HHF Interview: Fleetwood of “Da Cotton Pickas”

Interviewed by Big Momma ‘Miz’
Hip Hop Forum digital magazine’s Big Momma ‘Miz’ talks politics and music with Fleetwood of “Da Cotton Pickas” from Oakland, CA and also the ‘Homeboy Hotline’ – an organization he set up 16 years ago to help people make a successful transition to life in the community after time spent in jail.

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Hip Hop Forum: First off, tell me this, as a Niner’s fan; how do you feel about Kaepernick’s stand, do you think it’s right on time, or long overdue?

Fleetwood of “Da Cotton Pickas”: It’s long overdue, but it’s also right on time. It took a whole lot of courage to do what he did in that limelight; I’m trying to connect with the brother.

HHF: You know what I thought was kind of strange, all the backlash that he received from it; especially from US (black people). You’d think he have more support giving the current circumstances of the culture and the point he’s making. Not just from other football players, but any of them that’s in the spotlight talking all the time.

Fleetwood of “Da Cotton Pickas”: Well, you know a lot of them are scared to risk their financial stability, and losing endorsements. That’s what makes Muhammad Ali who he was; that’s the difference between a real hero and a person just involved for the entertainment. They not on OUR team, like Jordan & Barkley, they never been on our team. I’m kinda glad when those Unlce Tom’s speak out, it lets you know who standing right beside you and not really with you ya know!

HHF: Most definitely, I heard a brother speaking the other day that I agreed with; all these ma’fuckas were so quick to bash Kaepernick for his actions towards the flag, but not acknowledging the root of it, but then don’t run to the mic or media when bodies are dropping in the street left and right! I felt that was some real coward shit right there.

Fleetwood of “Da Cotton Pickas”: I love my people, and it’s not easy to sacrifice your career for what you believe in and stand for. Even the people that Harriet Tubman went and rescued from the plantation, some of them niggas tried to turn around, she had to pull a pistol on them. It’s always been house-niggas and field-niggas; and a continuation of white supremacy, always will be, it’s part of the mathematics.

HHF: You right, like it’s embedded in our DNA or something. When I watch certain documentaries about our history, or read certain books, I can see the same spirit/actions in our people today!

Fleetwood of “Da Cotton Pickas”: I’ll never apologize for being black, I love my people, I’m blessed to be able to visually grasp a concept and think it would be selfish of me not to use my platform as a way to speak out against the injustices. This country was built by people who committed crimes against other people.

HHF: Ok, tell me about your platform, and what it is that you strive to express to everybody.

Fleetwood of “Da Cotton Pickas”: We use art, film, the music and books as an opportunity to talk about bigotry and racism. Two things that always rub people the wrong way and create a difference of opinion and perspective; is race and religion, so most of our music is surrounded by those two. Hopefully you can find a solution when you get into these conversations of the things that affect people.

HHF: Let’s talk about one of my favorite expressions of opinion and perspective; your song “Bang On ‘Em”.

Fleetwood of “Da Cotton Pickas”: “Bang On ’Em” represents the frustration in America from the Urban community, you got people that’s posing as police officers that are really gang bangers, and most gang bangers eventually get banged on and get their heads busted, people get at’em! That’s what we mean by banging on ‘em.

These people are running around and getting away with murder, and one thing for certain, and two things for sure it’s only one way to deal with bully; its bust the in the head in front of everybody, 9 times out of 10 they leave you alone. So that’s what we mean by “Bang On ‘Em”, they took an oath to disrespect our human rights, and they love doing it, but supposed to be getting paid to protect us.

With technology today, we are now seeing what black people have been talking about for years, and even though it’s on film and tape, the justice system is showing that they are part of this corruption because they continue to find these people “not guilty”, sending them on a paid vacation while the trial is going on.

HHF: Hell yeah!! They not for US, never have been since the beginning. Remember back when they released us from slavery, all uneducated and the only employment experience was in the cotton field, Congress funded a plan of colonization to send our asses back to Africa because they didn’t know what the fuck to do with us, they got scared and wasn’t prepared!

We were an asset as long as we stayed slaves, we’re a liability when set free. Over and over they tried to implement plans to wipe out our race, but had to be politically and socially correct about it. They came up with something called the Eugenics Movement, which is basically black genocide, with the help of Margaret Sanger, who was the force behind “birth control” aka dropping our population. We still see it happening today.

Fleetwood of “Da Cotton Pickas”: That’s why it’s very important that we educate our youth about these situations. My first documentary is called “I just Wanna Ball” about 4 high school girls from a championship basketball team in Oakland. I covered the triumph off the court, overcoming single parent homes, parents that were abusive to drugs and physically, and that breeds a certain element of violence.  

If you remember the movie The Mack it was true, there is two sides to Oakland, the pimping/hoeing and the revolution. There aren’t any strip clubs in Oakland, never have been, so all the young girls are on the corner, human trafficking is big in Oakland; Too $hort didn’t make that up, all that’s real. A lot of these young girls are dealing with sexual predators, young teenage mothers are out on the hoe stroll, and it’s a bad rap on our little sisters.

I’m proud say I’m from the Bay Area, Oakland & San Francisco, so I want to show the true essence of Oakland. It was the sistas; the black women that held the household down when Huey Newton and all them was in the streets, not giving up or giving in and that’s what those 4 sistas represent. They are all in college right now, a lot of people say they want to ball, but these sistas are doing it for real with a real ball. I have another documentary about a fella who picked cotton for 18 years and never got paid; Bishop Henry Williams.

HHF: Interesting!

Fleetwood of “Da Cotton Pickas”: Cotton Pickas is a film series and also our band, were coming out with a new documentary “Gimme Mines Reparations” about that mule & 40 acres; why they killed Abraham Lincoln, the Civil War, basically what we gotta do to get these reparations. We use art to create dialogs that instill self-esteem to the youth, so they understand they come from hardworking people that never gave in.

HHF: Dope! Im loving it. When I left you a voicemail, I heard you mention something about the “homeboy hotline”, tell me what that’s about.

Fleetwood of “Da Cotton Pickas”: The “Homeboy Hotline” is an organization that I created in the year 2000 as an opportunity for people to have resources when they get out of any form of incarceration. Most times people want to change, but going around from pillar to post can get frustrating and can lead you back to what got you incarcerated in the first place.

So what I want to do, is find all the resources I can find from housing, resume preparation, job leads, getting records expunged, help with child support, legal aid etc. all on one website and see everything you need right there. We wanna keep the motivation going, and keep that fire lit that people have when they first get out, instead of putting them back into the cycle of what got them down in the first place. That’s what we do! We offer resources.

