All posts by stfrancisred

Shout Out To – DJ Codax

Morne Joseph, aka Codax, is a well-known name on the mother City(cape town) DJ circuit, performing at most of the city’s top venues and doing live mixes at several radio stations around the country.
It is CODAX’s unique form of hip hop that he has perfected over his 18 years of djing, and his ability to read a difficult crowd that gets dance floors pumping across the Country.
Codax has won 10 first place DJ titles in his 6 years of competing in several dj battles. This includes 5x African Hip Hop Indaba, 2x DMC Regionals, 1x DMC South Africa, Hennessy Artistry as well as Da Cape VS Da Rest which was hosted by Sprite.
In 2008 Codax was selected as the official DJ for the Red Heart Rum Tour which was held over two months in Cape Town as well as Port Elizabeth.
2011 saw Codax representing South Africa in Reunion Island at the St Denis Hip Hop Festival, which reaffirmed why he is rated one of the best. His international experience continued on to Doha, where he was given the opportunity to perform at the W Hotel as well as The Pearl.
2012 and he finally achieved his lifelong dream by winning the DMC South Africa Championship, which qualifies him to compete against the Best of the World at the DMC World Championship which will be hosted in London…
His distinctive style is what sets him apart from the other djs. Whether it’s a battle, house or hip hop set, the man will leave you craving for more.

Red Everything Movement

Most lyrical song of the week!

Artist: Ab-Soul f/ Kendrick Lamar
Album: Longterm 2: Lifestyles of the Broke and Almost Famous
Song: Turn Me Up

[Ab-Soul]
Check-check-check, uh
Make sure the levels tight Ali, real tight
Check

Yeah, come come now
Soul Brother Number Two, I’m the one now
Sun up to sun down still kicking that shit
Put your gun down, I come in peace
like a extraterrestrial being
Eat me a meteor and walk across the moon bare feet (uh)
But don’t nobody rhyme like this no more (nah)
Call me the 2010 Rakim
I got soul, there’s more in store
Feel like the CVS, open twenty-four
Spent nights tryna overshadow my shadow
for niggas tryna block my light like a solar eclipse
I bring a knife to a fist fight and when I cut a record (uh)
So when I cut the cheese, shit, you know what it is
It’s Mr. Ab-Soulutely The Most Incredible At This
So adjust your bass, your treble, and then

[Chorus 2X: Ab-Soul]
Yo, “turn me up some”
Yo, “turn me up some”
Yo, “turn me up some”
“Turn me up some, turn me up some”

[Ab-Soul]
Yo, finna break this blunt down and burn me up one
and sip on this Remy till they turn me up some
For me it’s more difficult to be simple
than it is to be complex as a lot of apartments
You niggas comedy, I’m laughing at you probably
We are not the same, there’s no strand of monotony
between you and I until we die (yeah)
Revelations say you either fry or fly
And it’s hard to find God when you ain’t never seen him
It’s pie in the sky and there’s bodies on the cement
And I know you looking at me like, you don’t speak english
I bring the heat like a phoenix, a sun under Phoenix sun
And I’m rooting for the Lakers when they play the Phoenix Suns
I ain’t really into sports, that’s just where I’m from
Longterm 2
And if it’s in your possession, then follow the directions my dude

[Chorus 2X]

[Kendrick Lamar]
Uh, come come now
Pac told me fuck the world, I’m bout to cum now
I’ve been a pro, but now I’m profound
Propane on posers, restraining from the doja
Imagine if I smoke I’ll probably come up with a quote
so heavy you’ll forget every album you heard from Hova
or 2Pacalypse, I’m Hub City’s novelist
Come and get your scholarship, I’m taking kids to school
A pool full of spit, dive in, I’m bout to drool
You’ll drown tryna backstroke on concepts that I wrote
I was a black sheep, but now I’m just a GOAT
And I’m bout to elope, married to the game yo
This is Hip Hop at its finest, when you find this in a Ziploc
Till the wheels fall off, fuck a pit stop or whatnot
Where my teardrop? I murdered it, my potholes is turbulence
I’m in the sky wit it, when you listening to Kendrick, just

[Chorus 2X]

[Ab-Soul]
This for my niggas that really rap all night
No sleep, do it with your eyes closed, I can see
your vision from Del Amo
Poppa took the television, but left the radio
Ill niggas, wack niggas, what’s the ratio?
Is the shit degrading or inspirational?
I’ll have you know I must have wrote about a thousand rhymes, a thousand times
I give you my word

