Soulbodega.net

This is a clip from the one of my favorite cartoons the Boondock’s. The Bushido Brown Character is cold. Of course he is a rip on all the 70’s Dr.J character from the game of death (For all you bruce Lee heads). I think this fight scene says it all.

peace

April 19, 2007

Notes from a Hip Hop Head
An Open Letter to Oprah Winfrey
By SAUL WILLIAMS

Dear Ms. Winfrey,

It is with the greatest respect and adoration of your loving spirit that I write you. As a young child, I would sit beside my mother everyday and watch your program. As a young adult, with children of my own, I spend much less time in front of the television, but I am ever thankful for the positive effect that you continue to have on our nation, history and culture. The example that you have set as someone unafraid to answer their calling, even when the reality of that calling insists that one self-actualize beyond the point of any given example, is humbling, and serves as the cornerstone of the greatest faith. You, love, are a pioneer.

I am a poet.

Growing up in Newburgh, NY, with a father as a minister and a mother as a school teacher, at a time when we fought for our heroes to be nationally recognized, I certainly was exposed to the great names and voices of our past. I took great pride in competing in my churches Black History Quiz Bowl and the countless events my mother organized in hopes of fostering a generation of youth well versed in the greatness as well as the horrors of our history. Yet, even in a household where I had the privilege of personally interacting with some of the most outspoken and courageous luminaries of our times, I must admit that the voices that resonated the most within me and made me want to speak up were those of my peers, and these peers were emcees. Rappers. Yes, Ms. Winfrey, I am what my generation would call “a Hip Hop head.” Hip Hop has served as one of the greatest aspects of my self-definition. Lucky for me, I grew up in the 80’s when groups like Public Enemy, Rakim, The jungle Brothers, Queen Latifah, and many more realized the power of their voices within the artform and chose to create music aimed at the upliftment of our generation.

As a student at Morehouse College where I studied Philosophy and Drama I was forced to venture across the street to Spelman College for all of my Drama classes, since Morehouse had no theater department of its own. I had few complaints. The performing arts scholarship awarded me by Michael Jackson had promised me a practically free ride to my dream school, which now had opened the doors to another campus that could make even the most focused of young boys dreamy, Spelman. One of my first theater professors, Pearle Cleage, shook me from my adolescent dream state. It was the year that Dr. Dre’s “The Chronic” was released and our introduction to Snoop Dogg as he sang catchy hooks like “Bitches ain’t shit but hoes and tricks … ” Although, it was a playwriting class, what seemed to take precedence was Ms. Cleage’s political ideology, which had recently been pressed and bound in her 1st book, Mad at Miles. As, you know, in this book she spoke of how she could not listen to the music of Miles Davis and his muted trumpet without hearing the muted screams of the women that he was outspoken about “man-handling”. It was my first exposure to the idea of an artist being held accountable for their actions outside of their art. It was the first time I had ever heard the word, “misogyny”. And as Ms. Cleage would walk into the classroom fuming over the women she would pass on campus, blasting those Snoop lyrics from their cars and jeeps, we, her students, would be privy to many freestyle rants and raves on the dangers of nodding our heads to a music that could serve as our own demise.

Her words, coupled with the words of the young women I found myself interacting with forever changed how I listened to Hip Hop and quite frankly ruined what would have been a number of good songs for me. I had now been burdened with a level of awareness that made it impossible for me to enjoy what the growing masses were ushering into the mainstream. I was now becoming what many Hip Hop heads would call “a Backpacker”, a person who chooses to associate themselves with the more “conscious” or politically astute artists of the Hip Hop community. What we termed as “conscious” Hip Hop became our preference for dance and booming systems. Groups like X-Clan, A Tribe Called Quest, Brand Nubian, Arrested Development, Gangstarr and others became the prevailing music of our circle. We also enjoyed the more playful Hip Hop of De La Soul, Heiroglyphics, Das FX, Organized Konfusion. Digable Planets, The Fugees, and more. We had more than enough positivity to fixate on. Hip Hop was diverse.

