Rappers Willie D, Immortal Technique & Rebel Diaz Speak out on Trayvon Martin Tragedy

Houston rapper and Geto Boys member Willie D Near Tears After Getting So Angry About Trayvon Martin in FOX 26 Interview!

One thing I can say about Willie D and the Geto Boys they have always spoken out and given tons of money toward causes like these.. I remember talking with Willie and Bushwick Bill about the topic of political prisoners and finding out how they had laid out several hundred thousand dollars so folks on death row could get lawyers and fight to prove their innocence.

I recall being with Willie D years ago at Minister Farrakhan’s home when he got artists together to help put an end to the so-called East -West Coast beef.. Willie was one of the key speakers that day..  We need more Willie D’s

http://www.youtube.com/watch?v=xzJfAhIMYDo

Immortal Technique is someone who is grossly under appreciated. He’s long spoken on issues like Trayvon. As noted in this video below he connects the dots and sheds light on the rise of vigilante killings. He talks about how there are so many victims who are unnamed.

He’s absolutely correct. It’s crucial that folks take note that vigilante killings are happening with increased frequency along the borders in states like Arizona where, Neo-Nazis and Minute Men are jamming up immigrants and members within the Brown/ Latino communities with reckless abandon.. Peep tech’s wise words below

http://www.youtube.com/watch?v=MwC0KUNZ43E

Along the same lines of connecting the dots and bringing attention to the rise in vigilante killings where folks are deemed ‘suspicious’, we recently held a round table discussion on the topic…Our guest included Bronx based rapper Rodstarz from the group Rebel Diaz.. He talked about how the Trayvon Martin killing came on heels of the Ramarley  Graham killing in New York..

Here you had police officers who decided that Graham who was standing outside his home was ‘suspicious’.. Graham who was well aware of the police Stop and Frisk policy wanted to not be one of the 680 thousand people who police stopped, so he went back inside his home. Police had not warned Graham to stop. Nor was he detained. However cops seeing him leave considered it a ‘furtive’ movement which is the basis on which they can pursue subjects.. They ran after Graham thinking he had a gun.. They busted into his house.. They never rang the bell or asked to be let in.. Ran upside his house and shot him in front of his grandmother. No weapon was ever found..

Rod recently penned a powerful article called the Fleeting Whiteness of George Zimmerman where he offered up some good solutions

In the video below we talk about that shooting as well as the culture of suspicion and how it plays out in Black, Muslim and Latino Communities.. Our other guest are; Cephus Johnson aka Uncle Bobby (He’s the Uncle to Oscar Grant), Zahra Brillo of the CAIR (Council on American-Islamic Relations ) and Isaac Ontiverous of Critical Resistance.. This is a powerful discussion that all need to see so we are familiar with how this Trayvon tragedy is not isolated

http://cdn.livestream.com/embed/tradiov?layout=4&clip=pla_ea43e1b3-f630-4da1-b562-08a505eb10cb&height=340&width=560&autoplay=false

tradiov on livestream.com. Broadcast Live Free

How and Why Hip Hop Has Always Been Political-But Will That Continue to Be the Case?

Whenever we talk about Hip Hop and Politics it’s always done from the stand point with us going to the ballot box as the ultimate goal. Don’t get me wrong, voting and participating in the electoral arena are important, but Hip Hop is so much bigger and so is politics.

For many of us politics is more than us voting for a particular candidate or having a catchy slogan that everyone chants at a rally. At its core, politics is about Empowerment. It’s the social, economic and political control of our communities with voting and political education being among the important steps we take to reach that goal.

Hip Hop is more than a ‘Hot 16‘, ‘fresh new gear‘ or ‘swagger devoid of substance‘. At the end of the day Hip Hop like politics is also about Empowerment. It’s about giving voice to the voiceless and helping remove both ourselves and the community from a position of being maligned and irrelevant with respect to the larger society. Like voting, knowledge and understanding of self and our communities is critical.

It’s important for us to have a firm understanding about the political and social conditions that existed at the dawn of Hip Hop’s birth in the early 70s. It’s important to note that our communities were under serious attack and the expressions associated with Hip Hop was one way in which we responded and ultimately coped.

The pioneers to this culture came up seeing how the FBI under the leadership of J Edgar Hoover and his Cointel Program, went all out to destroy the symbols of resistence and liberation from earlier generations including; Malcolm X who was killed, Martin Luther King who was killed and the Black Panther Party which was destroyed with many of its members jailed. Among those incarcerated during the dawning of Hip Hop was Afeni Shakur and the mother of Tupac. She along with her Panther comrades known as the New York 21. were jailed in 1971 while she was pregnant with Pac

The Free Speech and Anti-War Movements were under attack with then President Nixon declaring an all out war on radical youth. Hippies and Yippies were two components of youth culture caught up in the cross hairs as were Black and Brown organizations like SNCC, the Young Lords and the Brown Berets.