[Kendrick Lamar]
Cause I just gotta be heard
I just gotta be heard
I just gotta be heard
Said, I gotta be, yessir, I gotta be
Heard, heard, heard, heard
Heard, heard, heard, heard
Heard, heard, heard, heard
I said I gotta be, yessir, I gotta be
Heard
Yeah, Ab-Soulo, Kendrick Lamar

[Chorus until fade]

Red Everything Movement

Old School Mondayz – Public Enemy

Public Enemy

Background information

Also known as – P.E.
Origin – Long Island, New York
Genres – Hip hop
Years active – 1982–present
Labels – Def Jam/Columbia/SME
Def Jam/PolyGram
PIAS

Website – PublicEnemy.com

Members

Chuck D
Flavor Flav
DJ Lord
The S1W
Professor Griff

Past members

Terminator X
Sister Souljah

Public Enemy is an American hip hop group consisting of Chuck D, Flavor Flav, DJ Lord (who replaced Terminator X in 1999), The S1W group, Music Director Khari Wynn and Professor Griff who was dismissed from the group for anti-semitic remarks in 1990 but came back later in 1998. Formed in Long Island, New York, in 1982, Public Enemy is known for their politically charged lyrics and criticism of the American media, with an active interest in the frustrations and concerns of the African American community. Their first four albums during the late 1980s and early 1990s were all certified either gold or platinum and were, according to music critic Robert Hilburn, “the most acclaimed body of work ever by a rap act.”[1]

In 2004, Rolling Stone magazine ranked Public Enemy[2] number 44 on its list of the Immortals: 100 Greatest Artists of All Time.[3] The group was inducted into the Long Island Music Hall of Fame in 2007.[4] The band were announced as inductees for the 2013 class of the Rock and Roll Hall of Fame on December 11, 2012, making them the fourth hip-hop act to be inducted after Grandmaster Flash and the Furious Five, Run-DMC and the Beastie Boys.[5]

History

Formation and early years (1982–1986)
Developing his talents as an MC with Flavor Flav while delivering furniture for his father’s business, Chuck D (Carlton Douglas Ridenhour) and Spectrum City, as the group was called, released the record “Check Out the Radio”, backed by “Lies”, a social commentary—both of which would influence RUSH Productions’ Run-D.M.C. and Beastie Boys.

Chuck D put out a tape to promote WBAU (the radio station where he was working at the time) and to fend off a local MC who wanted to battle him. He called the tape Public Enemy #1 because he felt like he was being persecuted by people in the local scene. This was the first reference to the notion of a public enemy in any of Chuck D’s songs. The single was created by Chuck D with a contribution by Flavor Flav, though this was before the group Public Enemy was officially assembled.

Around 1986, Bill Stephney, the former Program Director at WBAU, was approached by Ali Hafezi and offered a position with the label. Stephney accepted, and his first assignment was to help fledgling producer Rick Rubin sign Chuck D, whose song “Public Enemy Number One” Rubin had heard from Andre “Doctor Dré” Brown. According to the book The History of Rap Music by Cookie Lommel, “Stephney thought it was time to mesh the hard-hitting style of Run DMC with politics that addressed black youth. Chuck recruited Spectrum City, which included Hank Shocklee, his brother Keith Shocklee, and Eric “Vietnam” Sadler, collectively known as the Bomb Squad, to be his production team and added another Spectrum City partner, Professor Griff, to become the group’s Minister of Information. With the addition of Flavor Flav and another local mobile DJ named Terminator X, the group Public Enemy was born.”

According to Chuck, The S1W, which stands for Security of the First World, “represents that the black man can be just as intelligent as he is strong. It stands for the fact that we’re not third-world people, we’re first-world people; we’re the original people [of the earth].”[6]

Public Enemy started out as opening acts for the Beastie Boys during the latter’s Licensed to Ill popularity, and in 1987 released their debut album Yo! Bum Rush The Show.

Over the next few years, Public Enemy released It Takes a Nation of Millions to Hold Us Back, Fear of a Black Planet, and Apocalypse 91… The Enemy Strikes Black. In addition to ushering in the golden age of hip hop, during this time, Public Enemy reached the height of their popularity, adulation, and controversy. The group then separated from Def Jam and has since been independently producing, marketing, and publishing their music.