HHF: Beast! So in 16 years, how has it been progressing?

Fleetwood of “Da Cotton Pickas”:  Its doing pretty good, we started in California, and we got resources in New York, New Jersey, Texas, Arizona, our goal is to get nationwide and just build in every state. Actually I was talking to James (HHF’s C.E.O) about putting together a youth empowerment conference, bring out books keep our youth towards the literacy, maybe shoot a film and talk about the business of music.

HHF: Now it’s a whole mob of yall right? I know of Mr. Zo, who else?

Fleetwood of “Da Cotton Pickas”: Yeah, Mr. Zo is on the song with me “Bang On’m” with me, we got a video show in Arkansas that reached Oklahoma, Texas, & Louisiana it’s called ZONE 24 TV the contact is Buddha Ali.

HHF: Ok, so far this has been one of my most interesting interviews; is there a motto you have, or words of advice you want the readers to remember?

Fleetwood of “Da Cotton Pickas”: Nothing works unless you do.

This interview was done by Big Momma “Miz” a North Philly native, out of Harrisburg Pa., She is now the C.O.O for an indie label ILL CRE (Illustrious Creations of Entertainment) where she is also signed as an artist under the moniker “Penelope”. The Hip Hop culture is embedded in her style & personality; she likes to compare her persona to “Shock G & Humpty Hump”, meaning its two sides to the coin. Big Momma Miz handles the biz, while Penelope handles the mic!
Miz is part of the New Black Writers Program, managed by Hip Hop Forum Digital Magazine, to support, nurture and develop the talents of Black American journalists of the future.
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HHF Opinion: Making A Case For The Get Down

Written by Warnell Jones

Amidst the fleeting knowledge of the origins of the art we all know as hip-hop, we were given a TV show that gave America a true glimpse of the musical shift in the 70s that would change the course of time.

 

The Get Down – a television program exclusive to Netflix – is that show. The show debuted as a 6-episode “half season” in August 2016, and has since received critical acclaim, as well as harsh critique. Most importantly, is that in the midst of this “Love & Hip-Hop, Real Housewives of (where the f**k ever)” nation, we have been graced with a program that purposes its intent on enveloping the history and development of our culture, hip-hop, in a head-crashing love story, one hour at a time. The hip-hop “purist” would surely agree – hip-hop needs this show.

The negative opinions and reviews that the worldwide media displays, just shows us that the demand for history and culture isn’t as high as it should be. This is actually interesting because seeing these results show a parallel to the similar need for historical, intelligent, and thought-provoking lyricism in hip-hop music. There’s actually more parallels in this dynamic, one including that The Get Down was very poorly promoted, similar to so many of the lyrical juggernauts that hip-hop bred.

As far as the numbers go, it’s a tell-tale of interest as viewership goes. Amongst Netflix originals, views after one month of a season or series debut go as follows:

Orange Is The New Black – 15+ million viewers

Fuller House – 15+ million viewers

Stranger Things – 13+ million viewers

Making A Murderer – 12+ million viewers

Marvel’s Daredevil – 8+ million viewers

The Get Down – 3.2 million viewers

This statistic is touchy for more than a few reasons. At first glance, it’s an insult to those of us who love hip-hop culture, that there are a number of topics perceived to be more entertaining than the art and origination of the music and culture so widely accepted today.  According to this metric, that list consists of superheroes, framing a murder case, Bob Saget, 80s style creepiness, and a women’s prison. All more interesting than the birth of hip-hop. Think about that.

Another interesting statistic about The Get Down is its price tag. $120 million. That’s right. 12 episodes. Insight from hip-hop legends. Two and a half years of production. $120 million. Netflix’s most expensive show yet. With a long list of issues during the production, from cast costs to production drama, including constant script rewrites, The Get Down’s 3.2 million viewers don’t justify its $120 million price tag.

Surely, all of that “numbers jive” is credible. But let’s be clear, no program EVER has brought more hip-hop history to the television format. A number of hip-hop legends – Grandmaster Flash, Kurtis Blow, DJ Kool Herc, Afrika Bambataa, and hip-hop historian Nelson George – were integral in the creation and development of this series. They were very careful not to limit the scope to the music of the era, blending in the political and social information needed to understand our culture.

The Get Down is cavalier in its effort, showing the disco scene of the times, in its drug trafficking, sex enthralled, dance fevering glory. Its notwithstanding in its display of what was a real-life horror story – being a minority in the Bronx from the late 60s to the late 70s. Burning buildings, low employment, street gangs, dilapidated community – all REAL factors of the environment. The political truth is even touched on, as we see a portion of the rise of Mayor Ed Koch.

The show doesn’t shy away from any controversy of the time – we get to see drug cartels, murder, sexuality, rape. They even show the truth of the underground influence of the LBGT community on what the people heard on the airwaves.

All this, in only 6 episodes. With 6 more riveting shows sure to educate, entertain, and enthrall its viewers; hip-hop heads worldwide have every reason to get down with The Get Down.

 

Detroit writer, Warnell Jones is a hip-hop enthusiast and all-around music lover and  loves to write about hip-hop culture, music, love and society.

Warnell is part of the New Black Writers Program, managed by Hip Hop Forum Digital Magazine, to support, nurture and develop the talents of Black American journalists of the future.

HHF Interview: André de Quadros , Professor of Music, Boston University

Interviewed by Omi Muhammad

Boston University Professor of Music, André de Quadros is a conductor, ethnomusicologist, music educator, and human rights activist has conducted and undertaken research in over forty countries. Professor de Quadros also holds affiliated faculty appointments in other BU departments: the African Studies Center, the Center for the Study of Asia, and the Institute for the Study of Muslim Societies and Civilizations.

In this interview with HHF digital magazine Professor de Quadros talks about his political work in the realm of music education, asking questions about how musicians and music educators can use their work to challenge existing power structures, with a particular focus on his Music in Prisons program and Empowering Song project.

HHF: Thank you so much for agreeing to speak with us at Hip Hop Forum digital magazine, Professor de Quadros. To begin, I saw you have been working with refugees in Sweden, was it a part of one of your programs?

André de Quadros: With Afghan refugees, yes. I teach a conducting course over in Stockholm. As a part of the project, the people I was working with, we went to three different locations; a young women’s prison, the second was a high school with lots of issues of demographics and so on, and the third place was where they would send Afghan teenage boys who were refugees.

HHF: When I had looked at your bio, I’d seen some of the other work that you’re doing so I was actually pretty interested in that, it’s very diverse.