During Hip Hop’s dawning, New York City was enduring serious financial hardship as it teetered on the brink of bankruptcy. That calamity was avoided when city leaders decided to keep the cops, the firemen and garbage workers and instead fired 15 thousand school teachers leaving many of us without after-school programs, extracurricular classes like music and art and our overall education, shortchanged on many levels.

All this was exasperated by greedy landlords in the South Bronx who were burning down tenement buildings almost every other day and collecting the insurance money. Their actions put an already stressed community into an economic tail spin as the Bronx became the worldwide symbol of urban decay.

While all this was going on, the NYPD seemingly working in tandem with President Nixon’s War on Youth had launched an all out war on the gangs that were starting to emerge in the Bronx. They even had a special gang division who were just as brutal back in the days as they are now. Compounding this war by the police, was the fact that many Black and Brown gangs formed because they found themselves under attack by white greaser gangs who didn’t take too kindly to the Bronx neighborhoods expanding its Black and Puerto Rican populations. Hence there was serious racial tension.

It was in this climate that Hip Hop emerged.

Charlie Rock an original Zulu Nation member and former Black Spade which was the largest gang in New York gives a run down of the political and social climate at the dawning of Hip Hop

http://www.youtube.com/watch?v=ycREFrL6-RA

The Spirit of Resistence: Hip Hop Has Always Been Political

Resistence-It’s a facet in Hip Hop that is not fully appreciated and reflected upon.

So again let me repeat… Hip Hop is resistence…It was us fighting back, standing up to and flipping the script on oppressive forces. Bootom line Hip Hop was always POLITICAL.

Afrika Bambaataa

It was political when Afrika Bambaataa a former Black Spade warlord while attending Stevenson High School in the Bronx sought to escape gang life and formed the Organization which he later turned into the Mighty Zulu Nation. This was Hip Hop’s first organization which had among its goals to be a youth movement.

It was political when you went to hear Bambaataa spin at a park jam and he would rock Malcolm X speeches over breakbeats, reminding us what our political ideology should be.

It was political when Bam took the name ‘Zulu’ for his new organization after being inspired by the movie of the same name that depicted the South African Zulus fighting European colonizers. As the Zulu Nation grew, Bambaataa sought to instill pride and bring out the best positive attributes from the people around him. He did this by referring to Zulu members as ‘Kings’ and ‘Queens’. Bam once told me he did this to help raise people’s self esteem with the hopes that they would live up to the lofty titles he bestowed.

It was political when Bambaataa and other artists including Kurtis Blow, Kool Herc, Mele-Mel, Run DMC and the Fat Boys all participated in the Artist United Against Apartheid project where they recorded several songs for the Sun City album. Later Bambaattaa would tour Europe doing concerts to raise money for the ANC (African National Congress).

http://www.youtube.com/watch?v=joYTCwNMdq8

What was even more remarkable and definitely ‘political’ about Afrika Bambaataa who was dubbed the Master of Records, was his goal to turn his former gang comrades into a positive force. Bam has often remarked how and he and others would spend lots of time working and building with folks. He said it took a ‘whole lot of meetings and whole lot of patience‘ but eventually folks grew and got it together.

When he started touring Bam took many of the folks from his Bronx River neighborhood with him. He gave them jobs as roadies or as security. He did whatever it took to get them into new environments to help expand their horizons. He was essentially doing a prison to work program years before the city was doing one. If that isn’t political I don’t know what is..

Years later we would see a number of other Hip Hop artists, most notably MC Hammer a former High Street Bank Boy out of Oakland, do similar things. Hammer spent hundreds of thousands of dollars creating jobs within his company in to help facilitate the transition friends and people in his neighborhood would have to make when returning home from the pen.

Hammer took his desire to transform lives to another level when he approached local Bay Area urban radio station KMEL in the early 90s and convinced them to let him air a radio show he created called Street Soldiers. The show was designed to give folks who were ‘in the life’ (gangs drugs etc) an opportunity to get out. Gang members would call in and talk about the challenges they were facing and get feedback from their peers and community experts who would help them turn their lives around. Hammer hosted the show for the first several months and then turned it over to current hosts Joe Marshall and Margret Norris of the Omega Boys club.

The Geto Boys

In a similar vein we have the Geto Boys out of Houston. Everyone is familiar with many of their politically charged rap songs that dealt with everything from crooked police to shady DEA Agents to a President and his quest for war. We’re also familiar with the fact that Willie D used to do a political talk show on Houston radio.