Mainstream success (1987–1994)
Their debut album, Yo! Bum Rush the Show, was released in 1987 to critical acclaim. The album was the group’s first step toward stardom. In October 1987, music critic Simon Reynolds dubbed Public Enemy “a superlative rock band”.[7] They released their second album It Takes a Nation of Millions to Hold Us Back in 1988, which performed better in the charts than their previous release, and included the hit single “Don’t Believe the Hype” in addition to “Bring The Noise”. Nation of Millions… was the first hip hop album to be voted album of the year in The Village Voice’s influential Pazz & Jop critics’ poll.[8]

In 1989, the group returned to the studio to record Fear of a Black Planet, which continued their politically charged themes. The album was supposed to be released in late 1989,[9] but was pushed back to April 1990. The title song “Fear of a Black Planet” addresses the fear some white people have of black and white relationships. It was the most successful of any of their albums and, in 2005, was selected for preservation in the Library of Congress. It included the singles “Welcome To The Terrodome”, “911 Is a Joke”, which criticized emergency response units for taking longer to arrive at emergencies in the black community than those in the white community, and “Fight the Power”.[10] “Fight the Power” is regarded as one of the most popular and influential songs in hip hop history. It was the theme song of Spike Lee’s Do the Right Thing.

The group’s next release, Apocalypse ’91…The Enemy Strikes Black, continued this trend, with songs like “Can’t Truss It”, which addressed the history of slavery and how the black community can fight back against oppression; “I Don’t Wanna be Called Yo Nigga”, a track addresses on how the urban culture uses the word nigga outside of its usual derogatory context. The album also included the controversial song and video “By the Time I Get to Arizona”, which chronicled the black community’s frustration that some US states did not recognize Martin Luther King Jr.’s birthday as a national holiday. The video featured members of Public Enemy taking out their frustrations on politicians in the states not recognizing the holiday.

In 1992, the group was one of the first rap acts to perform at the Reading Festival, in England, headlining the second day of the three day festival.

Terminator X’s exit and DJ Lord’s entrance (1998–current)
After a 1994 motorcycle accident shattered his left leg and kept him in the hospital for a full month, Terminator X relocated to his 15-acre farm in Vance County, North Carolina. By 1998, he was ready to retire from the group and focus full-time on raising African black ostriches on his farm.[11]

In late 1998, the group started looking for Terminator X’s permanent replacement. Following several months of searching for a DJ, Professor Griff saw DJ Lord at a Vestax Battle and approached him about becoming the DJ for Public Enemy.[12] DJ Lord joined as the group’s full-time DJ just in time for Public Enemy’s 40th World Tour.[13] Since 1999, he has been the official DJ for Public Enemy on albums and world tours while winning numerous turntablist competitions, including multiple DMC finals.[14]

In 2007, the group released an album entitled How You Sell Soul to a Soulless People Who Sold Their Soul?. Public Enemy’s single from the album was “Harder Than You Think”.

Four years after How To Sell Soul…, in January 2011, Public Enemy released the album Beats and Places, a compilation of remixes and “lost” tracks.

On July 13, 2012, Most of My Heroes Still Don’t Appear on No Stamp was released and was exclusively available on iTunes.

In July 2012, on UK television an advert for the London 2012 Summer Paralympics featured a short remix of the song “Harder Than You Think”. The advert caused the song to reach 4th in the UK singles chart on September 2, 2012.[15]

On July 30, 2012, Public Enemy performed a free concert with Salt-N-Pepa and Kid ‘n Play at Wingate Park in Brooklyn, New York as part of the Martin Luther King Jr. Concert Series.

On August 26, 2012, Public Enemy performed at South West Four music festival in Clapham Common in London.

On October 1, 2012 The Evil Empire of Everything was released.

On June 29, 2013, they performed at Glastonbury Festival 2013.

Legacy

Public Enemy at Vegoose in 2007. From left: DJ Lord, Chuck D, and Flavor Flav.
Terminator X’s innovative scratching tricks can be heard on the songs “Rebel Without a Pause,”, “Night of the Living Baseheads” and “Shut ‘Em Down”. The Bomb Squad offered up a web of innovative samples and beats. Critic Stephen Thomas Erlewine declared that PE “brought in elements of free jazz, hard funk, even musique concrète, via [its] producing team the Bomb Squad, creating a dense, ferocious sound unlike anything that came before.”[16][17]

Public Enemy made contributions to the hip-hop world with political, social and cultural consciousness; which infused itself into skilled and poetic rhymes, using raucous sound collages as a foundation. Public Enemy developed a strong pro-Black political stance. Before PE, politically motivated hip-hop was defined by a few tracks by Ice-T, Grandmaster Flash and the Furious Five, and KRS-One. Other politically motivated opinions were shared by prototypical artists Gil Scott-Heron and the Last Poets. PE was a revolutionary hip-hop act, basing an entire image around a specified political stance. With the successes of Public Enemy, many hip-hop artists began to celebrate Afrocentric themes, such as Kool Moe Dee, Gang Starr, X Clan, Eric B. & Rakim, Queen Latifah, the Jungle Brothers, and A Tribe Called Quest.

