The Soulquarians is a neo soul and alternative hip hop-informed musical collective. The collective, formed during the late 1990s, continued into the early 2000s, and produced several well-received albums. Prior to its formation, members Common, Talib Kweli, Mos Def, and Q-Tip were members of the Native Tongues Posse.
Producer and drummer Ahmir "Questlove" Thompson of hip hop band The Roots acted as the "musical powerhouse" behind several of the collective's projects during the late 1990s and early 2000s, including The Roots' Things Fall Apart (1999), D'Angelo's Voodoo (2000), Erykah Badu's Mama's Gun (2000), and Common's Like Water for Chocolate (2000). In an interview for Spin magazine, Common discussed the production of those albums, stating "It was one of those time period that you don't even realize when you're going through it that it's powerful".
Many of these artists have performed on one another's records, creating a community of likeminded musicians forging a style that doesn't have a name yet. Organic soul, natural R&B, boho-rap--it's music that owes a debt to the old-school sounds of Marvin Gaye, Bob Marley, Jimi Hendrix and George Clinton without expressly mimicking any of them. It refreshes these traditions with cinematic production techniques gleaned from hip-hop and with attitude that is street- smart but above all highly individual, celebrating quirks instead of sanding them down for mass consumption. Instead of crooning about booty and blunts (sex, drugs, etc.), the subject matter on these albums is idiosyncratic and personal, ranging from the spiritual crises of [Lauryn] Hill, D'Angelo and Maxwell to the socio-political concerns of the Roots and Mos Def.
The name of the collective is derived from an astrology sign. The founding members of the collective — Ahmir Thompson a.k.a. Questlove from The Roots, D'Angelo, James Poyser, and J Dilla — share sign of Aquarius. Questlove, D'Angelo, Poyser, and J Dilla came together after discovering they had a common interest for the unconventional — offbeat rhythms, irregular chords, and other traits often exhibited by the underground urban music scene. Also around this time, a connection was established between D'Angelo and Welsh bassist Pino Palladino over their mutual love of Motown and other classic soul music, and Palladino became active in the project, playing on the majority of their discography and serving as a member of the Soultronics touring band that supported D'Angelo's Voodoo tour.
Being a collective, they included a rotating list of members, including Common, Mos Def, Talib Kweli, Q-Tip, Erykah Badu, Bilal, and Raphael Saadiq. In a 2003 interview, Questlove unequivocally stated that there were no plans for a Soulquarians album release for the foreseeable future. This was interpreted as a silent breakup of the outfit. However, according to an interview with Common (circa 2005), the collective continues to exist.
After all the hype has died down we decided to dissect kwesta’s open letter to 5fm so we can get to the real points of the letter and what it means to your average mrapper trying to come up.
My original angle was to make Jokes and poke fun at Kwesta for grammatical mistakes, long ass paragraphs and the spin doctor he hired to spin his rant into some sort of hip hop activism and not a rapper mad because he got no spins from 5FM.
I had funny ass jokes lined up and was planning to spin it into satire, mocking and poking fun but all in good fun, I got nothing against the kid. However as I read this badly composed spin another thought entered my think box, am I being a myopic? As a Journalist I’m supposed to be objective and not pay mind to phrases taken from Mandela’s old speeches which were flipped to fit the spin which is cool, I mean it’s all PR right?
So while I’m staring at this milk tart I was about to eat, my think box automatically switched to a retrospective view of the letter. I started to think of all the heads that send me links to their tracks, pass me demos at events and actively call me to get some exposure. I think of street niggas like P-flow, niggas that didn’t have the “advantages” that some had, street niggas who could break into your crib and clean you out, street niggas that hold heat waiting for you to pull up on your drive way, niggas who don’t value life cause they don’t see any value in their own lives. The only thing standing between P-flow and a murder change is hip hop. His raps ARE the value in his life.
Then I think of 5FM. A powerhouse in its own right, in terms of transformation they surpassed all white radio stations. I Mean Ms cosmo is there, Dj fresh, kamza, C-live. In fact 5 was hiring niggas like Tich Matazz when it was weird to have a nigga at a white station in South Africa, a real power house with massive relevance….to white people. Hold up! Before you pull out a mental race card, that’s a good thing.
White people still buy actually Discs, they got internet at home so they can download tracks, they share with their friends spreading whatever massage. So when a powerful medium like 5FM, which taps directly to the conscious of an open minded white kid, marginalizes the little guys and in all honesty Kwesta hasn’t fitted the little guy connotation in a long time, it’s time for a revolution.