André de Quadros : Well my background is in conflict in different places, my bio is very out of date, I haven’t updated that in over two years but I’ve been doing a lot of work in the Middle East and other places dealing with displaced peoples and incarceration.

HHF: So it sounds like you do a lot of work across the board dealing with people in conflict situations. Can you give us a little bit of a background on your Music in Prisons program and your Empowering Song approach?

André de Quadros : Sure, well we’ve been working, I and three other people that I work most closely with, in two prisons in Boston; one is a men’s prison which is a medium security prison, and the other is the only women’s prison in the state. In both prisons we work as part of a University program that allows students to take a course in music while they are incarcerated. It is offered as a college course.

There is no selection process to be a part of this course, we don’t audition. Some programs only work with people who are going back into the community, we work with a lot of people who are never leaving the prison. In the women’s prison we’ve had relatively smaller groups of ten and twelve and in the men’s groups we work with about twenty-six or so.

With the Empowering Song approach, we believe fundamentally  in creating conditions for personal power, personal expression, community transformation; a lot of experimentation and improvisation. I also use Empowering Song approach in the Middle East with refugees, teaching and performing in my own ensembles and so on.

There is no high ground for any particular style of music; in the prisons for example, a lot of the men rap and that becomes part of the work, there’s classical music in there or pop or music of the Muslim World. It’s pretty inclusive, it’s about potentially reconnecting music to the body. We not only reconnect the music as in moving in time with something but we use the body to get inside the text and to portray the text.

Say there is a rap that might have a text about being in prison or missing one’s family, so we might create a series of body pictures that relate to that. So I don’t like calling it theater, I don’t like calling it drama because it’s actually much deeper than that. But it is essentially theater school exercises.

How can the body tell the story, how can the body be part of the story. So there is a lot of story work that we do in the prisons, in other words they write narratives to rapping to writing poetry to writing song text to writing about genres. We have an unrivaled unequaled archive of papers that they’ve produced. There is also a lot of visual art that is produced, we take into the prisons a lot of people that practice visual art to work alongside us.

HHF: So you have found this connection between music and social change; what sparked your desire to do this? What made you think to connect the two in your programs?

André de Quadros : I guess when I was in college in India, I became very influenced by text and books and other writings that talked about asymmetrical relationships of power within societies, within communities, within countries. Oppression is so systemic all over the world; from within a country  like the oppression of black people in the United States, to the oppression of whites to the third world through colonization and so on.  

So I fell under the spell, if you like, of important writings such as the Pedagogy of the Oppressed (by Paulo Freire) and other associated authors. So I was motivated by that, how can we overturn the existing power dynamic? How can we displace them? How can we interrogate them? And to what extent can I as a musician contribute to displacing power as existed and as it exists? How can we speak truth to power? How can we use this as protest, how can we move the world forward?

I think music has immense power but on the other hand I don’t think we have fully understood its capacity in contemporary society. We see music as something to listen to or something to make, but at its full capacity; it can mobilize a people, console a people, change lives in ways unimaginable for people who are forgotten in society. We allow the forgotten to become consumers but never the makers of music. So in the prisons we have men who have never rapped before, who’ve never sung before, who’ve never written poetry before; now they’re writing, they’re singing, they’re moving, they’re rapping, it’s incredible. Just listening is not enough to experience the power of music as a human being, its more fully realized by active participation.

HHF: If you could send a message to artists specifically or even the community at large, what would you say to them in regards to music and the work that you do?

André de Quadros : I would say it like this, What kind of world do you want to live in? I don’t think anyone is entirely satisfied with the state of the world. I think they’d say, I don’t think we are heading in the right direction. I would say to musicians for example, What kind of a world do you want to live in? How can your art making, or music making change the world and move it into the direction that you want it to go?

HHF: Wow, yea that’s a good question.

André de Quadros : Let’s say I stop someone on the street and ask them a question. If they were to say, I can’t stand all those black people protesting, what are they protesting about? I would say, how can music help you to understand their problems, and how might you seek to build a better world through music? This is not to suggest using music to give voice to your whining or complaining, but how will music help to achieve greater understanding?

 And of course I’m giving an opposite example, I’d be very disappointed if someone said why are all those black people protesting. The history of black oppression in this country is not even fully understood if you read a whole lot of the texts on that.

But to someone like that I would say what kind of fair egalitarian, democratic America do you want to live in? How do blacks, whites, Latinos etc. negotiate their world of equality and democracy? And to what extent can your music making contribute to the discussion of a world in which we can all live in? What does that mean to you?

I think all music making has got to be political in the sense of engaging in these difficult discussions. We think about what it might mean to  be of a different background and find ourselves the same. Some of it might be protest, nothing is wrong with protest. Music has been a part of protest since the beginning of time. Hip Hop’s origins are in political protest, social protest. You know I’m not an expert on Hip Hop but I’m certainly mindful of it.

HHF: In listening to you talk about music and the creation of it, its almost obvious that your musical journey didn’t start in college. So how far back does it go, do you come from a musical family or culture?

André de Quadros : Interesting question, first off, I’m Indian. I grew up in India, attended university in India and so on. I started learning the violin at the age of four and my mother came from a very musical family as did my father. They were not professional musicians, my mother was an elementary school teacher and my father was a physician.

I grew up before the digital world, there was no television in India, at all. There was no television even when I was a teenager. Some people say yea well we didn’t have a television at home but it’s not the same thing, we didn’t have a television in the country.

So I grew up in a world where it was an acoustic world essentially. There was very little technology in the form of radio or anything. So I grew up in an entirely different acoustic world that some can hardly imagine. People made music as they worked, as they sold things and so on.

HHF: So music was a huge part of the culture.

André de Quadros : Yea but I don’t even like calling it music, because it wasn’t necessarily music as we see it. We talk about beats, we talk about genre, about composers. I’m talking about someone is pulling a rope and they’re chanting. A lot of that wouldn’t even be called music because of vernacular etc. I mean I would call it music but the western music, whether its rap or pop or another genre; its about the piece, the beginning, middle and end, the composers. Those kinds of definitions and parameters of music do not apply in the kind of music that I’m talking about. It was a sonic landscape and an acoustic world in which I grew up in very different from that of the United States.

HHF: Wow, I love that; a sonic landscape and an acoustic world. Are there any final thoughts that you would like to share with our readers before I let you go?

André de Quadros : Nothing that comes to mind, It was a pleasure speaking with you.