Public Enemy official logo.

Public Enemy was one of the first hip-hop groups to do well internationally. PE changed the Internet’s music distribution capability by being one of the first groups to release MP3-only albums,[18] a format virtually unknown at the time.

Public Enemy helped to create and define “rap metal” by collaborating with New York thrash metal outfit Anthrax in 1991. The single “Bring the Noise” was a mix of semi-militant black power lyrics, grinding guitars, and sporadic humor. The two bands, cemented by a mutual respect and the personal friendship between Chuck D and Anthrax’s Scott Ian, introduced a hitherto alien genre to rock fans, and the two seemingly disparate groups toured together. Flavor Flav’s pronouncement on stage that “They said this tour would never happen” (as heard on Anthrax’s Live: The Island Years CD) has become a legendary comment in both rock and hip-hop circles. Rock guitarist Vernon Reid (of Living Colour) contributed to Public Enemy’s recordings, and PE sampled Slayer’s “Angel of Death” half-time riff on “She Watch Channel Zero?!”

Members of the Bomb Squad produced or remixed works for other acts, like Bell Biv DeVoe, Ice Cube, Vanessa Williams, Sinéad O’Connor, Blue Magic, Peter Gabriel, L.L. Cool J, Paula Abdul, Jasmine Guy, Jody Watley, Eric B & Rakim, Third Bass, Big Daddy Kane, EPMD, and Chaka Khan. According to Chuck D, “We had tight dealings with MCA Records and were talking about taking three guys that were left over from New Edition and coming up with an album for them. The three happened to be Ricky Bell, Michael Bivins, and Ronnie DeVoe, later to become Bell Biv DeVoe. Ralph Tresvant had been slated to do a solo album for years, Bobby Brown had left New Edition and experienced some solo success beginning in 1988, and Johnny Gill had just been recruited to come in, but [he] had come off a solo career and could always go back to that. At MCA, Hiram Hicks, who was their manager, and Louil Silas, who was running the show, were like, ‘Yo, these kids were left out in the cold. Can y’all come up with something for them?’ It was a task that Hank, Keith, Eric, and I took on to try to put some kind of hip-hop-flavored R&B shit down for them. Subsequently, what happened in the four weeks of December [1989] was that the Bomb Squad knocked out a large piece of the production and arrangement on Bell Biv DeVoe’s three-million selling album Poison. In January [1990], they knocked out Fear of a Black Planet in four weeks, and PE knocked out Ice Cube’s album AmeriKKKa’s Most Wanted in four to five weeks in February.”[19] They have also produced local talent such as Son of Bazerk, Young Black Teenagers, Kings of Pressure, and True Mathematics—and gave producer Kip Collins his start in the business.

Poet and hip-hop artist Saul Williams uses a sample from Public Enemy’s “Welcome to the Terrordome” in his song “Tr[n]igger” on the Niggy Tardust album. He also used a line from the song in his poem, amethyst rocks.

Public Enemy’s brand of politically & socially conscious hip hop has been a direct influence on new hip hop artists such as The Cornel West theory.

The Manic Street Preachers track “Repeat (Stars And Stripes)” is a remix of the band’s own anti-monarchy tirade by Public Enemy production team The Bomb Squad of whom James Dean Bradfield and Richey Edwards were big fans. The song samples “Countdown to Armageddon” from It Takes a Nation of Millions to Hold Us Back. The band had previously sampled Public Enemy on their 1991 single Motown Junk.