If 5fm doesn’t change its sidelining tactics P-flow might as well put the pen down and pick up a gun. There is a P-flow in every hood in South Africa and 5FM is the only platform that can truly help “Little Guys” escape their realities to a better a living in a new reality.
So to 5FM’s music committee next time you hear about someone getting hijacked, robbed whatever keep in mind that you could’ve played their song and that person could’ve been on back stage somewhere listening to AKA moaning instead off in your friends driveway robbing them.
To Nelson ManKwesta big up to you for being that voice for all the P-flows around the country, What you did was on some David vs. Goliath shit and David won. This is hip hop activism.
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I read. I read anything that I come across to kill time. I read poems,
Novels, essays and articles as pastime. I read newsletters,
Newspapers, web pages to get informed. I read about history,
Mysteries, occults, diseases and horrors. I read about love, hate,
Pretence, cries, crime and smiles.
I lock myself in my hokkie and read.
Some of the things I read are puzzling. Others are intriguing. Others
Are reeling. They get me flabbergasted. But I haven’t read much. I
Still need to do a lot of reading, researching, interpreting and
analyzing. In the beginning, I used to believe everything that I read.
But in time I ultimately reached a point whereby I question every
Thing that I read.
Many books are contradictory. Others are just mere conspiracy
Theories. And others are dangerously misleading. There are authors,
Academics, business men, business women, activists who utilizes books
To advance different causes. Some of the causes are considered
Immoral. And one of them is homosexuality.
There are many homosexual
Activists who use books to skillfully integrate the cause of ebony
People, women, the vulnerable and children to subliminally solicit
Solidarity for their cause.
About nearly two years ago, I met a Caucasian academic from the US of
A who came to South Africa through a scholarship grant. He befriended
A friend of mine who introduced me to him. Thanks to him because I got
To comprehend the similarity between the nature of life in Housing
Projects across the US and Flats of Cape Flats through a book titled
“Our America” by LeAlan Jones, David Isay and Lloyd Newman.
. He also introduced
me to a Native American Poet and activist by the name Chrystos whom I
discovered that she is a lesbian.
All the books that I and my friend have read from him were waxing
lyrical about the cause of the black man. However, like a mole
travelling extensive distances underground where it is concealed – two
of those books were integrating the cause of the ebony people with the
cause of homosexuals.
The first book was integrating the cause of
homosexuals with the cause of women and children. Its appellation was
“Push” and was penned by an African-American author by the name
Sapphire whom I discovered later that she is a lesbian.
book was titled “Dream On” and authored by a Native American lesbian
author and activist by the name Chrystos. It was a poetry book that
integrated the cause of Native Americans, African Americans, the
vulnerable, women and children with the cause of homosexuals.
One of the African Scholars, Philosophers and Intellectual by the name
Mwalimu K Bomani Baruti penned down a book with the appellation
“Homosexuality and the Feminization of African Males” which was
published in 2003. I haven’t read the book yet but I read a short
summary about it.
I’ll quote few lines from that summary, and here are
they: “… The historical relationship of white supremacy, based in the
real and perceived threat of Afrikan males, to European global culture
imperialism/hegemony provides the foundation for these arguments.
plain terms, there is a direct relationship between forced enslavement
of African males into European society, the ongoing fear of African
men by European men, the racist economic order that has gradually but
systematically reduced its need for African labor since the official
end of the African’s physical enslavement and the subsequent growing
of a significant number of African males in this Western society.
The process and desired result of this feminization process a
significant part of the means by which European society seeks to
reduce/eliminate the potential expression of a righteous rage by
African men. This methodical demasculinization manifests itself in
numerous ways and rationales, from within the prison system to higher
education to single parenting to the labour market to the church to
the media… At the base of this assault is the historical confusion and
Cultural alienation of Afrikaans themselves.
If people act toward any
Problem without historical awareness, for all problems are located in
History, then in all probability they act wrongly or, as many prefer
To say, they do no more than react. Therefore, many of us who are
Alarmed over this growing sexual confusion are mostly reacting to what
Is being done to our sons.
And, because of this, we are unable to effectively arrest the European
Psychosexual assault on them. We do not see ourselves as powerful
Enough to stop others from turning our sons into their daughters. In
Western cultural context, men fear men, not women. And European men
Fear African men for many good reasons.
They understand that the best
Way to significantly reduce this threat is to turn your enemy’s males
Into females so that they make themselves into non-threats. Blame for
Powerlessness in the face of assault falls on the victim.”
