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royallyprincesslilly · 5 years

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Title: Blame It On The Alcohol {Headcanon}*

Warning: Dirty Talk, Teasing, Raunchiness, Barely 5% NSFW

Words:1.7k

Note: The song referenced is “Doin It” By LL Cool J. It’s an oldie but it is still absolutely perfect. Check it out if you like. Thank you guys for reading!!! I hope you enjoy it!!!

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Everyone needs to cut loose every once in a while, right? Chris Evans is no different. After a long few months on-location filming, Chris is home in Boston, and you couldn’t be happier.

What was to be a quiet night at home together to get reacquainted goes left when he’s invited out with your guys’ friends to celebrate him being home.

Being the great people pleasing man he is he agrees. You’re not angry, you understand you’re not the only person in his life that missed him. So, you dress in a cute but sexy outfit that isn’t overtly sexy but just enough to have his eyes on you all night.

When you come downstairs, Chris is already waiting. Once he sees you, his eyes zero in on the cutouts on your jeans that are showing off your perfectly moisturized and glistening thighs. He doesn’t move, just looks over your body as you grab a coat from the closet.

You drop your jacket and bend over for it making sure not to bend your knees. In seconds, you feel his hands on your hips. Smiling you turn to him and put your jacket on. “Ready?” Your words are monotone as you pretend not to know what you’re doing.

“Yeah.” You walk in front of him and out the front door well aware that his eyes are glued to your ass. Chris is already having second thoughts about the plans for the night. He opens your door for you and begins the route to the bar.

During the drive, you keep your legs crossed as you hum along to the song on the radio. When the song changed to an oldie but goodie by LL Cool J, you smiled because it was perfect to add to your tease. You turned up the volume and swayed in your seat waiting for the part for you to come in.

“Imma call you big daddy and scream your name, matter fact I can’t wait for your candy rain.”

From the minute Chris heard “big daddy” he loudly clears his throat and shifts in the driver’s seat. You continued to bop to the hit waiting again for the part for you to come in.

“Mmmm, daddy slow down your flow, put it on me like a G baby nice and slow, I need a roughneck n****, man-dingo in the sack who ain’t afraid to pull my hair and spank me from the back.”

Your eyes drift to Chris as you say the last few words, he is already looking at you. He’d heard the song before it was on a few of your playlists, so the lyrics weren’t a shock for him. He was white but he had a broad array of musical tastes. He didn’t look amused. You didn’t care. As the woman’s part came back around, Chris switched to a station playing classical music.

“Hey, that was my song!”

“I bet it was. Listen to some classical music. It’ll chill you out.”

“I don’t need chilling out Christopher. Do you?”

“No comment.”

The drive to the bar came to an end after another ten minutes. Your friends were already there waiting and once they saw Chris they got louder. Like always when the group of you got together it was a good time. You laughed, listened to and told stories, danced and drank. It was good to see Chris cutting lose and enjoying himself.

After a few hours, you’d had quite a bit to drink and you were feeling loose. You were in a circle with the girls in your group just dancing and laughing. You saw Chris from the corner of your eye enthralled in conversation. You snuck off, walked over to him and took his hand.

“Dance with me, baby.” Not wanting to say no to you he let you lead him to the dancefloor. You danced in front of him swaying your hips before you turned your back to him and dipped down to do a baby twerk. You heard his laugh before he touched your hips and swayed behind you to your rhythm. Chris always had good rhythm. When you straightened, you pressed your back to his chest.

“Are you drunk, sweetheart?”

“Ha. Never. I haven’t even had that much to drink.”

You bent forward again touching your knees and winded your hips and ass into his crotch. Chris’ hand trailed down your spine and around to your waist where he squeezed. Whenever you danced, he was a sucker for the wine and the twerk. Unfortunately for him, you were one of those girls who knew how to dance and knew how to bust it wide open.

Chris gripped your shoulder and pulled you back, as you straightened again, he bit your earlobe. “Be a good girl, princess.” His voice was deep and low, it was his turned-on voice. Your smile was mischievous.

“Or else what daddy?” Chris sucked your earlobe into his mouth as his hand crept around your waist to your belly and down to your pelvis. It was a slow torturous move and he knew just what he was doing.

“Or else, that reunion you’ve imagined for the last few weeks will go not as planned.”

Chris kissed your neck and walked away. Your smile widened. That sounded like a challenge. You loved challenges.

Another hour or so passed of drinks and laughs and as you sat next to Chris you took off your jacket and crossed and uncrossed your legs again. You looped your arm through Chris’ and cuddled close. His hand gripped your thigh at your exposed skin. It was a reflex action; one he’d done hundreds of times.

You uncrossed your legs and crossed them again this time trapping his hand between your thighs. Chris shifted in his seat and looked to you, but you were pretending to be engrossed in the current conversation—you weren’t.

You snuggled closer until your breast rubbed his arm. Once it did the sensation of the fabric of your lace bra and firmness of his arm had your nipple hardening. You bit your bottom lip and leaned to his ear. “My nipple just got so hard.” You then placed a small kiss on his jaw. As you did you felt the clench.

Chris looked to you half amused and half disapprovingly as he slightly shook his head before he looked back to your friends. The smell of his cologne hit you and butterflies filled your belly. You loved this scent, you’d gotten it for him and every time he wore it the only thing on your mind was getting him naked. Again, you leaned to his ear.

“Did you wear this cologne for me, baby? You know what it does to me.” Chris smiled but didn’t look at you. You snuggled closer, Chris pulled his arm free and wrapped it around you resting it at your hip. You moaned getting a better smell of him. You kissed his cheek once, then twice and a third before your lips trailed to his jaw and then his ear. The whole time Chris remained focused on the conversation.

“God, I’m so wet for you baby. Just move your hand a little higher.” He squeezed your hip. You knew it was a warning, one you didn’t heed. You uncrossed your legs and sat with them slightly apart then you moved his hand higher up your thigh until his fingers were pressed to the apex of your thighs right at the seam of the jeans you wore. You then crossed them again trapping his fingers there. A moan escaped you again. Chris glanced down then back to your face. He clearly didn’t know what had come over you and to be honest you didn’t either. He leaned to your ear and whispered.

“You’re drunk.”

“I’m horny. I want you—right now, right here.” Chris groaned and you felt his fingers move forcefully nudging against the seam of your jeans. You pinched your lips in an effort to keep your moans silent. It was a simple touch, but it felt incredible.

“I want your dick in my mouth, right now. I want to suck you dry and swallow every drop of my reward”

Chris’ fingers again forcefully nudged your crotch where your clit was sending flares of red-hot desire through you. This was unlike you. You had enough decorum to contain yourself in public situations like this. You had no idea what was happening right now.

“Tonight, anything you want, any way you want me. It’s yours.”

Chris groaned. His hand on your hip squeezed so hard you knew you were probably bruised and the hand between your legs somehow managed to pinch your clit. You released a breathy gasp then buried your face in his shoulder. Chris’ attention went back to the group hopefully taking the attention off of you.

You began grinding yourself in the seat, every move made Chris’ fingers stroke against you and it brought you closer and closer to coming undone.

“I wanna come, baby, make me come.”