The influence of the band goes largely beyond hip-hop as the group was cited by artists as diverse as Autechre (selected in the All Tomorrow’s Parties (music festival) in 2003), Nirvana (It Takes a Nation of Millions to Hold Us Back being cited by Kurt Cobain among his favorite albums), Nine Inch Nails (mentioned the band in Pretty Hate Machine credits), Björk (included Rebel Without a Pause in her The Breezeblock Mix in July 2007), Tricky (did a cover of Black Steel in the Hour of Chaos and appears in Do You Wanna Go Our Way ??? video), Prodigy (included Public Enemy No. 1 in The Dirtchamber Sessions Volume One), Ben Harper, Underground Resistance (cited by both Mad Mike and Jeff Mills), Orlando Voorn, M.I.A., Amon Tobin, Mathew Jonson and Aphex Twin (Welcome To The Terrordome being the first track played after the introduction at the Coachella festival in April 2008).

In September 2009, VH1 aired a show called “100 Greatest Hip Hop Songs” where Public Enemy earned the number one spot with their hit song, Fight the Power.[20]

In December 2012, the group was announced as one of the inductees to the Rock and Roll Hall of Fame for its 2013 class.[5]

Controversy

Anti-Semitism

In 1989, in an interview with Public Enemy for the Washington Times, the interviewing journalist, David Mills, lifted some quotations from a UK magazine in which the band were asked their opinion on the Arab–Israeli conflict. Professor Griff’s comments apparently sympathized with the Palestinians and was accused of anti-Semitism. According to Rap Attack 2, he suggested that “Jews are responsible for the majority of the wickedness in the world” (p. 177). (In turn a quote from The International Jew) Shortly after, Ridenhour expressed an apology on his behalf.[21] In an attempt to defuse the situation, Ridenhour first fired Griffin. He later rejoined the group in the album Muse Sick-n-Hour Mess Age. In the late 1990s, he rejoined the band, and Ridenhour and Griffin took on a side project, the rap rock outfit Confrontation Camp.

In his 2009 book, entitled Analytixz,[22] Griff criticized his 1989 statement: “to say the Jews are responsible for the majority of wickedness that went on around the globe I would have to know about the majority of wickedness that went on around the globe, which is impossible… I’m not the best knower. Then, not only knowing that, I would have to know who is at the crux of all of the problems in the world and then blame Jewish people, which is not correct.” Griff also said that not only were his words taken out of context, but that the recording has never been released to the public for an unbiased listen.

The controversy and apologies on behalf of Griff spurred Chuck D to reference the negative press they were receiving. In 1990, Public Enemy issued the single “Welcome to the Terrordome”, which contains the lyrics: “Crucifixion ain’t no fiction / So-called chosen frozen / Apologies made to whoever pleases / Still they got me like Jesus”. These lyrics have been cited by some in the media as anti-Semitic, making supposed references to the concept of the “chosen people” with the lyric “so-called chosen” and Jewish deicide with the last line.[23]

Homophobia

In a letter to the editor, Leo Haber alludes to criticism by New York Times writer Peter Watrous of the group’s supposed homophobia.[24]

Reviewers John Alroy and David Wilson said that Fear of a Black Planet contained “homophobic babbling” which challenged politically correct thinking.[25]

Zoe Williams defended Public Enemy against charges of homophobia by stating that:

If you look at the seminal black artists at the start of hip-hop, Public Enemy and Niggaz Wit Attitudes, you won’t actually find much homophobia. The only recorded homophobic lyric in Public Enemy’s canon was: ‘Man to man/ I don’t know if they can/ From what I know/ The parts don’t fit’ [a lyric from “Meet the G that Killed Me” on Fear of a Black Planet]”.
—Williams, Zoe, “Hiphopophobia”, The Guardian, 29 April 2003
Although Spin magazine noted that ‘It only brings agony, ask James Cagney / He beat up on a guy when he found he was a fagney / Cagney is a favorite he is my boy’ from “A Letter to the New York Post” on their album Apocalypse ’91 has also been accused of homophobia.[26]

Public Enemy have also been supporters of Nation of Islam Supreme Minister Louis Farrakhan,[27][28] who has been controversial for his commentary which is often interpreted as being black supremacist, racist, homophobic, and anti-Semitic.[29]