I need to read the entire book. But still, I need to be open minded
And not believe everything I read. The homosexuality issue needs to be
Extensively researched, studied and analyzed.
I’m not against
Homosexuality but there is seeds that we need to unveil. And if needs
Be, then to cease them. I still need to do a lot of reading because a
Leader is a reader. And it seems like the globalization is another
Form of neo-colonisation.
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Hip Hop's (Unspoken) Ten Commandments
Thou must dis Black Women. You are allowed to distinguish between bitches, hoes and "real sisters" only during interviews when asked to clarify your statements. You must talk about beating a woman up at least once on your CD or demo. On at least four (4) but no more than five (5) singles/demos you must talk about having rough and unprotected sex with a woman. You must also refer to your girlfriend or wife as a "bitch" in an endearing way. All music videos must reflect the aforementioned notions. You can talk about doing things to other people's mothers as acts of creative statement. You may also refer endearingly to an unplanned child as a "bastard," "shorty," "lil nigga," or "lil G." By honoring this commandment you vow to never rally behind black females or support a strong family bond. You see her only as an object for sex and to reap the repercussions of your rage. You also believe she is only out to get you.
(Supplement for females)
Thou must dis Black Men. Female rappers are allowed to distinguish between niggas, bustas, scrubs and punk. You must lyrically emasculate them in every way possible. On at least one (1) CD or demo you must destroy his character by either calling him a homosexual or talking about his lack of money. You are allowed to refer to your boyfriend or husband as your "nigga" in an endearing way. All music videos must reflect aforementioned notions. By honoring this Commandment you vow to never identify with the black male's struggle against white supremacy. You vow to never support a strong family bond. You also uphold the tenements that all of his problems are of his own doing. You see him as only an object for sex and money. You believe he is only out to get you.
Thou must kill. You must "lyrically" take the life of at least one other black person in order to secure a hit CD. This law does not promote the physical killing of another person. However, it is not against the law to assassinate another person on record. You must only talk about killing your own kind, however, or other cultures may sue you for inciting racial violence. You must express pleasure in the kill. The kill must be graphic and extensive in detail. The consumer must always be left with the feeling that taking a person's life (lyrically) was justified. Most of the lyrical murders must be done by guns; however creativity allows for poisoning, stabbings, beatings, stomping, and suffocating. You do not distinguish between male or female kills. By keeping this Commandment you vow to never claim acts of genocide publicly even when you are a victim of violent repression yourself. You also agree to "lyrical" acts of black-on-black violence, as well as prolific incidents of brutality.
Thou must covet. Thou must talk about lusting after things that do not belong to you. You must have an unusual craving for things that do not belong to you. Your desire must be so strong that you unwittingly uphold the second commandment. This law does not advocate you physically going after the material possessions of someone in your community. By keeping this commandment you vow to never promote a strong work ethic in your music or to speak against greed, lust and impulsive behavior. In fact, you now believe greed is healthy.
Thou must have a lot of sex. You must have no fewer than three (3) songs on your CD or demo that promote sexual intercourse with one or a group of individuals. You cannot express a deep sense of love or marriage. Thou shall not talk about commitment, bonding, and intimacy. You can only talk about sex in its purest and rawest terms. Do not use "make love," or "provide pleasure “or” pro-create." You must never mention a sexually transmitted disease in the context of these records. You can however discuss the use of contraceptives, but only if you're referring to sexual intercourse with a hoe. (See first Commandment). If you are under age 16, you may substitute sex with "flirting," and "fantasies about being intimate with your teacher, neighbor's child, or another rapper." You must be creative in your graphic detail of sexual intercourse so to leave nothing to the imagination. The details can be slightly skewered in order to circumvent radio censors. However, this does not excuse radio edits from removing references to sex. Therefore stay ahead of the game by using clever phrases with dual and triple meanings. By keeping this Commandment, you vow to never promote unconditional or agape love in your community; promote the black family in a positive light; or uplift male/female relationships.
Thou must celebrate the drug culture. Thou must condone and identify with the proliferation of drugs in the black community. You should create endearing lyrical expressions to identify various narcotics and mind-altering substances. Though you are not to personally distribute or purchase illegal substances, you may allude to it lyrically. (To protect industry investment, we discourage musical confessions to crimes where the statue of limitations have not run out.) You may allude to a war on drugs, but only as justification to carry out the second commandment. You must continually suggest that selling drugs or "slangin " produces the only legitimate income for impoverished black people. All music videos must either glamorize this lifestyle by showing the "success" of the narcotic trade, or glamorize prison living. You should refer to drug addicted citizens in comical terms that illicit disgust, laughter, fear, pity or retribution. You are never to question U.S. drug policy. You can never promote healthy living and thinking. Nor can you advocate moderation in tobacco and liquor consumption. By keeping this commandment, you vow to never discuss the impact of drug addiction among people of color or the community's overall health; its impact on the prison industrial complex or its impact on the black family.