HHF: You as well, thank you for taking the time out to sit down with Hip Hop Forum Digital Magazine.

de-quadros

To find out more about André de Quadros and his work, please visit his website at http://www.andredequadros.com/.

West Baltimore native Omi Muhammad is an artist and writer, now based in Philadelphia. To see her work, please go to http://www.urban-gypsy.net/index.html

Omi is part of the New Black Writers Program, managed by Hip Hop Forum Digital Magazine, to support, nurture and develop the talents of Black American journalists of the future.

Hip Hop Forum Freestyle: Mr Boricua Boy

 

Mr. Boricua Boy (Christopher Román) was born in Bayamón, Puerto Rico and is almost 25. He’s been rapping since he was 14. As a military brat he’s been all over the world. He’s been in the Army since March 2011 as an Aviation Operations Specialist and in the future will be an US Army Recruiter serving the Denver area. He spent nine months in Afghanistan.
Between 2012-2014, he was part of the United States Army Soldier Show where he was a rapper, emcee, Video Wall Technician, and Social Media Technician. With the team, he traveled anywhere from NYC to Kuwait/AFG to Tokyo.
Chris founded Roman Records LLC in 2013 while he was in Afghanistan but it wasn’t until recently that he was showing effort to bring the company out of the grassroots stage. Once he returns to the States he hopes to perform all over Denver, CO in his off time, while completing his Associates in Business Admin and aiming for a masters by 2020
Thank you Mr Boricua Boy for being part of HHF Freestyles for this month.

HHF Interview: NTG

Interviewed by Big Momma ‘Miz’
Hip Hop Forum digital magazine’s Big Momma ‘Miz’ meets half of the quintessential Philly ‘power couple’ – NTG – who speaks about her latest release ‘I’m real’ and recent collaborations with indie artists from Russia, Africa, California, Texas, Tennessee, Louisiana .. and, of course (bringing it back home) Philadelphia.

NTG2

 

HHF: So how’d ya day go today?

NTG: Good, ya know, always working & promoting, how about yaself?

HHF: That’s wassup, today was a chill day for me. I got a lot of work done yesterday, so we just did some family stuff today.

NTG: That’s always good

HHF: Yup, soooo getting right into it, tell me a little bit about NTG the artist, the MC, the DJ!

NTG: OK, well actually it’s me & my husband, we do our thing together.

HHF: That’s’ wassup!

NTG: Thank you! Yeah it’s important to us, we wanna represent black unity, showing positive examples of couples together, in love, putting out feel good music, and other music representing how I’m feeling at the time, but for the most part we try to keep it positive.

HHF: I like that, I like that, I was watching your latest video ‘I’m Real’, I was kinda digging that part in  the hook, “recognize when you talking to a G” I know that’s wassup!!

NTG: I appreciate that, and thank you for checking it out. I definitely been pushing that jawn hard, its actually in the charts right now, we check up on it every day, because as an artist you want to make sure you stay up on promotion and see where you are as far as digital tracking for radio airplay. Right now, were #35 for independent artist out of the top 100, for any genre. For the majors, were standing at #191, that’s with Drake, Rihanna and all of them, so were pretty proud.

HHF: As you should be, that’s your hard work paying off.

NTG: Yeah we’re trying, it’s a lot, but we’re trying.

HHF: That’s good! Can you tell me what’s message behind the song ‘I’m Real’, what are you trying to say?

NTG: That song is a feel good song, it’s a song that you put on when you tired of everybody putting you down, putting you in a box, you just wanna be like, look, this is who I am; I’m real, I know how to go out and get it if I want it and I can do what I wanna do, having confidence in yourself. Also, it’s just about having fun.

HHF: That’s good, you said the message is for those putting you down, do you encounter that a lot in this industry? If so, how do you deal with it?

NTG: (scoffs) YES! Coming up as a kid, I always considered myself standing up for the underdog, the ones that weren’t picked in the game’s first, or picked for anything, so I’m saying; if I can do it; you can do it. Its ways to feel good about yourself without selling your body and selling your soul. That’s the message that we’re tryna represent.

HHF: Alrighty! So what do you think you are coming to the game with?

NTG: (pauses for a sec) Aww man, it’s a lot. It’s definitely more than just tryna make money off of music. I mean everybody wants to be successful, but my husband and I want to be a good examples. We don’t have children, but I have a little brother, nieces, nephews, & lil cousins, so at the end of the day I want to be able to look in the mirror and feel good about what I’m doing and my message.  A lot of music today is detrimental to our youth, and I hate to see the kids getting caught up in a lot of crap believing what they see and hear is real, and it’s really not, the artists are just doing it for the money and since they don’t know that, they try to go out and emulate what they see in the videos and what not, so we try to put out a different message without the drugs and guns.

HHF: Right, I noticed that. So what would be your message to people about supporting local indies, I like the billboard challenge that you had, how did that go?

NTG: I appreciate it, it’s still going, and it’s ongoing. She laughs and says, a lot of people have been sending me fake pictures, you’d be surprised. Even when you’re giving away, it’s very hard to get support. I would say it’s very important to support local artists, indie artist in general.  When Beyonce drops an album, everybody goes out and grabs it, but if ya cousin, sister or friend drops an album, they’re like whatever, I’ll get the bootleg, it’s important to support the people that you know so they can be successful!

HHF: I always wondered why that was, I see that a lot too. People seem slow to support you on the indie level, but let you blow up and be on that Rihanna & Beyonce status, they’ll swear they was riding with you the whole time.

NTG: Yeah, that’s why a lot of celebrities cut people off because they aren’t grass roots. If you’re not shooting with me in the gym, why should you be chilling on the yacht with me?

HHF: Real talk, that’s right.

NTG: Support!  it can help people that have different messages come out, the reason why we have so many people with the same kind of music is because they are getting support from the industry, and the industry wants to degrade us, especially black people, they want to make it look like the women are loose and the men look like drug dealers, they don’t want you to see the positive side of hip hop, or the positive side of our music period! So you gotta support those local people that are trying to be positive, it’s important.

HHF: I definitely get that, do you do a lot of collaborations with other indie artists?

NTG: Absolutely! We have collaborated with people from Russia, Africa, California, Texas, Tennessee, Louisiana, Philadelphia which is where I’m from, my husband Draw is from Chester, and we’ve collaborated with artists all over, to me it’s the best thing because you can blend your talents together, and build new fans, it’s really a good mix.

HHF: What are some big names that you can say you’ve had the honor to work with?