Band members

Chuck D (Carton D. Ridenhour) – MC
Flavor Flav (William Drayton) – hype man, occasionally lead vocals
Khari Wynn – music director
DJ Lord (Lord Aswod) – DJ
Professor Griff (Richard Griffin) – Minister of Information
Former members
Terminator X (Norman Rogers) ?– DJ, producer)
Brother James (James Norman)
Brother Roger
The Interrorgator (Shawn K Carter),
Crunch
The Bomb Squad
Hank Shocklee (James Henry Boxley III)
Keith Shocklee (Keith Boxley)
Eric “Vietnam” Sadler
Gary G-Wiz (Gary Rinaldo)
Kerwin “Sleek” Young

discography

1987: Yo! Bum Rush the Show
1988: It Takes a Nation of Millions to Hold Us Back
1990: Fear of a Black Planet
1991: Apocalypse 91… The Enemy Strikes Black
1992: Greatest Misses
1994: Muse Sick-n-Hour Mess Age
1998: He Got Game
1999: There’s a Poison Goin’ On
2002: Revolverlution
2005: New Whirl Odor
2006: Rebirth of a Nation (with Paris)
2007: How You Sell Soul to a Soulless People Who Sold Their Soul?
2012: Most of My Heroes Still Don’t Appear on No Stamp
2012: The Evil Empire of Everything

Red Everything Movement

Underground Zone – Still Celebrating 12th year anniversary of – Immortal Technique _ Revolutionary Vol. 1

Revolutionary Vol. 1

Released September 14, 2001

Recorded – 2000-2001
Genre – Hip hop
Underground hip hop
Political hip hop
Hard -core hip hop
Length – 57:58
Label – Viper Records
Producer – Immortal Technique, Rheturik, 44 Caliber, SouthPaw, Akir, Jean Grae

Immortal Technique chronology

Revolutionary Vol. 1
(2001)Revolutionary Vol. 2
(2003)
Professional ratings
Review scores
SourceRating
Allmusic[1]
Rap Reviews(8/10)[2]

Revolutionary Vol. 1 is the debut album by rapper Immortal Technique, released on September 14, 2001, and re-pressed in 2004. The first edition had no distribution and no bar code; it was sold by the artist on the streets and at his shows. The album re-press was manufactured with a bar code and is being distributed worldwide by Viper Records. Immortal Technique claimed in an interview to have sold more than 45,000 copies.[3]

Song writing

The album is best known for the song “Dance with the Devil”, a narrative in which Immortal Technique describes the story of a young man named Billy Jacobs who attempts to join a gang, and in order to prove how “real” he is, he steals, gets into fights, sells crack cocaine, and to finally prove himself, rapes a woman. An intoxicated Jacobs completes this task after covering the woman’s face with her shirt, and is unaware of the identity of the woman until he takes the cover from her face. He is repulsed to find that the woman in question is actually his mother, which leads him to commit suicide. “I made myself more of a part of it when I wrote the song, and it eventually became an urban legend, and what’s sick is that people thought it was about rape [when] it was really about how we are killing ourselves and destroying the most valuable resource that the Latino/Black community has: our women.”[4] The song has acquired something of a cult hit status in recent years.

Additionally, the album contains a song entitled “No Me Importa” (Spanish for “I Don’t Care”). This is notably Immortal Technique’s first song in Spanish, as he was born and spent a small portion of his childhood in Peru and learned to speak the language.

Track listing

#Title Featured guest(s) Producer Length

1″Creation & Destruction”Marley Marl, J-Force3:09
2″Dominant Species”Rheturik3:47
3″Positive Balance”Big Zoo44 Caliber3:17
4″The Getaway”SouthPaw and Akir2:41
5″Beef & Broccoli”Jean Grae2:05
6″No Me Importa”44 Caliber3:56
7″Top of the Food Chain (Remix)”Poison PenStelf Index3:22
8″The Poverty of Philosophy”SouthPaw6:13
9″Revolutionary”Jean Grae5:10
10″Spend Some Time (Remix)” (Interlude)G. Bennet0:57
11″Dance with the Devil” / Hidden TrackDiabolic44 Caliber9:39
12″The Prophecy”44 Caliber3:15
13″Understand Why” (Interlude)A. Cohen0:46
14″No Mercy”44 Caliber3:27
15″The Illest”Jean Grae & Pumpkinhead44 Caliber3:33
16″Speak Your Mind” (Hidden Track)Immortal Technique2:33
17″Caught in a Hustle” (iTunes Bonus Track)SouthPaw3:44

Samples

“Creation & Destruction” samples the song Long Kiss Goodnight from the album Life After Death by The Notorious B.I.G.

“Dance with the Devil” samples Survival of the Fittest by Mobb Deep and Love Story by Henry Mancini.