Again, Chris pinched your clit and it sent you over the edge. You did your best to keep silent and still as your orgasm rushed through you making you see white spots behind your tightly shut eyelids. Chris expertly remained present with the conversation never missing a beat, and not giving away the fact he’d just made you come all over yourself and that he was dangerously hard.

Your hand dropped to his crotch and rubbed.

“Do you wanna bury this big, thick dick in me, baby? Imma call you big daddy and scream your name.”

He stiffened and looked to you. While there was a hint of amusement behind his lagoon colored eyes, there was also intense desire and longing shining through. You felt it as well.

Slowly Chris looked back to your friends. “It’s late, we’re gonna head out.”

You smiled to yourself and snuggled closer. After a few minutes, more Chris settled the tab and you were saying goodbye to your friends making plans for another night out. This time Chris said he’d call to set something up. You knew that was code for the next few days you’d be quarantined to the bed with the doors locked and phones off. You couldn’t wait, it had been way too long.

When you got in the car and began driving Chris was the one to turn on the music and the song that came on made you snap your head to him. Chris smiled as he mouthed the words to the LL Cool J song. You smiled and leaned back in the seat and joined in.

“Doin it and doin it and doin it well!”

#blame it on the alcohol headcanon #Chris Evans #chris evans headcanon

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joementa · 3 years

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Radio Everywhere.

One of summer’s best traditions is to put the windows down and turn up the volume on a good radio station. This week’s playlist is an ode to one of life’s greatest pleasures. The radio. Long live it.

Apple Music: https://music.apple.com/us/playlist/radio-everywhere/pl.u-2aoqp4ecVkeGyB

Spotify: https://open.spotify.com/playlist/0jywOb5nZol9l0y5AfYJo8?si=A3Ws2BQXTKyWvwZYjILWtw&dl_branch=1

The Gaslight Anthem – “Mae” (Handwritten)

Bruce Springsteen – “Radio Nowhere” (Magic)

The Bouncing Souls – “Private Radio” (How I Spent My Summer Vacation)

Tom Petty & The Heartbreakers – “Anything That’s Rock ‘N’ Roll” (Tom Petty & The Heartbreakers)

Todd Rundgren – “Wolfman Jack” (Something/Anything?)

The Clash – “This Is Radio Clash”

R.E.M. – “Radio Free Europe” (Murmur)

Joy Division – “Transmission” (Substance 1977-1980)

LL Cool J – “I Can’t Live Without My Radio” (Radio)

Bob Dylan – “Shooting Star” (Oh Mercy)

Van Morrison – “Caravan” (Moondance)

Roxy Music – “Oh Yeah” (Flesh + Blood)

Steve Earle – “Satellite Radio” (Washington Square Serenade)

Wilco – “Radio Cure” (Yankee Hotel Foxtrot)

Lana Del Rey – “Radio” (Born To Die)

The Wallflowers – “Three Marlenas” (Bringing Down The Horse)

Warren Zevon – “Mohammed’s Radio” (Warren Zevon)

Against Me! – “Born On The FM Waves Of The Heart” (New Wave)

Alkaline Trio – “Radio” (Maybe I’ll Catch Fire)

Bruce Springsteen – “Save My Love” (The Promise)

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westakoasta · 5 years

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P-MINUS - 2019

Where are you from? And what’s your first memories linked to hip hop?

I’ve lived all over - Belgium, Germany, Ohio, Missouri, the Virgin Islands, San Francisco, and now Los Angeles. But I spent the most years, including high school and college, in Missouri, so I feel like that’s where “I’m from.” I first remember hearing hip hop while living on St. Thomas (in the Virgin Islands) and the three songs that started me on this journey were “I Need Love,” by LL Cool J, “You Be Illin’” by Run-DMC and “Fight For Your Right To Party” by the Beastie Boys. I must have heard them on the radio, so that would have been 1987 - the year of my hip hop birth. In 1988, I moved back to Missouri and a neighbor of mine had a ton of rap tapes so I’d borrow his tapes all the time or listen to them in his car on the drive to school. I believe that the first tape I ever bought was Schooly D’s “Smoke Some Kill” (1988).

What got you started with Atak Distribution, how and when did it begin?

Fast forward to 1994 - I had graduated from college, where I had been the Hip Hop Director at the school’s radio station, and moved to San Francisco where I began an internship at Gavin, a music magazine that curated Top 40 lists for radio programmers. Somehow through that job, I met DJ Stef (editor of the Vinyl Exchange) and started writing record reviews for her. And on one fateful day, I received a copy of Sacred Hoop’s “Demo” tape for review and I thought it was the freshest thing in the world and in 1996 I officially became an underground hip hop junkie.

Were you a hardcore music collector before you started Atak?

Before Atak, I had a decent cd and record collection, full of ‘90s “golden era” major label releases, but hardly any tapes and barely anything considered “indie” or “underground.” Back then I wasn’t a collector, just a music fan, because all this incredible music was just sitting at the record stores for $12.99. I shopped a lot at Amoeba and Rasputin’s and a few other smaller stores in the Bay area, plus a few record labels and artists would send me promos for review.

How did you choose what would be in your catalog? How did you make contacts with the artists?

Starting with Sacred Hoop, I was certain that this amazing group wasn’t getting the exposure it deserved, so the seeds of Atak were first planted. I then started soliciting for more submissions through the Vinyl Exchange and some other Bay area rap magazines, such as 4080. I think that the Hoop started spreading the word, too, because I soon started getting tapes from the likes of FTA, Megabusive, San Francisco Street Music, Jedi Knights Circle, 99th Demention and others from the South Bay and SF. Somewhere in there, I met up with the Mystic Journeymen, bought some tapes from them, and was eventually exposed to Berkeley and Oakland artists such as the Living Legends, Hobo Junction, Zion-I and Illa Dapted. If I liked your tape, it would get in the Atak catalog. The first printed mail-order catalog had 12 tapes in it and the very first tape sold was Mystik Journeymen’s “Escape Forever” on August 10th, 1996.

Was the mail-order a full time job or did you have other occupations (studies, other job?)?

During the first few years I had several jobs: the Gavin internship became a paid job, I worked at a grocery store and then later at a vegetarian cafe. Eventually, since my rent was cheap and I was starting to sell more music, I was able to do Atak full-time. All the storage and shipping was done out of my bedroom.

Did you have many overseas/international customers and what role did that play in the business?

It looks like I started getting my first international orders (from Finland!) in 1997. I don’t know how they found out about Atak, but they were serious fans of West Coast underground so word spreads fast amongst those folks. Fans in Finland, Australia, Canada and Japan were my strongest supporters, with a few folks in France and Germany, too. This was before I started selling online, so these folks were trusting me with their cash and money orders and I will be forever indebted to them. Through these customers, I was exposed to international hip hop and eventually started selling music from the likes of Ceebrolistics, the Sebutones, mcenroe, Mary Joy Recordings, Muphin and the Hilltop Hoods.

What was the « peak » year in terms of sales and in terms of quality of music?

After a year or so of mailing out catalogs and setting up tables of merchandise at shows, Atak finally got online with the help of one of my earliest customers, Todd (aka Vic aka Celph Titled), who was extremely active on hip hop message boards, and he really helped spread the word around the U.S. and the world, so Atak started getting more non-Bay area music in the catalog and I started getting orders from everywhere. I think that the music quality was strong start to finish. I was listening to everything before I put it in the catalog, and if it wasn’t dope, it didn’t get in.