NTG: O.G. Tweed Cadillac (Penthouse Playas Clique) he was under ruthless records back in the day, he knew Tupac, he does radio now, kinda moved past the rapping part, now helping other artists. We did a performance with one of the pioneers of hiphop; Curtis Blow, and that was really exciting, we actually got to spit with him, everybody was digging it, and from there we kept doing shows and performances trying to build and expand to let people know who we are.

HHF: Off the subject but on the subject, as a black woman what’s your opinion about what’s happening today with the police and our men, as quiet as its kept, the attacks on us as black women are starting to surface now, what’s your opinion if you have one?

NTG: I totally do! It’s hard, because every day you just don’t know what’s going to happen because you don’t feel safe. I don’t’ want to get to deep because I may seem a militant, but the bottom line is; I believe as a race we really have to unify, and if we don’t we’re in so much trouble because it’s obvious these officers aren’t getting any type of punishment for their actions, so the only way we can sustain and survive as a culture is if we start putting the dollars back into our communities, making our own businesses, supporting and uniting with each other otherwise were gonna be extinct. It’s so important to support black businesses and grow our community. Also, when you see another brother or sister, stop being mean and start speaking to one another so we can gain that connection that our ancestors once had before they were invaded. Unity is definitely needed in this culture.

HHF: I agree to the fullest, kill that crabs in the barrel mentality…

 MOB OUT ENTERTAINMENT PRESENTS LADIES FIRST VOL. 2, what’s that about?

NTG: That was a CD that I hosted, shout out to MOB OUT, they have me DJ different cd’s for them, and ladies first is important to me because it’s an all-female mixtape, so it was great to mix it down with females from all over the world. Currently I’m working on a compilation with artists from all 50 states, so everybody can get the same type of exposure and radio play as the major artists but on an indie level. That’s also a goal.

HHF: Tell me about SFR Radio.

NTG: That’s the radio station that I D.J. for, shout out to DJ Ize & the whole crew.  Also, I want to plug in the Fathers Stepin Up Organization, they’re talking about fathers taking care of their kids and doing the right things, so if anybody wants to donate make sure you hit up SFR RADIO 24/7, a very good cause.

HHF: Are there any last words, message or motto that you wanna have on print?

NTG: Power couple; NTG we wanna represent something different and new. We want it to be about real hip hop, not to discount anybody else’s music, but I do think we are over saturated with the same sound, so we want to be that refreshing music that makes people feel good again, for every age and everybody. So make sure y’all stay updated with what’s up with us, it’s so much going on, there’s a show on 8-18-16, Coast 2 Coast Philly edition, performing our new single ‘I’m Real’, it’s on hiphopDX, allhiphop, getyourbuzz, probably over 100 sites. It’s pushing up the charts, grab it off of iTunes, Spotify, Amazon, Tidal. Just keep supporting us and support your local artists, and we appreciate all of the support.

HHF: Okay! Well Natalie it was certainly a pleasure talking you!

NTG: Thank you for calling it was a great interview, I like the questions, gave me a chance to talk some.

NTG 1

 

This interview was done by Big Momma “Miz” a North Philly native, out of Harrisburg Pa., She is now the C.O.O for an indie label ILL CRE (Illustrious Creations of Entertainment) where she is also signed as an artist under the moniker “Penelope”. The Hip Hop culture is embedded in her style & personality; she likes to compare her persona to “Shock G & Humpty Hump”, meaning its two sides to the coin. Big Momma Miz handles the biz, while Penelope handles the mic!  Miz is part of the New Black Writers Program, managed by Hip Hop Forum Digital Magazine, to support, nurture and develop the talents of Black American journalists of the future.

HHF Interview: Theotis Joe

Interviewed by Omi Muhammad
Philly MC Theotisjoe sits down with Hip Hop Forum digital magazine to talk about his upcoming ep Ship It Out, his collaboration with a Jamaican artist, Nelson Williams and how he’s passing on his passion for hip hop to the next generation …   

Theotis Joe

HHF: Hey, so tell us about the new ep Ship It Out, what do we have to look forward to; are there any collaborations?

Theotis Joe: Mmhmm, the current ep right now is entitled Ship It Out, the features I have on there,  are DA Lez, he’s on the actual song ‘Ship It Out’, and Nelson Williams, he’s on the song entitled ‘In My Town’. Nelson’s from Jamaica, yeah awesome voice.

Starting with ‘Ship It Out’, DA Lez and I actually recorded it a few years ago but it didn’t really turn out the way I wanted it to, fortunately we met a guy who is a dope producer,  who goes by the name of DJ Lez. He produced the track and when I heard the track I was like yeah, yeah … let’s do that.

I started spittin’ a verse, you know the chorus and what not, set up some studio time and we knocked it out. It became pretty awesome, at first I wasn’t going to put it out, you know, but Lez, he also shot the video as well as produced it. We shot the video in a couple locations here in Philly and a location in Princeton, NJ at a radio station. A friend of mine named Phil Jackson, a radio DJ/ Host up at Princeton University, and also he’s a host on the radio station for the Philadelphia Eagles.

And Nelson Williams (…) I just wanted to recorded a new song. I met Nelson about a year or so ago right, at my brother- in-law’s barber shop. You know choppin’ it up, talking about music and hip hop and stuff like that. I happened to have a couple of beats in my phone and the person that produced the track for ‘In My Town’, his name is Andrew D-Boogie from Virginia and he’s actually a part of Hip Hop Forum. Yeah, you know him?

He produced the track and so I had it in my phone and I pulled it out and I spit the chorus. I said ‘Nelson, hey listen man, can you sing this’? Because I love his voice you know Jamaican sound and what not, and he dove right into it  man and it was awesome. I said  ‘ Yo you the missing link to this puzzle right here’, you know because I was going to do the whole chorus myself.  

But when he spit that part (Theotis Joe starts singing a part of the chorus, Nelson Williams style), I was like yeah, yeah let’s do it, I said ‘you gon’ get on this song with me. We didn’t record the song until about maybe three four months ago. I called him up and I was like are you still interested in doing that song with me? He was like ‘yeah my brotha’, he came through, he was on time, we knocked it out and it became a hit! Everybody that I played it to loved that song so you know, it’s going on the ep. Basically that’s the only collaborations. As far as producers; I produced a few myself, I’m a producer as well, Leslie Howard/DJ Lez he produced a couple, and Andrew/D-Boogie.

HHF: Your love for your city shines through in your music especially in the song ‘In My Town’, what was the intended message behind it?