However, what many people didn’t know was that the GB spent quite a bit of money paying legal fees and other court costs trying to get innocent people out of jail. Bushwick Bill and Scarface talked about this in great detail a few years ago when they came on our daily Hard Knock Radio show to protest the state of Texas executing Shaka Sankofa. If I recall correctly, Bushwick said they spent at least 200-250 thousand dollars in their efforts. That was another example of Hip Hop’s spirit of resistence.

Hip Hop Has Always Addressed Electoral Politics

Melle-Mel recorded a song called 'Jesse' praising Rev Jesse Jackson-It one of the earliest rap songs encouraging folks to Get Out and Vote

Moving into the arena of the Ballot Box, Hip Hop has been a participant in some form or fashion going all the way back to 1984 when Melle-Mel of Grand Master Flash & the Furious 5 recorded a song called Jesse’ which highlighted Reverand Jesse Jackson‘s historic run for the White House. The song also encouraged everyone to ‘Get out and Vote‘ while at the same time taking then President Ronald Reagan to task for the economic harm he was causing poor people around the country.

See Ronald Reagan speaking on TV, smiling like everything’s fine and dandy
Sounded real good when he tried to give a pep talk to over 30 million poor people like me
How can we say we got to stick it out when his belly is full and his future is sunny?
I don’t need his jive advice but I sure do need his jive time money
The dream is a nightmare in disguise (Let’s talk about Jesse)
Red tape and lies fill your for spacious skies (Let’s talk about Jesse)
But don’t think that DC just did it first (Let’s talk about Jesse)
There’s a lot of DC’s all over this universe (His name is Jesse)

Later in the song, Melle-Mel smashes on the former President for his initial refusal to meet with Jesse Jackson after he offered to go to Syria and help secure the release of Navy Lt. Robert O. Goodman Jr. who was being hostage after his plane was shot down when he ‘accidently’ flew into their airspace. Ironically even though the song was popular in clubs and at rallies, many urban station never played the record. Jackson himself, told me he didn’t hear the record until the some 10 years after it was recorded. Talk about a disconnect between generations.

http://www.youtube.com/watch?v=ROZllkxVshM

In 1988 Luther Campbell aka Uncle Luke of the 2 Live Crew teamed up with one of his artists Anquette to back former US Attorney General Janet Reno who at the time was a Dade County (Miami) District Attorney vying for another term.

Anquette did this incredible James Brown inspired song called Janet Reno where she praised Reno for her legal prowess and for going after dead beat dads. The song helped Reno win the election which in turn angered her opponent a lawyer by the name of Jack Thompson.

Thompson sought revenge on Campbell and launched a campaign where he pressured officials throughout the state including Governor Bob Martinez and Broward County sheriff Nick Navarro to go after the 2 live Crew for violating state obscenity laws. Eventually Navarro won a ruling that deemed the group’s album As Nasty As They Wanna Be as obscene.

Local record store owners were warned not to sell the album or they would be arrested. Many shop owners protested but didn’t dare test Navarro. Things came to a head when 2 of the 2 Live Crew members were arrested for performing songs off the album. This is turn set off a huge legal firestorm around first amendment rights.

Campbell, fought this case all the way to the Supreme Court where Harvard Professor Henry Louis ‘Skip’ Gates testified on behalf of the 2Live Crew. He noted that the salacious material they recorded was rooted in the oral/song traditions of African-Americans. The ruling of obscenity were overturned. Again, all this legal drama was caused by Luke’s subversive efforts and Anquette’s song which help turn the tide in an election.

Now we could do an entire book on Hip Hop and Elections where we’d have to cover everyone from Diddy‘s Vote or Die efforts to Russell Simmons Hip Hop Summit Action Network to the Hip Hop Political Conventions that took place in 04, 06 and 08. We’d also have to talk about the formation of Hip Hop Congress and the work they do on campuses around the country, the introduction of Rap Sessions and the political town halls they hold around the country, The League of Young Voters who put out Hip Hop oriented voting guides and recently has been doing work around the census and we’d have to cover Washington based Hip Hop Caucus that routinely engages elected officials on Capitol Hill and did the Respect My Vote Campaign in 08.

We would also have to talk about the recent victory of artist/activist Ras Baraka to the City Council in Newark. He used to serve as deputy mayor. We’d have to talk about the Honorable George Martinez who is currently serving as cultural Envoy, Hip-Hop Ambassador at U.S. State Department. Prior to him serving that position well known Brooklyn based freestyle artist Toni Blackman was this country’s Hip Hop Ambassador. I believe Martinez who also once served on the New York State Democratic Committee is currently running for Congress in NY’s 12th district.