Did you ever wanted to make Atak a bigger thing, like UGHH or such?

There was a time in which I would have loved for Atak to get really big, because it was all so much fun - all the shows, meeting the artists, hearing a ton of new music, even the packing and shipping was fun for me. But in hindsight, it is clear that I was better at being a huge fan of the music rather than being a savvy businessperson. At the point in which digital music started taking off, I didn’t have the technical knowhow to adjust accordingly, and a big part of me still simply loved selling physical copies. As a fan, I didn’t want everything to go digital, but as a businessperson I should have dived in headfirst to keep up with the other big websites. I admired what the other sites were doing, and what friends like Shane (aka Kegs) was doing with Below the Surface - putting out records, putting on shows, opening a brick-and-mortar storefront. But part of me liked keeping things small and simple, but that clearly pushed me into smaller and more obscure corner of the online hip hop biz and eventually bumped me out of it altogether.

You did some cd-r reissues as well as a couple of mix-cds. Any temptation of launching a proper record label (as in: « new release, no reissue ») at some point?

I’d been wanting FOREVER to start a label and put out records! I made a feeble attempt to put out an Atak compilation in the late ‘90s, full of all the folks that were in my catalog at the time. I was able to get maybe 7-10 crews over to my house one night to talk about it, but since I had no idea how to really put it all together, I ended up getting one original song, from Nitrous Ox, out of that great big idea. More recently, I’ve been hoping to help folks put out releases but nothing has materialized just yet. Nowadays almost everyone is really good at getting this stuff done themselves, so I’m happy that they are taking control of their destinies and getting their music out to the world.

Can you give us your personal Top 5 favorites in your sale catalog? Also one that you think was dope and didn’t have the recognition it deserved?

In no particular order, I’ll list a few of my favorites, but I’m obligated to mention Sacred Hoop’s “Demo” (aka “Sacred Hoop” aka “Runny Poop”) first since that tape inspired everything. I was also thrilled to be able to pick up indie music from the Hieroglyphics (“Hiero Oldies”)and Saafir (Hobo Junction’s “Limited Edition Compilation”) since I was such a fan of their major label stuff. I really liked Red Tide’s “Rogue MCs” tape. Disflex6’s self-titled debut (aka “1984”) was great. The Kracken’s “Abstract & Cognac” left me wanting much more. The Sebutones’ “50/50 Where It Counts” blew my mind! Early stuff Dose One and Why? showed me that hip hop had no boundaries. This is an extremely abbreviated favorites list - as I look back through my old catalogs, I realize that I loved them all. It was all so new and so fresh and I think these artists all deserved more recognition than they got. I’m glad that I could help expose them a bit but I wish I could have done a lot more.

Did you developed friendship with artists/crews over those years and do you have interesting stories/ anecdotes linked to that?

My anecdotal memory is terrible so I’ve sadly forgotten a ton of great stories, fantastic show moments and hilarious conversations. Looking back, I should have kept a journal or taken a million photographs, because we all had so much fun and did so much back then. But, luckily for me, I’ve been able to keep in touch with a few of my very favorite people, emcees Luke Sick (Sacred Hoop/Grand Invincible) and Roughneck Jihad (Third Sight), and producer Deeskee (who has probably produced more songs in the Atak catalog than anyone else). And luckily for everyone else, all three of these guys are still making incredible music, more than 20 years after giving me tapes to review. A few weeks ago I got to hang out with The Grouch for a bit and he gave me a copy of his “F...the Dumb” double vinyl, 20 years after I first sold that tape in the catalog.

Why (and when) did you stopped Atak?

Atak started to slow down around 2004. I had recently moved from the Bay area down to Los Angeles, gotten married, bought a house, and started another job that was able to pay the bills more reliably. I was still getting orders and submissions from new artists, but wasn’t able to give Atak the focus it required to really push new artists and releases. I didn’t have time to go to many shows anymore, and all my hip hop buddies were still up in the Bay. I had ambitions to reboot the website, but then my web host got hacked and I had to shut down the site...and then I never got it back online. I eventually moved my inventory onto some other online platforms and kept selling, but for the most part, Atak was done. I’d like to take this opportunity to apologize to the artists who submitted music around this time. I was getting some great music but just didn’t have juice to do anything with it.

Any thoughts on the evolution of hip hop? What about the the come back of the cassette? Is it possible that Atak would make a comeback in the future, in some form or another?

Tough question, because I don’t keep up with much truly “underground” music anymore, so I really hope that there are a ton of dope kids putting out dope music out there, and I’m sure there are plenty of them. I love 90’s hip hop so much, both major label and my Atak stuff, that that is what I still listen to the most, digging in my records, tapes and cds or bumping music in my car. I agree with most true heads that a lot of today’s hip hop is junk, and though I’m happy to see rappers get big and make money, I’d much rather that it be good, original and compelling hip hop. I’m stoked to see everyone buying and releasing tapes again, because of my love for the physical copy (though I agree that a free or cheap digital download is an essential part of that sale). And in regards to Atak’s great big comeback, I don’t think it will happen - it would require too much time and energy to do it right. But if I can still help out a few people, promote a few records, maybe even sell a few for my old pals, I’m happy to contribute.

A specific question from the homie Age: do you still want to reissue that Hi-State album?

I bugged my man Mr. E about that tape FOREVER and at least he finally put it up on Bandcamp (https://eightarrow.bandcamp.com/album/hi-state-project-demos-n-shit-vol-1) and we chatted about putting out a cassette reissue. I’m sure he wouldn’t have much trouble selling a short run of 100 tapes, so I’ll remind him about it. But I’m happy that fans can at least take a listen or buy it online.

What do you think was the most special in the 90's underground scene, and do you believe something like that would ever happen again?

I’ve never really tried to analyze that scene, but in retrospect, I bet that a lot of these emcees, producers and deejays were inspired by all the incredible major label releases that kept pouring out in that decade. So much quality hip hop was coming out and it was easy to see on “Yo! MTV Raps” and BET and the good stuff was even getting on the radio! It was everywhere and it was so damn good! I’m sure that these kids just wanted to be a part of that magical time, and a lot of the underground music was super fresh, too, because it wasn’t easy to make beats and put out cds - they had to commit to it and create a whole scene and they had to be dope to do it. Granted, I’m a old nostalgic rap dude now, but I don’t think the major or the underground scene will ever be that saturated with fantastically innovative, powerful, creative and inspired hip hop. Nowadays there isn’t enough inspiration in the scene for there to be an onslaught of great new hip hop like there was for me back in the days. There will always be a lucky few who can inspire themselves to be original and make great music, and hopefully these kids will get a chance to be heard.

Interview conducted by Kaliyuga Pro & Pseudzero with a bonus cameo by Age, february 2019.