Thou must rarely talk about God and spirituality. You must lyrically condone atheism and a false belief system that negates the existences of a higher being. You must routinely question the existence of a god by lyrically challenging him/her/it to take your life or to grant you three wishes. You are to refer to yourself as a god who gives and takes life. You may lyrically create your own religion (see tenth commandment) based on a ghetto belief system. Thou shalt not talk about life and death as it relates to spirituality or a sense of purpose. You should never speak of scripture or religious texts. You are prohibited from acknowledging any spiritual beliefs that may have been instilled you by family. However, you may identify with a Jesus by wearing a large, diamond encrusted piece whereby you may brag about its costs. Under no circumstance are you to promote prayer, reflection, meditation, atonement, redemption, sacrifice, mercy or grace. The consumer fan base must identify with your lack of spiritual grounding by believing that the only gods are sex and money. By keeping this commandment you vow to limit your personal spiritual growth and development. You also vow to never been seen publicly in a church, synagogue, mosque, temple or other house of worship and reflection.
Thou must promote capitalism. On no fewer than four (4) singles or demo records you must talk about money as if it were a living, breathing thing. You must talk about making it, taking it and the love of it. Your lyrics must always place money over love, over women, over religion (see sixth commandment). You must never talking about savings and investing. Thou can, however, say the words "currency exchange", "welfare check", "first of the month", and "food stamps". You must never talk about pooling of resources. Thou can never equate capitalism with poverty. You must never mention the IMF, WTO or Federal Reserve. In fact never mention banking or the stock market at all. Do not mention technology. Do not discuss taxing. Do not discuss the federal budget. (See Commandment V). You must promote individual wealth over community wealth. You should talk about all of your purchases, specifically naming makers/distributors of expensive jewelry, cars, clothing and liquor. Once you become a successful entertainer you should purchase a very big house and no fewer than three (3) expensive cars. Publicly, you should live within a lavish lifestyle in order to please your consumer fan base that now lives vicariously through your music. Your lifestyle should include, but not be limited to: living in exclusive communities, catering to huge entourages, routinely eating at expensive restaurants, flying to Europe for fashion shows, purchasing designer clothing only, ordering platinum and diamond encrusted jewelry for your body and teeth, purchasing expensive weapons and devices, frequent partying and purchasing big quantities of expensive liquor and tobacco/cigars. Thou should consistently ridicule those who cannot afford the aforementioned items. By keeping this commandment you vow to always promote a consumer culture vs. a producer culture.
Thou cannot have a sense of history. Never ever refer to any historical event that may cause the consumer to think about his/her relation to history. Your role is to entertain, not educate. Thou art prohibited from speaking of the following: Trans-Atlantic slave trade; African holocaust; Reconstruction; the civil rights movement; the Black Power Movement; the "real" Harlem Renaissance, and so forth. You can never mention the following people: Martin Luther King Jr, Hannibal, Mansa Musa, Harriet Tubman, Sojourner Truth, David Walker, Nat Turner, George Jackson, El-hajj Malik Shabazz (Malcolm X), Jesse Jackson, Patrice Lumumba, Nelson Mandela, Winnie Mandela, Steve Biko, Louis Farrakhan, Booker T. Washington, W.E.B. DuBois, Huey Newton, Fred Hampton, Bobby Seale, Kwame Ture, Ida B. Wells, Assata Shakur....unless you are making fun of their names, causes or crusaders. (i.e., Rah Digga's Harriet Tubman). Do not mention Africa, Brazil, the Caribbean or Asia, unless to disparage. By keeping this commandment you vow to never promote a sense of awareness, a knowledge of self or the consumer's global relationship to kindred spirits.