I had not yet begun writing poetry. Most of my friends hardly knew that I had been an emcee in high school. I no longer cared to identify myself as an emcee and my love of oratory seemed misplaced at Morehouse where most orators were actually preachers in training, speaking with the Southern drawl of Dr. King although they were 19 and from the North. I spent my time doing countless plays and school performances. I was in line to become what I thought would be the next Robeson, Sidney, Ossie, Denzel, Snipes … It wasn’t until I was in graduate school for acting at NYU that I was invited to a poetry reading in Manhattan where I heard Asha Bandele, Sapphire, Carl Hancock Rux, Reggie Gaines, Jessica Care Moore, and many others read poems that sometimes felt like monologues that my newly acquired journal started taking the form of a young poets’. Yet, I still noticed that I was a bit different from these poets who listed names like: Audrey Lourde, June Jordan, Sekou Sundiata etc, when asked why they began to write poetry. I knew that I had been inspired to write because of emcees like Rakim, Chuck D, LL, Run DMC … Hip Hop had informed my love of poetry as much or even more than my theater background which had exposed me to Shakespeare, Baraka, Fugard, Genet, Hansberry and countless others. In those days, just a mere decade ago, I started writing to fill the void between what I was hearing and what I wished I was hearing. It was not enough for me to critique the voices I heard blasting through the walls of my Brooklyn brownstone. I needed to create examples of where Hip Hop, particularly its lyricism, could go. I ventured to poetry readings with my friends and neighbors, Dante Smith (now Mos Def), Talib Kwele, Erycka Badu, Jessica Care Moore, Mums the Schemer, Beau Sia, Suheir Hammad … all poets that frequented the open mics and poetry slams that we commonly saw as “the other direction” when Hip hop reached that fork in the road as you discussed on your show this past week. On your show you asked the question, “Are all rappers poets?” Nice. I wanted to take the opportunity to answer this question for you.

The genius, as far as the marketability, of Hip Hop is in its competitiveness. Its roots are as much in the dignified aspects of our oral tradition as it is in the tradition of “the dozens” or “signifying”. In Hip Hop, every emcee is automatically pitted against every other emcee, sort of like characters with super powers in comic books. No one wants to listen to a rapper unless they claim to be the best or the greatest. This sort of braggadocio leads to all sorts of tirades, showdowns, battles, and sometimes even deaths. In all cases, confidence is the ruling card. Because of the competitive stance that all emcees are prone to take, they, like soldiers begin to believe that they can show no sign of vulnerability. Thus, the most popular emcees of our age are often those that claim to be heartless or show no feelings or signs of emotion. The poet, on the other hand, is the one who realizes that their vulnerability is their power. Like you, unafraid to shed tears on countless shows, the poet finds strength in exposing their humanity, their vulnerability, thus making it possible for us to find connection and strength through their work. Many emcees have been poets. But, no, Ms. Winfrey, not all emcees are poets. Many choose gangsterism and business over the emotional terrain through which true artistry will lead. But they are not to blame. I would now like to address your question of leadership.

You may recall that in immediate response to the attacks of September 11th, our president took the national stage to say to the American public and the world that we would ” … show no sign of vulnerability”. Here is the same word that distinguishes poets from rappers, but in its history, more accurately, women from men. To make such a statement is to align oneself with the ideology that instills in us a sense of vulnerability meaning “weakness”. And these meanings all take their place under the heading of what we consciously or subconsciously characterize as traits of the feminine. The weapon of mass destruction is the one that asserts that a holy trinity would be a father, a male child, and a ghost when common sense tells us that the holiest of trinities would be a mother, a father, and a child: Family. The vulnerability that we see as weakness is the saving grace of the drunken driver who because of their drunken/vulnerable state survives the fatal accident that kills the passengers in the approaching vehicle who tighten their grip and show no physical vulnerability in the face of their fear. Vulnerability is also the saving grace of the skate boarder who attempts a trick and remembers to stay loose and not tense during their fall. Likewise, vulnerability has been the saving grace of the African American struggle as we have been whipped, jailed, spat upon, called names, and killed, yet continue to strive forward mostly non-violently towards our highest goals. But today we are at a crossroads, because the institutions that have sold us the crosses we wear around our necks are the most overt in the denigration of women and thus humanity. That is why I write you today, Ms. Winfrey. We cannot address the root of what plagues Hip Hop without addressing the root of what plagues today’s society and the world.