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granvarones · 5 years

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2019 marks the 30th anniversary of the introduction of the first rap category at the grammy awards. while the inclusion of the category, nearly a decade after the first rap song cracked the pop top 40, was considered monumental for the genre. however, it was not without controversy.

dj jazzy jeff and the fresh prince along with their pioneering peers salt n pepa, ll cool j, kool moe dee and jj fad, were all nominated for best rap performance. when it was announced that category would not be a part of the televised portion of the grammy awards ceremony, three of the five nominees staged a boycott and did not attend the awards ceremony. kool moe dee and jj fad were the only nominees who chose to attend the award ceremony.

dj jazzy jeff and the fresh prince won the award with their pop cross-over hit, “parents just don’t understand.” they were not present to accept their award. but their boycott helped to solidify hip-hop as a genre that was deserving of industry awards.

30 years later, there are now four rap categories; best rap performance, best rap album, best rap song and best rap/sung song. the latter is a formula that dominates contemporary pop radio but would not be a reality without a song that was released just months after the 1989 rap boycott.

on april 15, 1989, the iconic & still criminally under appreciated, jody watley released the groundbreaking r&b/hip hop single “friends” featuring with eric b & rakim. released as the second single from her sophomore solo album “larger than life”, “friends” is the first multi-format single to prominently feature a rapper. in fact, the few songs that did feature guest rap appearance up to that point, seldom even credited rappers. such was the case with chaka khan’s 1984 pop top 5 hit, “i feel for you.” while the songs featured melle mel of grandmaster flash and the furious five, he was not credited and did not appear in the music video. “friends” is notable because eric b. and rakim were given almost equal billing on the song and rakim was featured on 16 bars and a bridge.

by the time “friends” was released, both jody and Eric b & rakim were at the imperial phase. jody had just won the grammy for best new artist and had already scored four top 10 pop singles. eric b and rakim were still riding the successful wave of their sophomore album “follow the leader”, which is considered one of the most influential hip-hop albums of all time.

“friends” helped to into introduce eric b and rakim to pop and mainstream audiences. while dj jazzy jeff and the fresh prince’s grammy award winning song, “parents just don’t understand” peaked at #12 on the pop chart, many radio stations, including r&b radio, did not play rap songs in heavy rotations. the cross-over success of “friends”, which was both socially and esthetically black af, helped to shift the radio landscape.

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the accompanying video for “friends” was just as groundbreaking as it notably and intentionally featured club kids, drag queens, and b-boys - all without coming across as pandering or forced. the video also featured butch queens voguing - an entire year before madonna’s “vogue.” when asked about the filming of the video years ago, jody responded, “a great time was had by all on that sweltering summer day in the village in 1989. fabulous and street in it’s realness without pandering, being contrived or sending a negative message, or certain stereotypes. proud.”

“friends” was instrumental in laying the ground work that artists like mary j. blige and mariah carey took to extraordinary heights. chyle, even jennifer lopez’s “i'm real (remix featuring ja rule)”, which i consider to be the single that saved her recording career, or at least her sophomore album, because the original version of the song was failing at pop radio before the release of the remix.

the rap/sung formula now dominates today's pop music. it even now has its own grammy category. all of this is due in large part to a black pop/dance visionary and rap pioneers who knew the reach of that hip-hop could and would have in this world.

#thegranvarones #granvarones #queer #gay #trans #bi #latinx #afrolatinx #storytelling #music history #jody watley #lgbtq #hip-hop #grammys #qtpoc

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femalerappers · 6 years

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Roxanne Shante Speaks on New Radio Show, on LL Cool J, I’d Rock the Bells Stationer on Sirius XM

#roxanne shante #video #videos #interview

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itskomplicated · 2 years

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Messing with your brain again, it's DJ @HannibalTabu in effect with sounds of today that sound like yesterday mixed in with the actual artifacts of the past themselves. Brace for impact! Check our Twitter feed for the on-demand version of what hit @kqbhla if you missed a single second! #community radio #communitybuilt #kqbh Lucy Pearl "Dance Tonight" Digable Planets "Where I’m From (Aural G. Ride remix)" Doug E. Fresh & The Get Fresh Crew feat. Slick Rick "The Show" DJ Firth "Inspector Gonna Knock You Out (LL Cool J vs. Inspector Gadget mash up)" Stonebwoy feat. Sarkodie "Odo Bi" Jurassic 5 "Jurass Finish First" UMCs "Any Way The Wind Blows" Black Sheep "The Choice Is Yours (Revisited)" A Tribe Called Quest feat. Leaders of the New School "Scenario" Tony! Toni! Tone! feat. DJ Quik "Let’s Get Down" Hannibal Tabu "Station ID Break" Kool Moe Dee "How Ya Like Me Now?" The Living Tombstone "Discord" Showbiz & AG "Soul Clap" 4Town "Nobody Like U" Main Source "Looking At The Front Door" Roosevelt "Feels Right" Nu’est W "Deja Vu" Kid & Play "Bounce" https://www.instagram.com/p/CcMvEOkrsNF/?igshid=NGJjMDIxMWI=

#community #communitybuilt #kqbh

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completemvp · 3 years

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The ILL DJ throwback mix from DJing on the Radio. Includes Joe Budden, Jay Z, T.I., Sean Paul + more from COMPLETE weddings + events on Vimeo.

I was going through some of my old recordings and found one that I did for the radio station. Shout out to Spankie and Jordan McKay at Power 96 for showing your boy some love.

Anyway, to make this more interesting, I got the music videos, some dancing videos and other clips that I could find, mixed them in my video editing software and this is what I came up with. I’m sure I’m going to get a ton of Copyright Claims. Hopefully no strikes though. #DJmix #liveDJmixing #celebrityDJ Here is the Track List, if you want to jump into a particular song 00:00 - Pump it up 01:53 - Pump it up (Jay-Z Freestyle) 03:50 – Back that Thang Up 07:37 – Hey Now (Mean Muggin) 10:24 – Head Sprung 13:35 - Shorty Wanna Ride 16:30 - Maria Maria ft. The Product G&B 19:53 – Lean Back 20:28 – Oye Mi Canto 22:45 – Gimme the Light (ILL DJ mix) 26:28 - Baby It's You 28:19 – Bring Em Out 30:46 – Outro

Here is where I got those videos from Joe Budden - Pump It Up (Official Music Video) - youtube.com/watch?v=ySfwW_xSRU4 Jay Z" Pump It Up"Freestyle Tidal B Side show in NYC - youtube.com/watch?v=z5OnIUOez4s Pump it Up - Joe Budden | ReiNa PrivateCLASS 2019 - youtube.com/watch?v=And7IJotUtw Juvenile - Back That Thang Up ft. Mannie Fresh, Lil Wayne - youtube.com/watch?v=WpQrAbkM3dI Xzibit - Hey Now (Mean Muggin) - youtube.com/watch?v=mi5Mq-7_dls LL Cool J - Headsprung (Official Video) - youtube.com/watch?v=JQcAzie9AJ0 Phineas and Ferb - There's a Platypus Controlling Me - youtube.com/watch?v=qXZM5bxoccc Young Buck - Shorty Wanna Ride (Dirty Version) - youtube.com/watch?v=GsyJVv-9ygM Santana - Maria Maria ft. The Product G&B (Official Video) - youtube.com/watch?v=nPLV7lGbmT4 The Lab - NBC World of Dance THE DUELS (Full Performance) - youtube.com/watch?v=gN7KtPwu770 Terror Squad - Lean Back ft. Fat Joe, Remy Ma - youtube.com/watch?v=ajmI1P3r1w4 N.O.R.E., Nina Sky, Daddy Yankee - Oye Mi Canto (Official Video) HD - youtube.com/watch?v=TiUAYN3UYdA Sean Paul - Gimme The Light (Official Video) - youtube.com/watch?v=8MmW_GOFS8I (video live mtv) busta rhymes, sean paul, flip star - make it clap mpeg.mpg - youtube.com/watch?v=BBT9M1CawgY Sean Paul - Get Busy/Like Glue (Official Video) - youtube.com/watch?v=oPQ3o14ksaM Learn How to Windmill - Complete Step by Step - Breakdance Tutorial - youtube.com/watch?v=0dB7JjpBMtI Revenge of the Nerds Talent Show - youtube.com/watch?v=1mRG2oAQhso JoJo - Baby It's You (Official Music Video 720p) HD - youtube.com/watch?v=mP23xos4704 T.I. - Bring Em Out (Official Video) - youtube.com/watch?v=UZckXxpGNa8