Thou must not advocate. Thou art prohibited from advocacy of anything of social redeeming value. Your lyrics must reflect a detachment from the social, political and economic reality of your community. Your lyrics can occasionally ridicule people who march, protest and advocate social causes. The consumer should never assume that thou reads newspapers, magazines or books. In other words it must appear that nothing that happens in the "real" non-entertainment world, has any personal affect on your thinking. Nor should the consumer of your CD or demo walk away with the belief that you care about anything other than the Commandments IV and VII. Never talk about the "industry." By keeping this commandment understand you must never appear at a non-entertainment-related event, unless of course you are entertaining. You must never donate money, resources or materials to needy organizations, families or causes. When questioned about this you must defend your position by claiming you are an entertainer and that's all. You can never participate in interviews discussing relevant social issues. Thou art not responsible for the behavior encouraged by your music because thou art not responsible for marketing and sales to minor, unstable individuals, or mentally ill citizens. You understand that you cannot attend rallies, sermons, marches, and picnics, festivals or workshops that have nothing to do with entertainment or the recording industry.
Thou must promote all things ghetto. You may never define the word ghetto or discuss its creation. You must uphold its principals and create new creeds. You must lyrically create a fictional account of ghetto living that inspires comradeship and a sense of pride among its residents. Your lyrics must create a ghetto dweller that is proud to live in the ghetto and takes offense at others moving into it. You must celebrate ghetto life by reminiscing about days in poverty and your mothers on welfare and about your fathers who were not there. Additionally, your lyrics must offer the mainstream a rare glimpse inside a "socio-economic matrix" while allowing them psychologically off the hook for the ghetto's creation. You must celebrate ghetto language, ghetto living, ghetto housing, ghetto clothing, ghetto hairstyles, ghetto sexual habits, ghetto education, and ghetto economics and ghetto self-hatred. You must romanticize poverty with tales of sex, drugs, money, greed and fear. The ghetto must become a magical place. By keeping this commandment you vow to create and then instill pride in a false culture of poverty, crime, drugs, illegitimacy, ignorance and apathy. You also vow to attribute the ghetto only to Black people. You also vow to never leave the ghetto matrix psychologically, even when your economic status changes (see seventh commandment) In other words you will remember to "keep it real.."
By keeping the aforementioned commandments we, "the industry," guarantee the following:
1. Unlimited marketing success and cross-over appeal.
2. A guaranteed income
3. Fame beyond your wildest dreams
4. Unlimited (but recoupable) industry resources
5. Several music awards, citations and honors 6. Protection from community repercussions.
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So, since we've covered the females who contributed on a broader spectrum, I've decided to bring it back home a bit, with an un-biased list of females in the hip-hop/urban scene killing it!!!
Once again in no particular order, these here sista's are constantly making moves, consistent to their nature, so without further or do here are the uber cool top ten according to me!
1. Courtnae Paul (B-girl, Choreographer)
The latest addition to the well known Joburg based Hip hop Dance Crew - Clinch-Crew. This young lady has proved her way through as one of the most highly recommended top b-girls in , S.A. Endorsed by the likes of DC Shoe Co., Redbull, SkullCandy, Neff Clothing only to name a few, She is also one of the Lead choreographer's/dancer for Toya Delazy
2. Naima Mclean (Poet, Vocalist, Actress)
Born in New York, and raised in South Africa to an American Father and South African Mother. This talented sister has taken her time to nurture her art. The self-proclaimed first lady of Urban Soul, Her debut album titled ‘Things I wish' musically directed by RJ Benjamin is sure to be a massive hit, as will her Lead role in feature film 'Vehicle 19'starring Hollywood Actor - Paul Walker.
3. Kanyi Mavi - (Mc, Writer)
Winner of the First Ever South African Hip-Hop Award, Nominated as Best Female Rap Artist for 2012 - A First!
4. Tarryn Alberts (Dancer, Choreographer)
This ambitious firecracker has come a long way since the days of community involved dance projects. After joining the critically acclaimed dance crew Vintage and winning quite a few competitions of recognition, prizes, collaborations with known S.A. musicians and most of all respect! Her solo achievements reflect greatly also. She is also lead dancer for rap duo - Die Antwoord and recent Sprite Uncontainable dance Champ .It seems Europe, New Orleans and the World is not enough for Ms. T!
5. Devour Kelenyora (Mc, Vocalist)
With a mixtape out and about 7singles doing the rounds, it's really profound how much work this hardworking young wordsmith puts in. As the build up to her Ep entitled 'Vinegar Lakes' steady progresses, I’m sure after huge Performances like Back to The City 2013 the journey should be a fruitful one for 'lenyora in the near time to come.