You see, Ms. Winfrey, at it’s worse; Hip Hop is simply a reflection of the society that birthed it. Our love affair with gangsterism and the denigration of women is not rooted in Hip Hop; rather it is rooted in the very core of our personal faith and religions. The gangsters that rule Hip Hop are the same gangsters that rule our nation. 50 Cent and George Bush have the same birthday (July 6th). For a Hip Hop artist to say “I do what I wanna do/Don’t care if I get caught/The DA could play this mothafukin tape in court/I’ll kill you/ I ain’t playin’” epitomizes the confidence and braggadocio we expect an admire from a rapper who claims to represent the lowest denominator. When a world leader with the spirit of a cowboy (the true original gangster of the West: raping, stealing land, and pillaging, as we clapped and cheered.) takes the position of doing what he wants to do, regardless of whether the UN or American public would take him to court, then we have witnessed true gangsterism and violent negligence. Yet, there is nothing more negligent than attempting to address a problem one finds on a branch by censoring the leaves.

Name calling, racist generalizations, sexist perceptions, are all rooted in something much deeper than an uncensored music. Like the rest of the world, I watched footage on AOL of you dancing mindlessly to 50 Cent on your fiftieth birthday as he proclaimed, “I got the ex/if you’re into taking drugs/ I’m into having sex/ I ain’t into making love” and you looked like you were having a great time. No judgment. I like that song too. Just as I do, James Brown’s Sex Machine or Grand Master Flashes “White Lines”. Sex, drugs, and rock and roll is how the story goes. Censorship will never solve our problems. It will only foster the sub-cultures of the underground, which inevitably inhabit the mainstream. There is nothing more mainstream than the denigration of women as projected through religious doctrine. Please understand, I am by no means opposing the teachings of Jesus, by example (he wasn’t Christian), but rather the men that have used his teachings to control and manipulate the masses. Hip Hop, like Rock and Roll, like the media, and the government, all reflect an idea of power that labels vulnerability as weakness. I can only imagine the non-emotive hardness that you have had to show in order to secure your empire from the grips of those that once stood in your way: the old guard. You reflect our changing times. As time progresses we sometimes outgrow what may have served us along the way. This time, what we have outgrown, is not hip hop, rather it is the festering remnants of a God depicted as an angry and jealous male, by men who were angry and jealous over the minute role that they played in the everyday story of creation. I am sure that you have covered ideas such as these on your show, but we must make a connection before our disconnect proves fatal.

We are a nation at war. What we fail to see is that we are fighting ourselves. There is no true hatred of women in Hip Hop. At the root of our nature we inherently worship the feminine. Our overall attention to the nurturing guidance of our mothers and grandmothers as well as our ideas of what is sexy and beautiful all support this. But when the idea of the feminine is taken out of the idea of what is divine or sacred then that worship becomes objectification. When our governed morality asserts that a woman is either a virgin or a whore, then our understanding of sexuality becomes warped. Note the dangling platinum crosses over the bare asses being smacked in the videos. The emcees of my generation are the ministers of my father’s generation. They too had a warped perspective of the feminine. Censoring songs, sermons, or the tirades of radio personalities will change nothing except the format of our discussion. If we are to sincerely address the change we are praying for then we must first address to whom we are praying.

Thank you, Ms. Winfrey, for your forum, your heart, and your vision. May you find the strength and support to bring about the changes you wish to see in ways that do more than perpetuate the myth of enmity.

In loving kindness,

Saul Williams

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

On everything this is one of my favorite 50 cent songs and it is hard to believe so many rappers got ill about this. This showed who couldn’t take a joke in this industry(and that would be everyone). But the funny thing is Bumpy knuckles did the other joint and I didn’t hear a lot about anyone wanting to get at him. I wonder why? Things that make you go hmmmmmm LMAO

Q-Tip - Gettin’ Up from Q-Tip on Vimeo.

I am glad to see Q-Tip is back at it. The whole Native Tongue crew are the reason I started taking hip-hop super serious any way(and of course Rakim Allah). They showed me the artistic possiblities. It is good to hear joints like this that put you in a vibe like going to the beach chilling on a sunny day and ish. Too many pretend hard bodies in the game right now. Let’s get back to the skill man and take this thing to the next level.

P.S. Q-TIPs album is supposed to drop on November 14th. cop that!

This is the illest video of the whole album to me.

Enjoy and educate yourself.

Here we go again video Hoefessionals are caking up on the backs of dumb horny egotistic rappers,ball players and businessmen.