0 notes

djciscoradio · 3 years

Photo

BREAKING NEWS!! DJC Radio Global Is Proud To Announce That Tonight, (Thursday) At 9:30 Pm East Coast, 6:30 Pm West Coast & 8:30 Pm Central We Will Have West Coast & The World Hip Hop Legend "MUFFLA" Of The "L.A. Posse" Live On DJC-TV (DJC Radio Global) Tune In At: Facebook Live At: https://www.facebook.com/DJCiscoRadioNetworks DJC Radio Global Youtube Channel Live: https://www.youtube.com/channel/UC_Qdr1mJJyqgS2_CIQTTObw Main Radio Station Site: https://www.thedjciscoradioshow.com #muffla #djctv #DJCRadioGlobal #djcradiovirtualnation #HipHop #LAPosse #DJCiscoTheIndieArtistKing L.A. Posse was initially made up of founders Dwayne "Muffla" Simon and Darryl "Big Dad" Pierce who were later joined by Bobby "DJ Bobcat" Ervin and Mark "DJ Pooh" Jordan. The team first rose to prominence when Def Jam founder Russell Simmons signed them to produce for rapper Breeze,[1] leading to Simmons asking them to do pre-production on LL Cool J's 1987 album Bigger and Deffer. Bigger and Deffer was a huge success and led to L.A. Posse producing The Real Roxanne's eponymous album. During this period, Muffla also co-wrote Run-D.M.C.'s single "Beats to the Rhyme". https://www.instagram.com/p/CNbCwVVLXx5/?igshid=ym2os4axhfav

#muffla #djctv #djcradioglobal #djcradiovirtualnation #hiphop #laposse #djciscotheindieartistking

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hiphopscriptures · 3 years

Text

Fresh Artist Fridays: The Authentic

PRESSURE is the song you play when you need to feel heard by your music. The Authentic’s inspiring lyrics punch you in the gut and leave you with a feeling of motivation and determination. The lyrics grab your attention from the beginning and refuse to let you go for the duration of the song. “I see today standing in my way. Trouble’s always present so I get down on my knees and pray.” The song is a candid admission of the stress we feel just trying to get through life. The Authentic raps about how he knows life won’t be easy, but he will do everything he can to provide for his family and take care of himself. PRESSURE tackles the emotions that come with feeling adversity and difficulty perfectly. It’s open about how hard it can be to feel depended on, but also makes it clear that nothing will stand in The Authentic’s way. Its music video is equally as inspiring, showing ordinary people go through life struggling but determined to make it. Check out PRESSURE, along with the rest of the songs off of The Authentic’s 2020 project, Politics, War & Religion - Mixtape Series Volume One.

The Authentic Bio

In a day and time when music is strictly about glamour and entertainment, The Authentic stands as one of the last true MC’s focused on reality lyrics, a crazy flow, a one of a kind style and the real essence of Hip Hop. With so many replicas in the industry, The Authentic’s pure passion for the music allows him to stand in a league of his own and truly fits the definition of his title. With a flow that places him in a league of his own and a sincere love for his craft, The Authentic doesn’t hold back; addressing social issues and taking direct aim at whack rappers. Through his career, The Authentic has fully utilized his diverse experiences in life to develop a strong versatile catalog; with motivational tracks that depict the streets reality like hit single “Shining Star”, up-tempo Hip Hop anthems like “Turn It Up”, and party bangers like “Oh My God”. With over 10 solid years ripping through the underground, hundreds of performances under his belt, radio appearances and five solid mixtapes with thousands of units moved; The Authentic has firmly secured his slot in the game. Working hard to build his reputation and master the craft of being an MC (Master of Ceremony), he has performed all over the country, from New York City (Nuyorican Poets Café, Revolution Bookstore), Philadelphia (The Trocadero, Love Park, and Wells Fargo Center), North Carolina (NC State University, Dorton Arena), Las Vegas (Planet Hollywood and The Bunkhouse) and many more. His diligence, determination and natural raw talent has earned him respect from some of the most reputable figures in the game, including: DJ Rashaun, DJ Scratch of The Roots Crew, DJ Touchtone, DJ NoPhrillz and has landed him on stages with superstars such as, KRS ONE, Big Daddy Kane, Naughty By Nature, Jadakiss, Styles P, Musiq Soulchild and more. With his sound, his resume and pure passion for the culture, The Authentic truly represents a lost voice in Hip Hop. In addition to being in a league of his own when it comes to lyrical content and experience; The Authentic separates himself from the pack by being more than just another artist. Over the years, he has dedicated a majority of his time off the stage to building his community and standing as a voice on various social issues. In 2011, The Authentic created an annual event called “The Authentic Minds College Fair Tour”, which hosted over 50 colleges, guest speakers and live performances held at the Martin Luther King Recreation Center located in North Philadelphia. This College Fair alone generated a wave of media buzz and lead to the interest of multiple sponsors. By establishing himself on the corporate side, The Authentic has created multiple opportunities to perform and organize entertainment events for companies and organizations. The Authentic has also served as a Community Relations Director and spokesman for various Non Profits and local movements. To him, Hip Hop is a way of life and a culture and he feels that the mic should be utilized to depict real life and to open people’s minds to a reality that most people do not understand. The Authentic’s love for Hip Hop started in the 80’s at a very early age, listening to legends such as RUN DMC, KRS ONE, LL Cool J, and witnessing local break dancing competitions and DJ battles. He became fascinated with the expressions of the culture in every aspect and embodied being a key figure to continue the movement. While growing up in South Jersey, he witnessed his mother struggle to pay the bills and embraced all of the usual elements of the hood; violence, drugs and poverty. As he adapted to his environment, he gravitated to the mic to speak on exactly what he experienced first hand and continues to do so. The Authentic hit the scene hard in the late 90’s, touring the Northeast with Wyclef Jean’s award winning group City High. Shortly after the tour, The Authentic’s group, at the time, signed a joint venture deal with a local independent label and No Limit records, which eventually fell through. Following the fallout of the deal, he quickly bounced back rocking stages with Lil’ Kim, Tracey Lee, Jackal the Bear, and landed a slot on the radio with Legendary DJ Jay Ski; all before graduating high school. By the grace of GOD, The Authentic headed to Raleigh, NC after high school to attend college and to pursue new music opportunities. With so many colleges in the area and a solid underground scene in NC, The Authentic’s career excelled all while trying to balance school work, hustling to pay tuition and his passion for Hip Hop. The Authentic hit the ground running by tearing down college talent shows and was eventually booked to open for DJ Clue, Jadakiss, Petey Pablo, Styles P and D.C., go-go music legends Backyard Band. In early 2000 The Authentic was selected to headline the CIAA Championship Game at Dorton Arena, as well as the CIAA Hip Hop Hoops Tour, which hit colleges through MD, VA and NC, including NC Central, VA State and Winston-Salem State College. This tour led to him landing a deal with an affiliate label of the NBC television network. The Authentic teamed up with Raleigh’s illest underground MC “Bubsy” to form a group called “Lock n Load”, which dropped two hit singles on the “One Hot Minute Compilation”, a collaborative effort by NC’s top artists from around the state. Both singles released received hundreds of spins from Richmond, VA to Raleigh, NC to Florence, SC. Following graduation from St. Augustine’s College with a Public Relations degree, The Authentic released his first underground project “Vision of Hope” which sold over 500 units all while teaching elementary school and creating youth outlet programs in the poverty stricken city of Henderson, NC. After putting in work in NC, The Authentic headed back home to Jersey embracing his degree, but sucked back into the traps of the hood. He continued making mixtape appearances and rocking shows all through the tri-state. Living in Trenton during one of the worst stretches of gang violence in the state’s history prompted the release of “The Line of Fire Mixtape”. It became the theme music, depicting the reality and moved over 1,500 copies on the street and in local stores. While “The Authentic’s” reputation was growing in the area, he suffered the lost of his cousin, best friend and roommate, Tone; who was shot in the back twice a few hundred yards from their home, while The Authentic was rocking his first show in NYC. After the lost of his cousin, he felt strongly about turning further away from the streets and using his voice more as a tool for awareness of the realities that the inner city youth face. From that point, he embraced his cousin’s last conversation with him, in which he reminded The Authentic that his role is to be “The Public Relations of the hood”. Following The Authentic’s explosion on the scene in Jersey, he relocated to Philadelphia to build his brand in the nation’s 5th largest city. In no time he began smashing open mics and local shows in every section of the city earning him spins and respect amongst the areas top DJ’s, such as DJ NoPhrillz, DJ Touchtone, DJ Jay Ski and DJ GregNitty. The Authentic blazed through the city with his mixtape release “Reality of it All”, followed by “Real Recognize Real” with hit single “Turn It Up”, which gained him national attention getting radio spins on FM stations from New York City, Las Vegas, Atlanta, and Philly’s 100.3 The Beat. The national buzz set the tone for The Authentic’s next mixtape “Righteous Kill Mixtape Vol. 1”, packed with versatile hits and moved 5,000 units in the street with no budget. With things in motion, he continued to make appearances all through the city from Unity Day with Chaka Khan, Philly Fest with Mos Def and Musiq, The Old Skool Jam with KRS ONE and Roxanne Shante, The Rotunda, The Trocadero, and XO Lounge with Philly Swain and Reed Dollars. He headlined Philadelphia Schools Stop the Violence Tour, West Philly Day, Nicetown Day, South Philly Day and Mantua Day with Naughty by Nature. The Authentic also showed up heavy on the radar with a feature on well known Gunz n’ Butter productions DJ J-Scrilla compilation “Culture of Honor” featuring Cassidy, DipSet, Tek and Reef The Lost Cauze.