6. Shami ShamRock (Dancer, Choreographer)
Cape Town based Dance Instructor Shameelah Kinnear a solo performer and entertainer, is a pioneer for females in her field. As winner of last year's Sprite Uncontainable Competition, she was the first in her female in her division. Granting her a trip to New York City, with the one and only Talib Kweli!
7. Protista (Mc, Writer, Arranger)
Featured on the First Ever All female Mixtape for Hype Magazine 2012 and Female Battle Champ at Scrambles4Money S.A's Only league for emcees. Larger Milestones await this vivacious lyricist with a simultaneous Ep & Mixtape drop on the horizon, the question remains, Can u keep Up?!!
8. Amy Wendy Rosslind (Choreographer, Dancer)
Official Nike S.A. Ambassador and face of Nike Women Africa. Cape Town born Amy, is a dedicated, loyal member of the South African Dance Fraternity, Co-Owner of the newly opened The Studio S.A. Miss Rosslind is responsible for many young talents blooming on the dance scene. Step Up or Step Out!
9. Courtney Que Jacobs (Writer, Blogger, Dancer, Presenter)
Official Presenter for the only hip hop channel dedicated to everything hip hop! - Certified Funk Tv a YouTube channel, is aimed at showing the world what Skill SA has! Her blog also receives many daily views, as she interviews an array of international and local acts Exclusively & Independently!
10. Michelle Williams (Filmaker, Dancer)
This aspirant young filmaker and videographer, is one third of CFTV, And contributes her skill through accurate camera work and editing. In an industry particularly male dominated, this dancer turned visual artist is setting a good platform. With a short-film on the cards, who knows how far her star propels!!
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(Local female rapper Protista was pissed off with headpage that we didn’t write or do anything for women’s month. So after getting us with mad heat, we asked her to blog for us. Check out Prosistas Part 1.)
Throughout the Centuries, Women have been symbolized, as the pivotal crux of any society World-wide. Whether it’s in the Political Field, Engineering, Manufacturing, Business, Entertainment, Mainly Male dominated fields,
The early nineties saw the Role of the female deviate shape, as these often stereotyped labels became who we are today. The saying "Behind every Great man there's a..." I’m certain u can complete the cliché, started to relay more than just another sister in the midst of a desperate housewives syndrome.
Every great structure is built on solid foundation.
So bearing in mind all the Phenomenal Women that came before us. How far has the Role for Women in Hip - Hop been taken. If at all acknowledged, What does she Stand for? Is She noticed as that known B-girl, DJ, Mc, Graff Artist, etc?
Now, the following 10 Most influential Women in Hip-Hop are not all necessarily very well known, or even part-take in any of the elements, but have contributed gravely to the frame of the female in the Hip-Hop/Entertainment industry today. So in no Particular order really, here they are:
1. Roxanne Shante - (MC) - Founding Member of the World-Famous Juice Crew.
2. MC Lyte - (MC, Activist, Author) - First female to ever release a full length album.
3. Queen Latifah - (MC, Actress, Poet) First female to ever Win a Grammy, For her Uplifting Single 'U.N.I.T.Y' dropped in 1994 off the album "All Hail The Queen"
4. Angie Martinez - (Mc, Radio dj, DJ)- Hailed As 'The Voice Of New York' Angie is undoubtedly the Most Successful Female Radio Dj/Host/MC.
5. Lauryn Hill - (Mc, Vocalist, Actress) 1/3 of the popular rap outfit "The Fugees" Lauryn Hill is the Undisputed holder of 5 Grammy Awards for any Female Mc/Vocalist for her 1999 Solo Offering "The Miseducation of Lauryn Hill"
6. Wendy Davy - (Business woman, Entrepreneur) Although, Unknown to many, there would be no 'young money' or 'cash money' without this Woman or anything that comes with it. She is the person responsible for brokering A $30 million Deal for Baby with Universal Music, which Kick-started their entire "Money Movement".
7. Lady Of Rage - (Mc, Actress, Author) Death Row and Doggy Style Records' Only female signee. Rage is an Actress/Rapstress and Author. Her book 'How To Rap' Breaks down basics for amateurs. She also has a remarkable amount of movie roles and Soundtracks.
8. Jean Grae - formerly known as 'What-what' this South African native, daughter of the Great Jazz Legend Abdullah Ibrahim and Sethima Bea Benjamin. 'Jeanie' as she is affectionately known by that nick-name to fans, is a Super; Producer/Mc/Vocalist and all Round activist of the Hip hop Culture. Signed to Talib Kweli's 'BlackSmith Records' She is A force to be reckoned with! Named in 2003's issue of New York's Rolling Stone Magazine as "New York's Best Kept Secret".