See also

Revolutionary Vol. 2
The 3rd World
The Martyr
” W.A.X ”

Red Everything Movement

One Hit Wonderzzzz – Bone Crusher

Bone Crusher

Background information

Birth name – Wayne Hardnett, Jr.
Born August 23, 1971 (age 42)
Origin – Atlanta, Georgia, U.S.
Genres – Southern hip hop, Crunk, gangsta rap
Occupations – Rapper
Years active1999–present
Labels – Arista, So So Def
Associated acts – Lyrical Giants, The Onslaught, T.I., David Banner, Jermaine Dupri, Lil Jon

Wayne Hardnett, Jr. (born August 23, 1971), better known by his stage name Bone Crusher, is an American rapper/singer based in Atlanta.[1] After working as part of the group Lyrical Giants, he debuted in 2003 with his first solo album AttenCHUN!,[2] which featured the single “Never Scared”, used as the theme for the 2003 Atlanta Braves and also found in the video game Madden NFL 2004.

Red Everything Movement

Old School Mondayz – The Juice Crew

Juice Crew

Also known as – The Juice Crew All-Stars
Origin – Queensbridge, New York
Genres – Hip hop
Years active – 1983–1991
Labels – Cold Chillin’
Associated acts – Dimples D.
Past members – Marley Marl
Mr. Magic
Roxanne Shanté
MC Shan
Biz Markie
Big Daddy Kane
DJ Polo
Kool G Rap
Glamorous
Masta Ace
Craig G
Tragedy the Intelligent Hoodlum
Grand Daddy I.U.

The Juice Crew was a hip hop collective of largely Queensbridge-based artists in the mid- to late-1980s. Founded by producer Marley Marl and radio DJ Mr. Magic and housed by Tyrone William’s Cold Chillin’ Records, the Juice Crew would introduce New School artists Big Daddy Kane, Biz Markie, Roxanne Shanté and Kool G Rap. The crew produced many answer records and “beefs” – primarily with rival radio jock Kool DJ Red Alert and the South Bronx’s Boogie Down Productions – as well as the “posse cut”, “The Symphony”.

History

Marley Marl started his career as Mr. Magic’s sidekick and DJ on the influential radio show Rapp Attack, the first exclusively-hip hop music program to be aired on a major radio station, New York’s WBLS-FM; the show would be instrumental in spring-boarding the careers of the group’s various artists. The crew derived its name from Mr. Magic’s alias, “Sir Juice”.[1] Magic actually had a previous (“original”) Juice Crew consisting of himself, record executive Sal Abbatiello, and artists Sweet Gee, DJ June Bug, and Kurtis Blow[2][3]

As a record producer, Marley Marl began the Juice Crew’s long tradition of answer records with their first release – 1983’s “Sucker DJs (I Will Survive)” by Marley’s then-girlfriend Dimples D., a response to Run-D.M.C.’s “Sucker M.C.’s” – but this initial effort failed to provoke much of a reaction, and was a whimper compared to what was to come.

A chance encounter in 1984 between Mr. Magic, Marley Marl and manager Tyrone Williams and 15-year old rapper Roxanne Shanté resulted in their breakout hit “Roxanne’s Revenge”. A scathing attack on UTFO’s “Roxanne, Roxanne”, the song became so popular it not only garnered a response from the original group (with the help of a young female rapper claiming to be The Real Roxanne) but inspired dozens of imitators in a series of records known as the Roxanne Wars.

Keeping his attentions to his Queensbridge public housing project, Marley’s next artist was his cousin MC Shan. Shan’s second single, 1986’s “Beat Biter”, went after local Queens superstar LL Cool J for allegedly stealing Marley’s music. What was significant about the 12-inch release was not its intended single however but its B-side “The Bridge”, which proved much more popular, finding not only considerable radio play but the ire of Boogie Down Productions. BDP, an upstart rap group from the South Bronx led by rapper KRS-One, took offense to a contested interpretation[4] of MC Shan’s lyrics: they understood Shan to be claiming Queens as the birthplace of hip hop, when it in fact originated largely in the Bronx. Adding to the beef was an ongoing feud between Mr. Magic and his arch-rival Kool DJ Red Alert, who played a similar role in supporting Boogie Down Productions’ nascent career – Mr. Magic on the other hand derided their early efforts. BDP launched the first attack with “South Bronx”, which was premiered live in concert after an MC Shan performance of “The Bridge”. Shan and Marley responded with “Kill That Noise”, released on MC Shan’s 1987 debut Down By Law (the first full-length release from Tyrone Williams newly-formed Cold Chillin’ Records), calling out KRS-One’s attention-grabbing methods. The battle was widely regarded as having been won however by KRS-One and the BDP Crew, with the diss track “The Bridge Is Over”. Nonetheless, the so-called “Bridge Wars” would be drawn-out over a number of proxies.