Check out his music through the links above and stay connected with The Authentic through his socials to make sure you never miss new music. Remember to follow Hip Hop Scriptures to stay updated on the latest Fresh Artist Friday.

STAY CONNECTED WITH THE AUTHENTIC ON SOCIAL MEDIA:

Facebook - Instagram - Twitter - YouTube - www.theauthentic.bandcamp.com

STAY CONNECTED WITH HIP HOP SCRIPTURES ON SOCIAL MEDIA:

#fresh artist fridays #the authentic #new hip hop #new music #politicswarandreligionmixtape

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unkfunk · 6 years

Video

youtube

Talib Kweli | "All Of Us" Feat. Jay Electronica & Yummy Bingham New video from the "Radio Silence" album, out now! Directed by Yassin 'Narcy' Alsalman instagram.com/talibkweli instagram.com/javotti_media kweliclub.com "The radio has been such an integral part of hip-hop culture. From LL Cool J's "I Can't Live Without My Radio" to the big commercial hip-hop stations. But the radio is not indicative of what's going on in the culture: If you only listen to the radio, you won't really know what's going on in hip-hop, especially in the digital age. So now we're at a point where I've established enough cultural currency [where] I don't need the radio to have my career be popping. If the radio go silent tomorrow, my fans will still know where to find me. And I can make music and participate in the culture without even having to go through the shenanigans of dealing with radio play." - Talib Kweli

Click the image below to stream/purchase/download

#TalibKweli JayElectronica YummyBingham AllOfUs Video #RadioSilence #JavottiMedia

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wokeinmemphis-blog · 4 years

Text

Chuck D on why Fight The Power is ‘still relevant’

Image copyright Def Jam

Image caption Public Enemy 2020 (L-R): Flavor Flav, DJ Lord and Chuck D

Chuck D is a voice of the people.

As the frontman of Public Enemy, arguably one of the most important groups of the past 35 years, he played a huge part in pioneering a new wave of rap music that was both musically and politically revolutionary.

His booming, authoritative baritone became a vessel for rhymes about a number of social issues, particularly those affecting the black community, on songs like Rebel Without A Pause, 911 Is A Joke and Fight The Power.

Chuck, who once famously stated that rap was “the black CNN,” has never been afraid to tell it like it is, fearlessly tackling topics such as racial injustice, drug epidemics and political scaremongering.

Last month, Public Enemy announced that they had re-signed to Def Jam Records, the cultural institution they helped build alongside the likes of LL Cool J and the Beastie Boys. It was here that the New York legends, whose current line-up consists of Chuck D, Flavor Flav and DJ Lord, rewrote the rules of what hip-hop could achieve.

The group, who were inducted into the Rock and Roll Hall of Fame in 2013, put out seven albums on Def Jam, including the game-changing LPs It Takes A Nation Of Millions To Hold Us Back and Fear Of A Black Planet. They departed the label in October, 1998.

“I just thought it got real corporate around that time,” Chuck says.

“There were things I wanted to do with our audience around the world but the structures that existed at the time could not get there like us. They did not acknowledge the world like we did, so we had to move on.”

The 60-year-old is referring to Def Jam’s online strategy – or rather, its lack of one.

Image copyright Def Jam

Image caption Chuck D: Still fighting the power

An early advocate of the internet and its potential to give artists control of their music, Chuck battled the label for the right to release songs online.

“Technology is levelling the playing field,” he said in 1998. “No longer can executives, accountants and lawyers dictate the flow [of music].”

Things came to a head when Public Enemy began offering free downloads of several unreleased songs in the mp3 format – which was still relatively unknown at the time.

After Def Jam ordered Chuck to take the files down, he signed the group to the web-savvy independent Atomic Pop and launched rapstation.com, a network of online radio stations in 1999.