9. Sylvia Rhone - President of Motown Records and Ex - Executive for Atlantic and Elektra Records. Ms. Rhone is the Only African American female to attain the title of CEO & Chairwoman in the History of the Recording industry.
10. Dream Hampton - Hip Hop Journalist, Cultural critic and Filmmaker, a pioneer in her own right. Dream's work is overly noteworthy, as the first female editor of Source magazine, 15year contributing writer for Vibe magazine and to contributing to Jay-Z's autobiography. Just a few of her numerous widespread articles, documentaries and involvement in the industry, what she has done is truly Praise worthy.
To comment on Protista's blog please follow us on facebook headpage choose rap or follow us on twitter @headpage. Or hit her up on twitter @pro_twitta
The legendary Public Enemy front man Chuck D tweeted something last night that has been on my mind for a minute. He tweeted: We were really helped by older cats in the 70s and we helped so many teens in the 80's. The 90s dropped the balls companies bought off hip-hop with money.
You might think this some bullshit you've heard before but it's true, corporate culture owns our beloved hip-hop culture. This ownership poses a huge threat to the very foundation hip-hop is built on, free expression. Hip-hop is the only music genre that tells real life stories with a rhythm and a beat, something some say comes from right here in Africa but it's not about that right now.
The danger to free expression comes in a form of endorsement deal most rappers dream off. Got a couple of examples to back this up. Reebok dropped Rick Ross from a million dollar deal for rapping about a date rape drug called molly. Lil Wayne got dropped by Mountain Dew for rapping about "beating a pussy up like Emmitt Till. Now 50 cent gets dropped by the Major Baseball league for allegedly vandalizing his baby's mama house.
1st off Rick Ross was talking about shit that happens for real. A whole lot of girls have been raped using this drug by some asshole with no game trying to get off. Rick Ross rapped about it because it happens in real life.
Lil Wayne wasn't saying what happened to Emmitt was right, he was simply stated how badly he'd beat a person up. Wayne probably chose an extreme example but that’s how he expressed that moment.
Now everybody got domestic problems now and then. 50 had an issue with his baby mama and he reacted the way he reacted. He didn't hit her but MLB took his bread from his table.
Basically the corporate ownership spells censorship to a very expressive culture. The sad thing is that most rappers are caught up in making money no matter what, so the grip around our expressive necks won't loosen.
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NOTES FROM THE MISEDUCATED INTELLIGENT YOUNG MAN
I am black before I could aspire to be anything and in many instances, my skin colour becomes a stumbling block in my endeavours as I normally get rejected due to it. Many people of other races feels and believe that I am part of inferior race and that I should always be put to what they deemed as my place. Even if I can drive a fancy car, or live in a posh house, with lots of money in my bank account, I am still black and I would be wrapped by the same belt with poor blacks by most people in the white world. Even if I can have a doctorate degree from the big university, I would still be wrapped by the same belt with other blacks who never set their foot in university. And also those who never been to school at all. Even if I can flash out with fancy garments, I am still the black man, and would be wrapped by the same belt with the blacks who wear the worn out garments.
When I have a friendship with the white man, that friendship would always have boundaries. He won't invite me when he throws a party, or goes out to camping with his white companion, and introduce me to them. I also need to have a little bit of wealth to impress the white woman. As soon as I get to lose that wealth, she is gone. The white world doesn't fully accept the black man every where. There is always conditions and boundaries. The system of apartheid taught blacks self hate and enormous love for white race. That's one of the reasons that most blacks are so hostile towards each other, whereas they will always show the tremendous respect towards the white man. Whites are omnipotent towards many blacks. They are treated like God Almighty. The painful thing is that, every black man who treats the white man like God has an utter disgust and disdain towards his fellow black men, but we could blame that to the system of apartheid because it taught blacks self hate and enormous love for white race.
The institutionalized education (the type of education system we get from primary school to tertiary school) prepares us to be productive and intelligent slaves for capitalists (on the larger scale, it's white people). It doesn't prepare us to solve our own problems. That's the main reason the government officials cannot solve the education crisis in the Eastern Cape and many problems across South Africa. At its output end, it generates robots or zombies who depends on whites to solve their problems. And that's the main reason I believe in self education. We are often been told that the best remedy to adversity is education. They don't tell people the truth that one would be exploited for many years and survive on retirement funds and grants thereafter, and possibly die broke. And that ones children would be left suffering. They don't tell people the truth that the job is the short term solution to the long term problem. And that we need to find other alternatives. They lie and say that education is the key to the future. And that without education, one won't make it in life. They don't tell the truth that after years of schooling, one would have to beg for the job to people whom others are primary school drop outs.