Theotis Joe: Well you know I see a lot of young brothers out here pretty much being slaughtered in the streets. Young and old, whether it be by law enforcement, by their peers, accidental or something like that, or just jealousy … enemies in the streets. I grew up in quite a few urban areas and I’ve seen drugs and I’ve seen drug paraphernalia pass by and come through at an extensive rate. You know, people being on drugs and stuff like that, fights break out at any moment.

Basically ‘In My Town’ is for every town across the world, not just here in America but across the world. When you hear that song ‘In My Town’, you know it has a combination of hip hop and also reggae vibes in it because I used my man Nelson Williams on that song. He actually took that song over to Jamaica; he was over there for like twelve days and they loved it. So that song is for every town across the world. You know, you can be anywhere and you just might get bust in the head. Look what just happened in Florida, you know hat I mean, in that nightclub; nobody was expecting that, everybody was just having a good time but shit can pop off at any minute. Basically that was the inspiration to the song.

HHF: Do you think its possible for the message to be misunderstood?

Theotis Joe: People can take it how they want to but I think probably maybe … But if you listen to the chorus, listen to the lyrics, its for every town. It’s through my eyes and what I see and what I’m about. How I handle my business, and I will, if I have to. I believe in protecting myself you know, I don’t want to get bust in the head. Don’t run up on me with that bullshit, you’ll be having some problems. Even with the law enforcement, these guys man I don’t know what they’re thinking, thinking they can shoot an innocent young boy down in the street you know, unarmed, on camera, and get away with it.

That shit is wrong, it’s not right. It’s not cool, I read stories … and on the news where you know where they run up in someone’s house and shoot a seven year-old girl, a young boy with a toy gun in the park. They get out shooting, don’t even ask no questions you know what I mean? Twelve year old boy, eleven year old boy just gone. That’s crazy to me, you know that’s why I had to put a mixture of that in there as well because I feel really strongly about that and that’s not cool.

HHF: In the track ‘Ship It Out’ you hint at your work ethic, can you talk a little bit more about that?

Theotis Joe: You get what you put out; you know if you work hard then you’re going to get great results, if you’re lazy  and don’t really want to do nothing then you’re going to be in the same position you were in when you first started. A lot of folks want to sit back and have somebody wait on them hand and foot but it don’t really work like that. You got to get out here and grind, you got to hustle.

Me personally, I produce beats, I build a network of producers across the world. I built my own website. I’m my own manager, I book my own shows. I do my own tours. You just got to be pro-active in your own business and really not wait for anyone.

I’ve always been the type not to want to have someone wait on me hand and foot or wait for somebody to make a move. Like I rock with a live band, I’ve rocked with a few live bands throughout my career. Trying to pull everyone together at one time is hard and a lot of people had their own agendas. Which brought me to the realization that man I need to focus and concentrate on me, I need to build me up instead of trying to bring everybody on board at one time.

My next move is to finish completing my own studio, right now its a pre-production. Right now I really have to rely on going to another person’s facility and it kind of sets me back a bit which is one of the reasons it took me so long to put this album out.

As far as pre-production go I got it going on in the basement, been teaching the kids. I got a five year- old and a seven year-old, by the names of Zion and Jaden, teaching them how to produce and they’re dope. Jaden, man, he just helped me produce a track called “I” and we were going to record it today, you know I was going to have you meet me at the studio.

HHF: So that work ethic that you were talking about, you’re in the process of instilling that in your children. (…) I think it’s so dope to have the children involved in the process, they’re not going to be stuck someday trying to figure out what to do and how they’re going to eat.

Theotis Joe: It starts with the parents, you send them to school everyday for however many hours and then they come home for a couple of hours and go to bed. Nah, it starts at the house, you set it up so when they come back, even if its the weekend, we doing something productive, you know that’s going to be instilled in them that can carry on and pretty much if they need to make money then they got that.

HHF: Did you have any influence in your life like that growing up; what were like some of your musical influences?

Theotis Joe: Yeah well as far as musical influences, I’ve always been into like just music period. I use to listen to a lot of old school, R&B, because my pop he use to play stuff like James Brown, Curtis Mayfield, Marvin Gaye, Otis Redding, a lot of blues. Hip Hop of course, I mean I grew up listening to that late 80’s early 90’s hip hop, I wish that could come back.

As for hip hop, I was kinda influenced by NWA, Too Short, De La Soul, A Tribe Called Quest, I grew up on that, Eric B & Rakim, KRS-One, stuff like that, Big Daddy Kane. As it progressed, then it was Wu-Tang, The Pharcyde, man, I could go on forever.

HHF: So about your sound, if I may, you have these hard-hitting lyrics like NWA but with a more laid back delivery. Where does that come from? I think you referred to it in ‘In My Town’, when you said “… sport a fedora, but got a southpaw…”?

theotisjoe

Theotis Joe: “You think I’m soft cuz’ I sport a fedora, hell nah I got a southpaw that’ll rock a hole in your jaw…”. I guess just experience, I love being in rap cyphers. People get together and just spit rhythms and stuff  like that, coming up with new stuff and I even rap to myself while I’m making beats and stuff. I guess it all depends on how the beat makes you feel, I learned to rock with the rhythm and just flow to the track like a cowboy on horseback, just flow with it.

(Theotisjoe begins to nod his head to the background music)

HHF: Oh are we about to start freestyling?

HHF: Where can we find the new Ship It Out ep and also the After Hours album?

Theotis Joe: Starting with the Ship It Out ep, its going to be released on August 16 on cdbaby.com and will be available on I-Tunes, Amazon, Spotify, all the digital download sites across the world, even my website, TheotisJoe.com. After Hours is already available on I-Tunes and Amazon and you can find the music on YouTube, I’m on Soundcloud and ReverbNation.

HHF: Thank you so much for sitting down with Hip Hop Forum digital magazine today.

Theotis Joe: Thank you for having me.

omi 2

West Baltimore native Omi Muhammad is an artist and writer, now based in Philadelphia. To see her work, please go to http://www.urban-gypsy.net/index.html

Omi is part of the New Black Writers Program, managed by Hip Hop Forum Digital Magazine, to support, nurture and develop the talents of Black American journalists of the future.

Like Hip Hop Forum Digital Magazine on Facebook!

HHF Interview: HooNoz

Interviewed by Big Momma ‘Miz’
In this interview, Chicago-based MC HooNoz talks about his motivations for keeping on with his music, what he thinks is behind the excess of so-called trash music these days and his role in the Harvey Finch movement.

HooNoz

HHF’s correspondent, Miz answered the phone with a greeted melody “HOONOZ” similar to the way Ice Cube says “WEST SIDE” …

Yes, Ma’am” says HooNoz in a bass tone, Chicago accent.