Hip-hop is now going through the rock and roll tabliode phase. I guess we expect more of Mos Def because of the persona he presented to us through his music and in acting. But Mos is only human, which doesn’t take away from him being a smart dude and a great artist. I think he is just an emotional artistic dude who got caught up in the moment of a pretty face(not to mention banging body). So I don’t take anything away from Mos cause that it would be hard to turn down the best looking women on the planet for any man. Heck it is hard to resist some around the way strange that’s average at best for most guys. However if he did lay hands on her I’m going to have to say that was weak on his part because outside of self defense a dude don’t need to be beating on women to gain control. A man should let his game control the situation like that and if he was dumb enough to go into that mess sans pre-nup well that is just dumb.

Note: To all recently mented rich and famous cats. Those beautiful women would not give you the same time of day if you were loading boxes at UPS. So you better protect your assests before you worry about tapping hers. Unless of course you are into giving away half your fortune or at the very least millions of dollars. Once you make it, you will find it hard to find women who are genuine. Money and power corrupts the real veiw and cat’s who couldn’t get that prime time trim before are looking to use their new persona to make up for lost time. While they are making up for their time on the curb they don’t realize that these superficial women have been living off their looks since high school and their plans now isn’t to find a knight but to get paid by the night. OK maybe that was extreme but these gold diggers don’t deserve respect. You are what you act like and I don’t think we need to call attention to what they are acting like.

Alana even had the nerve to say she always wanted to go to school and make a better way for her son. Let’s be real if you really want to go to school get a student loan and a job. You are already making money off of modeling even though that ain’t a lot it is another stream of income most chicks don’t have. She sounds like the stripper that say she is just saving money for college, yeah sure. The truth is Alana is just another pretty face using what she got to get what she wants. Her looks opened doors for her more than her personality of brain(no pun intended) ever did, So of course she is going to take money to fly accross country and hang with atheletes and entertainers. Now wait a minute what is it called when a woman is paid to entertain men hmmmmmm oh yeah prostitution and to clean this up being a call girl, I see you Elliot spitzer.

Now I am not saying she set out to be a call girl. I am just saying the act of taking money to entertain someone for sexual favors or just to keep them company is the essence of the call girl industry. Now that she is about to go for the ultimate payday on her most current Mark, she decides to write yet another tell all book about her years in the industry as a freelance call girl to try an get her own fame off the pain and shame of her target(I don’t want to call Mos a victim cause he knew the deal going in just played the game wrong). She even has her own weed carriers as you can see in this video cheering her ways on as a Hustle. Let me be clear this is definitly a hustle in fact it is probably the oldest hustle but I will be damned if I cosign it.

It is one thing to be the jump off for favors but once that spot drys up the nature of the game is to move on or refine your hustle. Not go out and try and ruin the folks who held you down. This my friend is the trueist definition of the word snitching. Because you weren’t talking too much when the acts were going on were you? of course not you were enjoying the spoils of your trade. Now that you see the big pay day and you are getting older you are trying to refine your hustle by getting one last huge pay day on all of your Johns damn that is foul. If you want to tell you story become a real writer and write a work of fiction based on your life oh I forgot you need to bait everyone in with the famous guys you were involved with.

Superficial gold diggers get what they deserve, just like womanizing pricks. I guess maybe they belong together maybe the superficial gold diggers role is to separate a fool from his money. Ahhh another post for another day.

High Y’all Doin (Episode 2 - PSA) from Devin The Dude on Vimeo.

I ran accross this article earlier and wow. Jay-Z is racking it in and the fact Dre and Pac are still getting $15 mil blew me away. Good work fellas

Jay-Z earned $82 million in the last 12 months.

Who Are Hip-Hop’s Top Cash Kings?
By Zack O’Malley Greenburg
Forbes staff

It’s been some year for Shawn “Jay-Z ” Carter. In the past 12 months, the Brooklyn, N.Y.-born hip-hop demigod released a platinum album; signed a 10-year, $150 million deal with concert promoter Live Nation; and tied the knot with longtime girlfriend Beyoncé Knowles. Quite a record — but only good enough for a silver meda.

Whereas Jay-Z topped Forbes.com’s inaugural Hip-Hop Cash Kings list of the top-earning people in the business last year, in 2008 he cedes the throne to Curtis “50 Cent” Jackson, who raked in $150 million during the past 12 months — almost twice what Jay-Z made.

