't work hard to see that your songs make money either.
take 10 to
exchange
songs themselves; that is, they receive money songs in addition to performing them. Assuming that you haven't relied heavily on recognizable samples from other records, or sold your publishing rights, as soon as you write a song you own the whole copyright associated with it. If you feel the song is something you are going to play for other people, you should register it with the copyright office to protect yourself and claim the ownership of the song. Remember, the copyright of the song is worthless if it never appears on record, in a film, or plays on the radio. But if you plan to make records that work, you've got to be down with the basics of publishing deals. If you write a song yourself, you own the whole song. If you share the writing with others, you have to divide the ownership of the song between all the writers. Usually the way it is done is to give the writers of the music half of the ownership of a song, and the lyric writers the other half. For the sake of illustration, assume the two halves form together to make a pie.
for writing the
c)
share,
the publisher's
can also give you money for demos, shop your songs to record companies and other artists, put up additional promotion money for your records, place your songs in movies, TV, and commercials, and hook you up with other
writers and producers. Look for a publisher
and the writer keeps nada. These aren't done as much anymore. You'll usually get more money from a full deal, but remember you are giving a large chunk of your songs up, not to mention usually all control. In the 90's,
publishing
is
too valuable to
make
these deals
attractive to
many
artists.
Next month
these things well. They can be just as important in the long run as the size of the bag they are offering up front. But remember: you are giving up a piece of your song in return. If you don't need the money or the support now, you'll get to keep all of the publishing income later. If you need the green, or believe that a
all
who does
different types of deals and concepts we mentioned, and discuss other basic money issues everyone should know about publishing. Until then, peace and good luck to all.
Contact Neil Harris at 15477 Ventura Sherman Oaks, CA, 91403.
PUBLISHER'S SHARE
Writer's
Publisher's
(a.b.c)
Lyrics
Music
keeps
gets
Publisher gets
100%
Publisher's get
10% 20%
-
-*
FIG
1.
THE SONG
A.
co-publishing deal
administrative deal
C.
full
publisher's deal
THE SOURCE
SEPTEMBER 1991
unsigned
SIR ESSENCE DON
As
the hype builds around the upcoming Unsigned Hype compilation album (soon to go into production), the tapes continue to pour in and the competition is gettin' thick! This month Sir Essence Don flipped the flyest material. His lyrics have a unique flavorhe creates suspense in his rhymes and displays originality in his cadence.
man Lord D
gets the
Ess Don's tape consisted of two solid cuts. The first, "Sweet Like Sugar," tip toes nicely on that fine line between a hardcore rap and song with some mainstream appeal. Ess adds in a nice Bum- diddely-dee flavor to his rhymes and the music is mellow,
knows how to hook up beats. The second cut, "Live From NY," is more of that pure raw hip-hop. The beat is combo of a the sped up 45 King beat from Lakim's "Pure Righteousness" and the
"Atomic Dog" beat. Ess flips the mic with authority. Don't Sleep! To check him out call his manager Frank Donalds at (718) 469-2312. coordinated by MATTY C
Rainbo Records has a special deal for you on 12-inches: one hundred records are now only $599 complete. For more information, see their ad on page 57.
COMPILATION ALBUM FEATURING THE BEST UNSIGNED RAP GROUPS FROM ACROSS THE COUNTRY
FOR THE NEXT TWO MONTHS, THE SOURCE WILL BE ACCEPTING TOP QUALITY DEMO TAPES FROM ALL UNSIGNED RAP GROUPS. MONTHLY WINNERS QUALIFY TO APPEAR ON OUR UNSIGNED HYPE COMPILATION ALBUM TO BE RELEASED IN FEBRUARY 1992.
SEND YOUR BEST QUALITY DEMO TAPE TODAY TO:
594
NO PHONE CALLS)
ALL TAPES MUST BE SUBMITTED BY SEPTEMBER 1, 1991. ALL PREVIOUS WINNERS ARE AUTOMATICALLY SUBMITTED. PLEASE LIMIT YOUR TAPE TO YOUR THREE BEST CUTS.
THE SOURCE
SEPTEMBER 1991
THE LAST
WORD
11
I s
cr
tr
Q z <
COMING
IN
mi
n.
ft
POLITICS
OCTOBER
Marley Marl
Some
him "the Quincy Jones of rap," and it's true: you can't
call
H.E.A.L
White Rappers
Look on MTV,
in
KRS-One has started a new record label, Edutainer Records, and the
listen to the
radio-
first
release
is
a multi-media
funky New York sound of prolific super producer Marley Marl. We'll talk to the man and see the infamous Marley House Of Hits that has churned out slamming tracks for LL Cool J, Kool G Rap, Biz Markie, MC Shan, Master Ace, Biv Devoe, and many more.
wake of Vanilla Ice there's a whole new slew of white rap artists who are trying to make a name for themselves. Which ones
the
are really talented and which ones
Education Against Lies. We'll explore the people and philosophies that are making this project work.
on the avenues for mass appeal? Are white rappers getting preferential treatment on our airwaves?
in
THE SOURCE
SEPTEMBER 1991
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...
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.....
'"'
.AND
llii
i
ur cr
is
KICK
RH Y Ml E FOR THE
i^%.
TH e. n e w S ingle featuring Master Ace, Craig g, Big Daddy Kane, kool G Rap and Little Daddy Shane
PRODUCED AND MIXED BY MAR LEY MARL, THE PRODUCER BEHIND SLAMMIN' HIT :HEAVY D, AND THE BOYZ AND B.B.D.
From the album
ARTrST tAAHf
**+*.
this
queen
is Latifah
TbmmY
-ROY)
Love
my
show
appreciation..."