HHF: How was ya day, how was the video shoot?

HooNoz: Actually it got cancelled, there’s a heat advisory going on, it’s been hitting over 100 degrees.

HHF: Tell me a little bit about the song and video.

HooNoz: My music is what I like to refer to as reality music, some Joe Average human being trying to get through their struggle it’s called the ‘Best I Can Be’, I’ve been getting a lot of feedback, online radio stations been pickin’ it up and spinning it, I’ve been trying to do a video for it for the last year and a half, it took a while find a location.

HHF: What was special bout that particular spot that you finally chose, did it correlate with the video, did it enhance the message in ‘Best I Can Be’?

HooNoz: I appreciate the architecture of what it is, it’s a very old cemetery that closed down, after the owner passed, his wife built a big wall around his grave stone, on top of a hill, it’ll have a real nice look on the backdrop of the video I think.

HHF: From flipping around on your website http://www.hfemovement.com I can see that style in Harvey Finch’s dark music, what’s the album going to be called?

HooNoz: Reloaded, for several reasons, I kinda toyed with my style for a few years, slowed down my lyrics and it was like the game kept slowing down, it’s almost like chopped and screwed and on drugs. It’s my first full length album that will be released since my company got digital distribution, and it’s also my tenth solo project released.

HHF: Tenth?

HooNoz: Tenth, yes ma’am, my 9th solo project drops the same day, it’s a mixtape, and the album comes out on the same day, so that’ll be my 9 & 10 projects, to date I got 10 videos released off the mixtape, and 8 off of the album …  

HHF: What’s the motivation behind all of that?

HooNoz: Honestly my passion for music, I’m motivated because it’s hard to find good hip hop.

HHF: What do you think is the cause for some artists that don’t push it to their full potential?

HooNoz: In my opinion I see it as categories, you got rappers and then you got artists, rappers they rap cause they think it’s cool, some of them actually can, some just do it because everybody else does, and if it doesn’t blow overnight like they thought it would, they start bs’n.

HHF: Regardless of not getting that instant fame, would you always encourage artists to keep on pushing no matter what?

HooNoz: You never know when things can work out for you through your passions, if you got a passion for it you should do it, but I also believe this game ain’t for everybody.

HHF: What do you think of the state of hip hop and rap now, where do you feel like Hoonoz fits in? I like a few club bangers, but I can’t call myself a fan of it, I can’t grasp anything from today’s music that works for me, what about you?

HooNoz: (in a sincere tone) When I promote my music, you’re the kinda person I look for, I don’t try to fit in with what’s going on, the hip hop on a major platform is very lights, camera, action, Hollywood entertained, scripted like wrestling, it’s like the state of hip hop is messed up, the majors lyrically are the minors and the underground is where you’ll find real the music, real fans, I’m trying to give the real listeners good music, and it’s hard, because it’s so much not good music out here.

HHF: How do you connect to or find your target audiences that you want to relate to, since the emphasis are on the lack of a better word, trash music?  

HooNoz: Aside from being in the street and word of mouth, the Internet.  I’m not a big fan of the Internet, but it definitely finds those people, every time they share it, I know people from where they are from are seeing what I’m doing too, and it may never pay off financially, but if my time was over tomorrow I had an opportunity to do what I love to do, it’s like you live forever, as long as the Internet don’t shut down and people can still pull up ya music, 10 years later you’re still here, you left something.

HHF: I was listening to a podcast the other day about the type of music taking over and flooding do you think this wave of music will die and the styles of Nas and Ghostface will be in the mainstream again, or will it stay underground?

HooNoz: Call me conspiracy theorist, this is probably one of the reasons I may never see major status, there’s a lot going on behind closed doors… ’bout 20 years ago they seen the pride that hip hop gave people of a struggle..you know ‘Keep Ya Head Up’ – we come from nothing which makes us stronger, we survive, we progress and embrace that struggle, don’t shame yaself like society does, hip hop gave us an inner strength at one point, I feel like the powers that be, the one that pull the strings, they’re the ones putting all this BS into the game, so it’s hard for me to say we’ll ever see the good hip hop at an amazing level, in hip hop’s messages, no matter how negative it came off, it almost always had a positive energy to it.

HHF: I agree, I was showing my kids a few videos, ‘Brenda Had a Baby’ being one of them, and the messages that they portrayed and when we rapped along, we were saying something.

HooNoz: (He interrupts with an apology, I encourage him to proceed) I just wanna say two things real quick that relate to that, people have to learn you are what you eat, that is mentally and physically, it almost seems cool to be uneducated today.. and second of all … Damn I lost my train of thought already, that quick …

HHF: Don’t dwell on it, it’ll come back when you’re not thinking about it, so let’s keep talking … Switching subjects, one song I liked was called ‘Other Zones’ do you want to speak on that, what influenced it?

HooNoz: When I wrote ‘Other Zones’ the lean was becoming real popular, so I figured I’d make something pertaining to it, that joint was produced by Johnny Julianni, he become popular during Wiz Khalifa’s rise, he was one of his main producers. I leased a beat from him, and when I sent him back the song he actually liked it, and told me he was gonna give me exclusives to it.”

HooNoz- Other Zones on SoundCloud

HHF: I forget the name of the song, but in a verse I heard you say ‘some say I sound like Pac’ – do you remember what song that was?

HooNoz: Yeah, I love that song, and to be honest, I’m not a big fan of my own music because I hear a lot of my flaws in it, that actually is one of my favorite songs, and the song, ‘Everywhere You Turn’ I had built a bond with the production team from Germany, and they were helping my get songs on the radio there, people were saying, I listen to your music, I hear more reality in it, you’re not rapping bout the bullshit rims, and the big booty girls at the strip club, or the kilos that you never sold, I hear real struggle, I hear pain, I hear realness in the music, and a lot of people were saying that it reminds them of 2pac.

HHF: I was wondering if it was intentional to sound like him or you feel like you share the same spirit and it flowed naturally?

HooNoz: I grew up to Pac & Biggie, I was lucky enough to see (I hate to say it) the demands of hip hop to know that what’s portrayed in hip hop’s society today, is not real hip hop,…Ohhh, that’s what I was gonna say, You were right, we continue talking and I would remember it.

HHF: Yup!

HooNoz: (he continues) It’s hard right now to name five popular rappers in the game that was in the game 10-15 years ago, music has become so trashy that you get your moment and then you’re gone, The music isn’t everlasting anymore, just momentary trash.

HHF: In your opinion, why is that?