The Juice Crew began to expand around this time, most notably with the inclusion of two high school friends from Brooklyn, rapper Big Daddy Kane and “human beatbox” Biz Markie. Biz had already collaborated with Shanté for 1986’s “Def Fresh Crew” and found success with his Marley-produced debut “Make The Music With Your Mouth, Biz”, which also introduced Juice Crew singer TJ Swan. In February 1988, Biz’s album Goin’ Off was released by Cold Chillin’, which had just signed a five-year distribution deal with Warner Bros. Records. By the following year, Biz would become a national celebrity with a hit single (“Just A Friend”) in the US Top Ten. Big Daddy Kane went on to become not only one of the biggest selling but most respected and influential rappers of his time. Kool G Rap, together with musical partner DJ Polo, was met with similar critical acclaim, albeit less commercial success. The other artists added to the Juice Crew/Cold Chillin’ roster were Masta Ace and Queensbridge up-and-comers Tragedy the Intelligent Hoodlum, Craig G and we can’t forget Glamorous Jo Ann Berry, The First Female Rapper from Long Island to ever hit Vinyl, not just from this recording. She was featured on Pop Art records before joining the Juice Crew as a member of the “Glamour Girls”. On the only single from them “Oh Veronica, Veronica” in 1985. Craig G did the beat box version.

To showcase both his expanding crew and evolving musical productions, Marley Marl released in 1988 the label-showcase In Control Volume 1. “The Symphony”, with its sparse drum sample, simple piano melody and back-to-back line-up of lyrical heavyweights (Masta Ace, Craig G, Kool G Rap and Big Daddy Kane), made an indelible impression on hip hop, and is widely regarded as the quintessential “posse cut”. The Juice Crew rode out the decade firmly at the top of hip-hop.

Marley Marl spent the early 1990s as a producer, including work with LL Cool J in 1990 on Mama Said Knock You Out. It would be the last year he would contribute to a Juice Crew member’s album. 1991’s In Control Volume II (For Your Steering Pleasure) featured appearances from LL Cool J and Chuck D but also featured little of the original crew and many unknowns who would never be heard from again. Cold Chillin’ Records struggled in the early 1990s, and less successful acts like Masta Ace were dropped. Soon in 2009 Cold Chillin would lose the creator and pioneer of the Juice Crew “Super Rocking Mr Magic “. This would quickly inspire the newest and youngest member of the Crew {Tay-Young} to start a new way of marketing legendary artist that join the world most legendary hip-hop movement. The legacy would next become a task for Tay-Young to hold as the new leader of the next generation of Juice Crew artist since 2012. Tay’s company joined venture with the Juice Crew in order to promote a legendary body of work . He currently is on tour and working on an album. Big Daddy Kane as well as other Juice Crew members from different generations are also working on new music and is happy that Young carries the torch proudly. “Even names like Jay-Z , Nas & LL Cool J tried to join the crew but were denied as members.”- Mr. Magic

In 2009 they recorded a tribute to Mr. Magic, “Mr. Magic Tribute”.

Legacy

The Intelligent Hoodlum, later known as Tragedy Khadafi in the 1990s, played a personal role in shaping the lyrics and imagery of Capone-N-Noreaga (most notably on their The War Report album) and his younger cousin Havoc of Mobb Deep.[citation needed]

As Nas said in an interview in 1998:

Growing up in Queensbridge it was Marley Marl and The Juice Crew that gave rap niggas like myself hope that there was another life beyond our hood… He made us believe that although we came from those wild streets, we still had a chance to change our lives.[5]
2000s Nas & Ill Will Records Presents QB’s Finest sought to honour this heritage with “Da Bridge 2001”, an all-star update of MC Shan and Marley Marl’s classic, this time joined by Tragedy, Mobb Deep, Capone, and Nas.

In 2007, the feud between the Juice Crew and Boogie Down Productions was officially laid to rest when Marley Marl and KRS-One released the collaborative album, Hip Hop Lives – a quasi-sequel record to Nas’ Hip Hop Is Dead.

The Vapors, a biopic about the Juice Crew directed by Furqaan Clover and starring Cuba Gooding Jr. as Marley Marl and Keke Palmer as Roxanne Shanté, began production in February 2008. Although right now the movie is on hold due to cast issues.[6]

Red Everything Movement