The same year, Public Enemy released their ninth album There’s A Poison Goin’ On exclusively through the internet; selling downloads alongside CDs on the Atomic Pop website.

While Chuck insists he has “nothing but good memories” of his time on Def Jam, he says the group’s return to the label is just “a visit” and was spearheaded by Flavor Flav, whose “needs sometimes can’t be done independently”.

“Flavor thought it was a good time to do something of note with Def Jam and I agreed… it made sense to go back,” he explains.

Media playback is unsupported on your device

Media captionBBC Newsnight: Kirsty Wark interviews Chuck D

That might come as a surprise to some – given that Chuck announced he’d parted ways with Flavor Flav in March, following a dispute over whether they should appear at a Bernie Sanders rally.

Chuck later said the story was a “hoax” he’d concocted to bring attention to the band, arguing that only negative news stories get traction.

“The [only] news you read about hip-hop is about another dead rapper,” he told the Tim Einenkel podcast. The worldwide coverage of Flav’s firing, he added, “actually proves the fact the gadgets are ruling the game”.

That’s a theme he picks up on the title track to Public Enemy’s new album – What You Gonna Do When The Grid Goes Down? – which envisages a post-apocalyptic world where digital communication has been eradicated.

“Are you prepared?” Chuck asks, before pointing out that there are some who have never lived a life without online access.

“Being that it’s the norm to them, if it’s altered or taken away it will create another myriad of problems,” he explains.

One such problem could be a manipulation of digital technology ahead of the upcoming US presidential election.

“Are you prepared for the tricks that the government might play on the way down to election?” the rapper asks rhetorically.

But despite lyrics that declare “we all caught up in the web” and suggest “folks might have to pick up a book, pick up a pen,” Chuck says he’s not against social media – providing its approached with care.

“Social media is a good thing when you use it as a tool as opposed to a toy,” he told BBC Two’s Newsnight last week. “Technology has made the plea for equality, almost like a digital United Nations.”

‘Fascism is so dangerous right now’

Elsewhere on the new album, Public Enemy include a 2020 remix of their protest anthem Fight The Power, which first appeared in Spike Lee’s 1989 cinematic masterpiece Do The Right Thing.

Featuring Nas, Rapsody, Black Thought, Jahi, YG, and Questlove, the track debuted at this year’s virtual BET Awards, arriving at the height of a reinvigorated Black Lives Matter movement, following the deaths of George Floyd and Breonna Taylor.

“Sadly, it’s still relevant,” Chuck says of the song’s message. “The biggest difference between 1989 and 2020 is that people have been born and people have died, and within that period you continuously try to attack systemic racism and all those other ills – but you can’t do it blindly.

“There’s a lot of roadmaps in culture,” he continues. “You can educate yourself by reading about society and the arts, especially in music, film, theatre, or whatever. But if you don’t study these stories or your history then you’ll have no context and you’ll make the same mistakes over and over again.”

“And this is why fascism is so dangerous right now,” Chuck adds. “It’s coming in new ways but with the same old stench.”

The star goes on to discuss how the idea of a pro-black consciousness – celebrating black people and black culture, and living a lifestyle that encourages the economic growth and development of the black community – has been misinterpreted as an anti-white movement.

According to the rapper, this misguided take is the result of the media’s unbalanced representation of black people.

“The media had propagandised the fear and exacerbated the fear,” he says. “The images of us have been lopsided.

“There might be poor white folks that watch a rap video and see someone throwing money at the camera. They’re looking at an image of somebody black instead of knowing somebody black in real life.

“All of a sudden they’ll come to the conclusion that this person is just anti-everything, and they’ll say, ‘I don’t want that, man. [Expletive] these people.’ So this person doesn’t know any black people but will say, [expletive] these people.”

He believes the repetition of these images “become a representative of a certain thing without proof,” adding that the distorted portrayal of black people has built up “animosity and hate” over the years.

And while he had hoped that Barack Obama being in the White House would have “balanced out some of the imagery,” he says some Americans’ dislike of the 44th President was a product of “old school racism”.

Image copyright Getty Images

Image caption Public Enemy won a lifetime achievement award at the Grammys earlier this year

Those prejudices worked in favour of the current president, Donald Trump, he adds. “They built up into a snowball that he worked into his personal narcissistic favour.”

So does this mean that the Public Enemy frontman thinks Trump will get re-elected for a second term?

“I have no idea,” he says.

“It’s not Donald Trump [we should be worried about], it’s the people that you never see. There’s tonnes of people in places like Nebraska who have their own idea of what they think things are.

“I’m not generalising the entire population, but I’m just saying that there’s America, then there’s the United States Of America, a place the world does not see – and it’s an area that does not care for the world.”

Public Enemy’s new album What You Gonna Do When The Grid Goes Down? is out now on Def Jam Records.

The article was originally published here! Chuck D on why Fight The Power is ‘still relevant’

0 notes

redroses879-blog · 4 years

Text

Chuck D on why Fight The Power is ‘still relevant’

Image copyright Def Jam

Image caption Public Enemy 2020 (L-R): Flavor Flav, DJ Lord and Chuck D

Chuck D is a voice of the people.

“I just thought it got real corporate around that time,” Chuck says.

The 60-year-old is referring to Def Jam’s online strategy – or rather, its lack of one.

Image copyright Def Jam

Image caption Chuck D: Still fighting the power

An early advocate of the internet and its potential to give artists control of their music, Chuck battled the label for the right to release songs online.

“Technology is levelling the playing field,” he said in 1998. “No longer can executives, accountants and lawyers dictate the flow [of music].”

Things came to a head when Public Enemy began offering free downloads of several unreleased songs in the mp3 format – which was still relatively unknown at the time.

After Def Jam ordered Chuck to take the files down, he signed the group to the web-savvy independent Atomic Pop and launched rapstation.com, a network of online radio stations in 1999.

The same year, Public Enemy released their ninth album There’s A Poison Goin’ On exclusively through the internet; selling downloads alongside CDs on the Atomic Pop website.

“Flavor thought it was a good time to do something of note with Def Jam and I agreed… it made sense to go back,” he explains.

Media playback is unsupported on your device

Media captionBBC Newsnight: Kirsty Wark interviews Chuck D

That might come as a surprise to some – given that Chuck announced he’d parted ways with Flavor Flav in March, following a dispute over whether they should appear at a Bernie Sanders rally.

Chuck later said the story was a “hoax” he’d concocted to bring attention to the band, arguing that only negative news stories get traction.

“Are you prepared?” Chuck asks, before pointing out that there are some who have never lived a life without online access.

“Being that it’s the norm to them, if it’s altered or taken away it will create another myriad of problems,” he explains.

One such problem could be a manipulation of digital technology ahead of the upcoming US presidential election.

“Are you prepared for the tricks that the government might play on the way down to election?” the rapper asks rhetorically.

‘Fascism is so dangerous right now’

Elsewhere on the new album, Public Enemy include a 2020 remix of their protest anthem Fight The Power, which first appeared in Spike Lee’s 1989 cinematic masterpiece Do The Right Thing.

“And this is why fascism is so dangerous right now,” Chuck adds. “It’s coming in new ways but with the same old stench.”