HooNoz: Well, it goes back to my conspiracies, the guy that owns MTV, CBS, BET, the white man who brought it from him, even Bob Barker, who is a huge investor of the prison system, that takes me back to … take the positive message out the music and feed them negativity, a lot of these major record labels are also prime investors of the American prison system, and it’s not just music, they do it through the movies and video games, they constantly feed aggression and violence and ignorance to the youth, You might hear me talk about violence in my music, and the artists that I associate with, but it’s because we came from it, there’s nothing cool about killing another poor person from your broke ass community, because you think they got more than you do.

HHF: Right, I understand that.

HooNoz: I’m blessed, I usually try to tell these younger dudes, I know they keep telling you that you gonna die or go to jail before you’re 25, but truth be told, a lot of people wake up at 30, and they’re not dead, so what are you gonna do with a Tech 9 and a promethazine bottle tattooed on the side of ya face at 30 years old?

HHF: Yeah, good message. Ok, but before we’re done, I want to shed a little light on the Finch Mob, the whole Harvey Finch movement, I want you to say a little about that, what is the Finch Mob?

HooNoz: The whole company is owned by Harvey Finch, and the goal from the beginning was always independence, showing that we can do what the majors do, we can purchase, film, record, and release our own. Before a project drops we put like 6,7,8 music videos out, prior to promoting it. I can’t say you’re gonna drink the water, but I know when we get done, you’re gonna leave with enough water that you can bottle it and sell it”

HHF: Yeah I hear that, so you guys must have a dynamic team over there.

HooNoz: We get that a lot, but to be honest with you, it’s mostly just me and my wife, she seen my vision, she got behind it, learned everything she could to keep everything moving, it’s 10 of us working, but it’s two of us physically.

HHF: I’m gonna wrap it up, any last words, motto or a message that you want to say that reps you and what you stand for?

HooNoz: Yes, I just want to say, people need to stop saying hip hop is dead, it’s alive and well and producing some of its best music in the underground, you have to give unknown artists a listen. Just because a person is mainstream doesn’t mean they aren’t trash.  If you say hip hop is dead and you don’t support or listen to unsigned artist, then YOU are what’s killing hip hop, get off the band wagon, and follow your own ears. If you are not part of the solution, then you are part of the problem.

HooNoz

 

Big Momma “Miz” a North Philly native, out of Harrisburg PA., She is now the representative/manager for an indie label ILL CRE (Illustrious Creations of Entertainment). Hip Hop culture is embedded in her style & personality; she likes to compare her persona to Shock G & Humpty Hump”, meaning its two sides to the coin. Big Momma Miz handles the biz, while Penelope handles the mic!

Miz

Miz is part of the New Black Writers Program, managed by Hip Hop Forum Digital Magazine, to support, nurture and develop the talents of Black American journalists of the future.

Like Hip Hop Forum Digital Magazine on Facebook!

HHF International: Street Art Documentary, South London

David Baker filmed this work in Lambeth, South London an area he describes as ‘very cultural , very cosmopolitan and political at the same time with many different ethnicities but  it’s also a hotbed for a lot of urban talent a bit like a borough in New York like Queensbridge or the Bronx.’
A Hip Hop Forum Digital Magazine exclusive  By David Richard Baker
David Baker
Digital artist, David Baker was born in Brixton, South London in 1973 and became immersed in urban street culture from an early age. His work attempts to encapsulate the fundamental surviving elements of hip-hop through creative expression of Street Art , Music, DJing , MC-ing and Knowledge through the medium of film making.
To see more of his work, now and in the future, check out his YouTube channel!

HHF News: School Boy, Rich Homie Quan on VH1, spotlight on new talent – Azeem and Carlos St John

Written by Danny Deserve

 

Boss Lady: You’re late with your column what the hell is going on?

Me: I’m sick ….. (sips Henny)

Boss Lady: What is it, the flu, a virus did you get meds?

Me: I’m sick of all these senseless murders (sips more Henny)

Boss Lady: Are you drinking?

Me: Never mind all that …. Black Lives Matter Goddamn it!!!

Boss Lady: You’re fired F*ck this sh*t…..*

Me: Damn shorty….. (sips Henny)

What’s popping good people it’s your boy Danny Deserve aka Book em Dano, aka Padre Nuestro, aka Black Sinatra, aka Bub from the Bronx. I’m back to serve you up with what’s hot right now so pour some Henny and let’s get it.

 

Check out the sophomore release by School Boy “Q” “Black Face”.  

It’s been a hot minute since School Boy has taken the time to bless us with his dopeness and he didn’t let us down one bit with his sophomore LP titled “Black Face”. He killed with his sure to be single “Whateva U Want” feat. Candice Pillay, who has written for the likes of Christina Aguilera, Rita Ora and Sevyn Streeter.  She sings in the background like she’s haunting this joint, fans of Swedish Group Little Dragon will appreciate her vocals. The Dogg Pound joins in and adds some West Coast funkadelic type flavor on “Big Body” where he rides the groove and you can almost visualize him executing a two-step west coast shuffle. Additional tracks laced by the like of Miguel (which is one for the lady’s), Jadakiss, E-40 and Vince Staples makes this album a must blaze. Knocking all 17 of these tracks will definitely restore your faith in the new era of Hip Hop.

SQB-Disk-_-Cover-Mockup_v2_large

 

Rich Homie Quan VH1 Hip Hop Honors

Give him a pass…

Nah son, never

On everything, what this cat did during that tribute was totally disrespectful to BIGGIE. That being said my boys from New York were about to start a Gofundme page to take son out. How the hell are you going to get on a tribute show and not remember BIG’s lyrics?!!!!! For real son, you and cats like Trinidad James, Designer and Young Thug (OMFG) are what is wrong with Hip Hop today.  If I were you I would cancel all shows in New York City area until the hate dies down, let’s say a year sh*t maybe two… Then the youngster issued an apology, brother let me tell you no one and I mean no one holds a grudge like a New York cat…..two words “witness protection”.

Rich Homie Quan Apology

Here are two new artists on the rise (I feel like I owe the Boss) Azeem feat Carlos St John “Hurricanes and Tornadoes”

This duo sets this track on fire

Here is two more by the cocky young Carlos St John …..

Bang out people……until next time stay safe people it’s real in the field.
DannyDeserve

Danny Deserve was born in Harlem but raised in the Bronx, New York City where he watched the evolution of Hip Hop culture. His believes that the culture transcends race and religion and prior to the message being hijacked, was a primary force in bring people around the world together in harmony. 

Check out his FB page, Save Hip Hop Boycott Hot 97.1