It is perfectly clear that there is not even a single white man that can come to South Africa and solve our problems or lend a helping hand to minimize the suffering of the black man. All the philanthropist from Europe and America that comes here to give donations and stuff, are doing that as a pretext to get avenues for self enrichment. They are doing that for themselves than actually helping out. The Europeans and Americans are struggling in dealing with their problems if one cares to think about the economic crisis in both Europe and America. In the case of South Africa, you find the black man being oppressed by another black man. If you look at it with the eagle's eyes, you can easily detect that the oppressor is being controlled by the wealthy white men who utilizes the power of money to control things in their favour. And many big businesses in South Africa are owned by whites. The wealth of the country gyrates around the hands of the minority. And many academics who hails from Europe, Asia, America et cet-era, they are in many respects act like they love blacks to gain the trust of the black man. They do that to make their work easier and gather as much knowledge about how the black man thinks, feels and behave so that they could generate sound researches and field studies at the output end. It's all for the purpose of protecting WHITE POWER and maintaining WHITE SUPREMACY.
It is therefore inevitable for the black man to fully comprehend that he is on his own as Stephen Bantu Biko had enunciated it. He is the only one who will get himself out of his miseries. There is not even a single white man that would send him to the promised land. They are all enjoying the fruits and privileges that comes with merely being white. The actual enemy is WHITE POWER, IMPERIALISM and WHITE SUPREMACY. To eradicate the enemy, the black man should begin with self love, as self love would generate UNITY, LOYALTY and STRONG SPIRIT OF BROTHERHOOD. No one can desecrate or apply the divide and rule tactics on the united force.
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DON'T BE QUICK TO JUDGE
To this black temple that stood the test of time and withstood the
On the larger scale, we are different creatures who came, from the
Most people carry permanent invisible scars and remnants of invisible
Don't be quick to judge.
Women who sleeps around just to kill time and disregard their own worth.
They are dealing with something.
The fly machine sessions
By Mpho Mogano
I was invited to the FLY MACHINE SESSIONS which took place on the 3rd of November 2012, in Pretoria by house 28. This was a very indie hip hop show very contrasting from the “cap-city rap-city” Pretoria hip hop scene that many know Pretoria as, this was very Avant-garde, very vary. The scene encapsulated various dimensions of hip hop, there were two pairs of turn tables, two mixers and corded microphones with monster speakers. Vinyl bags, a stall that had vintage hip hop caps and hats and works on display. Various individual boarded the Fly machine and what a journey it was.
The djs played all sort of music that was related to the indie hip hop, we had Patrick Mac-p who laced a soulful old school jazz with drum pattern that had that boom bap head bopping hypnosis. Nok2 also came with some incredible diggings of jazz sounds ranging from 50’s (which you could distinctly tell they influenced the likes of Mad-libs and Jay Dilla’s production styles). Then Mono-Sono brought dumb and bass which left us all dehydrated and in a bass trance from the tunes he was swinging, he just kept them coming, the floor had people hopping and jumping, the energy was beautiful and serine amongst all that scrimmage look alike jumping. Melo and Ends-the-otherness both killed their sets, they bumped old school and new school germs which we didn’t think were on vinyl, these two lady dj’s dig. Ends played the likes of Cannibal OX-the F word (getting a hard copy of that album is near impossible in this country I wonder how she got the vinyl) Despot-home sickness (one of my favorite joints had me reciting the whole song).Melo brought some had bangers people couldn’t control themselves it was epic, hip hop would have been proud that night.
There were four of five ciphers at a time, different energies, concepts and executions. Different mc’s on different platforms the night only got better. We had performances from Stoep-so-low, the Grammaton clerik, Rendu, Onederous one, Vision of spirit, the illusionist and Dynamicshapshifters. All the acts were on point with different influences. Rendu aka 9th gate came with it “I don’t have swag but I do have daggers “ was one those tracks that stimulated mad responses in the crowd. Stoep-so-low was off the chains coming through with drum and base beats by Hiroshima-sun, they’re set was really dope. Dynaminshapeshifters brought that androit, mechanical sound schisms, it was bonkers to see the reaction of the crowd go wild and some in awe. The night flew past very fast, the Fly machines sessions took us into orbit, we were meteor surfing, the pilot were skilled taking us into black holes.