The new king of hip-hop wealth banked $100 million after taxes on one deal alone when his stake in VitaminWater’s parent, Glacéau, was bought by Coca-Cola as part of a $4.1 billion deal. 50’s portfolio also includes the popular G-Unit clothing line and record label, plus films, video games and a slew of platinum albums, including last year’s “Curtis.” Also in the works: a mining partnership with South African billionaire Patrice Motsepe (see “The 50 Cent Machine”).

50 Cent isn’t the only star in the growing firmament of “hip-hopreneurs.” After years of violent rivalry marked by the murders of icons such as Tupac Shakur and the Notorious B.I.G., rap’s focus has shifted from beef to cake — making money, that is. Unlike most pop and rock musicians, who make the bulk of their earnings from record sales and tours, rappers have more diversified portfolios.

These impresarios have mastered the arts of branding and cross-promotion, with licensing deals for everything from booze to books. Others own record labels, clothing lines, bars and restaurants. As 50 Cent says of lesser entrepreneurs, “They’re trying to buy some Gucci/I’m trying to buy the mall.”

For the second year in a row, Sean “Diddy” Combs finished third on our list. The ageless Dapper Don of rap banked a cool $35 million from his revenue streams, including his clothing line Sean John, record label Bad Boy, premium vodka Ciroc and two reality-TV shows. Last year Diddy collaborated with fellow list-toppers Jay-Z and 50 Cent to release “I Get Money (The Forbes 1, 2, 3 Remix)” in honor of their success.

Kanye West clocks in at No. 4 with $30 million. The pink-polo-sporting rapper and producer released his third solo album, “Graduation,” last September. After handily outselling 50 Cent’s “Curtis” in a head-to-head opening-week matchup, West’s album went multiplatinum and won four Grammys. West has penned hits for Jay-Z, Alicia Keys and Diddy, among others. Earlier this month, he headlined the music festival Lollapalooza in his native Chicago.

Some hip-hop legends don’t need to do anything to keep earning outrageous sums of money. Andre “Dr. Dre” Young banked $15 million even though he hasn’t had a hit in years — he still gets rich on royalties from two decades of hits. A founder of the seminal rap group N.W.A, he released his multiplatinum solo opus “The Chronic” in 1992 and has produced hits for the likes of Snoop Dogg, 50 Cent, Eminem and Tupac Shakur.

Tupac himself pulled in a handsome sum this year — about $15 million — despite being dead for more than 10 years. Tupac is probably having himself a last laugh from beyond the grave, knowing his onetime friend Suge Knight isn’t cashing in on the bonanza. Knight, the bodyguard-turned-president of Death Row Records, long rumored to have arranged Shakur’s killing, filed for bankruptcy and put his Malibu, Calif., mansion up for sale last June.

Your network determines your net worth”

A lot of people email me everyday to try to ‘network’. Most of the time, they don’t understand what networking really means.

Your network is people that you have done actual business with - not people that you have seen in the club. I’ve had conversations with Jay-Z, 50 Cent, and Puffy multiple times. I didnt’ have any business that I could bring to them at that time, so they’re not in my network.

I met the founder of Ask. com when he was first starting his company. I had a recruiting company and helped to hire a lot of his first employees. The company eventually became a billion dollar company, and the founder bacame a multi-millionaire. Whenever I’ve brought good business ideas to him, he would put up the money and help to develop the businesses. He’s also in my network.

“I’m hot but I’m broke, put me on” is begging

“I’ve got a project with a budget that I want to work with you on.
We have $10,000 dollars for you upfront” is networking

“I’m gonna blow up one day and then you can take your cut” is begging

“I’ve sold 20,000 copies of my last 2 releases and have the soundscan numbers to prove it.
Let’s do our next project together and we’ll split the profits” is networking

“your beats are hot, let me bless one for free” is begging

“I would like to purchase beat 9 right now - let’s work out a price” is networking

“I wanna get signed” is begging

“I have deals on the table from Interscope and Def Jam. I need to build up my buzz more so I can get a better deal.
Let’s work together and I’ll give you X% of the deal” is networking

Professionals network with other professionals. Hobbiests network with other hobbiests. If you make your living off your music - you’re a professional. If you don’t earn your living off your music - you’re a hobbiest. This is not my opinion - it’s the dictionary definition.

(Source: DJ Vlad @ Myspace)

www.mintsavvy.com