According to the rapper, this misguided take is the result of the media’s unbalanced representation of black people.

“The media had propagandised the fear and exacerbated the fear,” he says. “The images of us have been lopsided.

“There might be poor white folks that watch a rap video and see someone throwing money at the camera. They’re looking at an image of somebody black instead of knowing somebody black in real life.

Image copyright Getty Images

Image caption Public Enemy won a lifetime achievement award at the Grammys earlier this year

Those prejudices worked in favour of the current president, Donald Trump, he adds. “They built up into a snowball that he worked into his personal narcissistic favour.”

So does this mean that the Public Enemy frontman thinks Trump will get re-elected for a second term?

“I have no idea,” he says.

Public Enemy’s new album What You Gonna Do When The Grid Goes Down? is out now on Def Jam Records.

The article was originally published here! Chuck D on why Fight The Power is ‘still relevant’

0 notes

arcadeparade-blog1 · 4 years

Text

Chuck D on why Fight The Power is ‘still relevant’

Image copyright Def Jam

Image caption Public Enemy 2020 (L-R): Flavor Flav, DJ Lord and Chuck D

Chuck D is a voice of the people.

“I just thought it got real corporate around that time,” Chuck says.

The 60-year-old is referring to Def Jam’s online strategy – or rather, its lack of one.

Image copyright Def Jam

Image caption Chuck D: Still fighting the power

An early advocate of the internet and its potential to give artists control of their music, Chuck battled the label for the right to release songs online.

“Technology is levelling the playing field,” he said in 1998. “No longer can executives, accountants and lawyers dictate the flow [of music].”

Things came to a head when Public Enemy began offering free downloads of several unreleased songs in the mp3 format – which was still relatively unknown at the time.

After Def Jam ordered Chuck to take the files down, he signed the group to the web-savvy independent Atomic Pop and launched rapstation.com, a network of online radio stations in 1999.

The same year, Public Enemy released their ninth album There’s A Poison Goin’ On exclusively through the internet; selling downloads alongside CDs on the Atomic Pop website.

“Flavor thought it was a good time to do something of note with Def Jam and I agreed… it made sense to go back,” he explains.

Media playback is unsupported on your device

Media captionBBC Newsnight: Kirsty Wark interviews Chuck D

That might come as a surprise to some – given that Chuck announced he’d parted ways with Flavor Flav in March, following a dispute over whether they should appear at a Bernie Sanders rally.

Chuck later said the story was a “hoax” he’d concocted to bring attention to the band, arguing that only negative news stories get traction.

“Are you prepared?” Chuck asks, before pointing out that there are some who have never lived a life without online access.

“Being that it’s the norm to them, if it’s altered or taken away it will create another myriad of problems,” he explains.

One such problem could be a manipulation of digital technology ahead of the upcoming US presidential election.

“Are you prepared for the tricks that the government might play on the way down to election?” the rapper asks rhetorically.

‘Fascism is so dangerous right now’

Elsewhere on the new album, Public Enemy include a 2020 remix of their protest anthem Fight The Power, which first appeared in Spike Lee’s 1989 cinematic masterpiece Do The Right Thing.

“And this is why fascism is so dangerous right now,” Chuck adds. “It’s coming in new ways but with the same old stench.”

According to the rapper, this misguided take is the result of the media’s unbalanced representation of black people.

“The media had propagandised the fear and exacerbated the fear,” he says. “The images of us have been lopsided.

“There might be poor white folks that watch a rap video and see someone throwing money at the camera. They’re looking at an image of somebody black instead of knowing somebody black in real life.

Image copyright Getty Images

Image caption Public Enemy won a lifetime achievement award at the Grammys earlier this year

Those prejudices worked in favour of the current president, Donald Trump, he adds. “They built up into a snowball that he worked into his personal narcissistic favour.”

So does this mean that the Public Enemy frontman thinks Trump will get re-elected for a second term?

“I have no idea,” he says.

Public Enemy’s new album What You Gonna Do When The Grid Goes Down? is out now on Def Jam Records.

The article was originally published here! Chuck D on why Fight The Power is ‘still relevant’

0 notes

asanusta-blog · 4 years

Text

Chuck D on why Fight The Power is ‘still relevant’

Image copyright Def Jam

Image caption Public Enemy 2020 (L-R): Flavor Flav, DJ Lord and Chuck D

Chuck D is a voice of the people.

“I just thought it got real corporate around that time,” Chuck says.

The 60-year-old is referring to Def Jam’s online strategy – or rather, its lack of one.

Image copyright Def Jam

Image caption Chuck D: Still fighting the power

An early advocate of the internet and its potential to give artists control of their music, Chuck battled the label for the right to release songs online.

“Technology is levelling the playing field,” he said in 1998. “No longer can executives, accountants and lawyers dictate the flow [of music].”

Things came to a head when Public Enemy began offering free downloads of several unreleased songs in the mp3 format – which was still relatively unknown at the time.

After Def Jam ordered Chuck to take the files down, he signed the group to the web-savvy independent Atomic Pop and launched rapstation.com, a network of online radio stations in 1999.

The same year, Public Enemy released their ninth album There’s A Poison Goin’ On exclusively through the internet; selling downloads alongside CDs on the Atomic Pop website.

“Flavor thought it was a good time to do something of note with Def Jam and I agreed… it made sense to go back,” he explains.

Media playback is unsupported on your device

Media captionBBC Newsnight: Kirsty Wark interviews Chuck D

That might come as a surprise to some – given that Chuck announced he’d parted ways with Flavor Flav in March, following a dispute over whether they should appear at a Bernie Sanders rally.

Chuck later said the story was a “hoax” he’d concocted to bring attention to the band, arguing that only negative news stories get traction.

“Are you prepared?” Chuck asks, before pointing out that there are some who have never lived a life without online access.

“Being that it’s the norm to them, if it’s altered or taken away it will create another myriad of problems,” he explains.

One such problem could be a manipulation of digital technology ahead of the upcoming US presidential election.

“Are you prepared for the tricks that the government might play on the way down to election?” the rapper asks rhetorically.

‘Fascism is so dangerous right now’

Elsewhere on the new album, Public Enemy include a 2020 remix of their protest anthem Fight The Power, which first appeared in Spike Lee’s 1989 cinematic masterpiece Do The Right Thing.

“And this is why fascism is so dangerous right now,” Chuck adds. “It’s coming in new ways but with the same old stench.”

According to the rapper, this misguided take is the result of the media’s unbalanced representation of black people.

“The media had propagandised the fear and exacerbated the fear,” he says. “The images of us have been lopsided.

“There might be poor white folks that watch a rap video and see someone throwing money at the camera. They’re looking at an image of somebody black instead of knowing somebody black in real life.

Image copyright Getty Images

Image caption Public Enemy won a lifetime achievement award at the Grammys earlier this year

Those prejudices worked in favour of the current president, Donald Trump, he adds. “They built up into a snowball that he worked into his personal narcissistic favour.”

So does this mean that the Public Enemy frontman thinks Trump will get re-elected for a second term?

“I have no idea,” he says.

Public Enemy’s new album What You Gonna Do When The Grid Goes Down? is out now on Def Jam Records.

The article was originally published here! Chuck D on why Fight The Power is ‘still relevant’

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