Also running for Congressional office is author/ activist Kevin Powell. This is his second attempt and from the looks of things he stands a really good chance of beating the 28 year incumbent Edolphus Towns. The battle ground is in New York’s 10th district in Brooklyn

Lastly we’d have to talk about Dr Jared Ball out of Maryland who is best known for his political mix tapes ‘Freemix radio‘ ran for Green Party nomination for president in in 08 and long time activist Rosa Clemente who made history by securing the vice presidential nomination for the Green Party. She and former Congresswoman Cynthia McKinney had their name on the ballots in all 50 states and garnered impressive numbers even though their historic bid was overshadowed by Barack Obama’s run for the White House which definitely brought out and politicized many in the Hip Hop generation.

From Paris to Brazil Fear of a Politicized Hip Hop

Never in our wildest dreams did marginalized Black and Brown ghetto youth living in the South Bronx, one of the poorest most dilapidated regions of the country ever think this culture of music, dance and oratory expressions we call Hip Hop would mean so much to so many people all over the world. From the slums of Nairobi, Kenya to the streets of Paris, France to the favelas in Rio, Brazil to the hoods in Detroit, to the streets in Gaza, Hip Hop’s presence is not only felt, but has been a driving cultural force in resistence movements especially amongst the young, poor and oppressed. Much of this was inspired by seminal artists like Public Enemy, KRS-One, dead prez , X-Clan and 2Pac to name a few who embodied this spirit of resistence.

For those who think this is far-fetched, think back to 2005 when Paris erupted in riots and over 200 French politicians signed a petition calling for legal action against Hip Hop acts and their aggressive lyrics which they said incited the riots. Acts like Monsieur R and Sniper became the main targets and were actually brought up on charges and faced lawsuits because of their songs that encouraged resistence to the police and government oppression.

Although there were no government petitions signed, in the late 80s, the FBI’s assistant director Milt Ahlerich saw fit to shoot off a letter to Priority Records expressing outrage over the song ‘Fuck tha Police’ which was put out by NWA. In the letter he noted that “advocating violence and assault is wrong and we in the law enforcement community take exception to such action“. Over the years NWA found themselves not being allowed to perform that song at many of the venues because of police pressure. The one time they did in Detroit, 20 plain clothes officers rushed the stage to shut the group down.

MV Bill is an artist we should all know

Several years ago in 2004 a corporate MTV-like 2 day Hip Hop festival called Hip Hop Manifest featuring Snoop and Ja Rule was boycotted by a coalition of Brazilian artists including the enormously popular MV Bill who stated in a Stress magazine article “The organizers are not interested in our issues, or what we rhyme about, they just want to buy our legitimacy, and I have a moral commitment to uphold the history that has created hip-hop. I pity the black man who sells our history for a price.”

What was at stake was these corporate media promoters refused to reinvest the profits into the poor communities in the area and lower ticket prices to make the event more accessible. Many of the Brazilian artists gave up hefty paychecks and a chance to get serious international spotlight, but they felt strongly about the issue and held their ground. They also put a call out to Snoop and Ja Rule and other American rappers to recognize the injustice they were fighting and invited them to come spend time in the poor communities.

“We cannot allow ourselves to be seen simply as idols. Ever since I began creating hip hop, my dream was to show Black people that we could be free and break the shackles.” Snoop, isn’t this beautiful?”, is the question Sao Paulo rap star LF posted to Snoop in an open letter.

M-1 of dead prez who recently went to Gaza always represents for the people

These are just a few of the dozens of examples that could easily be cited to show the resistence and political nature within Hip Hop. From the anti-police brutality albums, put together by artists like Mos Def and Talib Kweli, to the legendary voter registration rallies in Harlem once put on by Sista Souljah to the Stop the Violence Movement started by KRS-One, to the Orphanage recently opened by Immortal Technique in Afghanistan to M1 of dead prez making a trip to Gaza to the anti-police brutality work done by groups like One Hood in Pittsburgh or Hip Hop Against Police Brutality in Texas, to Knaan having his song Raise the Flag be used in the World Cup to Invincible and Finale using their song Locust to make a full fledge documentary about gentrification in Detroit, Hip Hop doesnt give lip service to politics.

From the anti-war efforts put forth by numerous artists (over 200 songs have been recorded at last count) to the efforts around the Jena 6 with artist like Jasiri X doing a theme song. tireless work put forth by artists like David Banner, Nelly, and others in the aftermath of Hurricane Katrina to the recent efforts put forth by artists like Wyclef Jean, NY Oil, Mystic and many others to help bring relief to victims of the earthquake in Haiti, Hip Hop artists have proven to be a responsive. Pick a subject, Immigration, Domestic Violence, Gulf Oil Spill, you name it and Hip Hop has and is there. The reason being because there are always people in our communities who will resist and are down to fight for Freedom no matter what.

http://www.youtube.com/watch?v=Web707z2oB0

Currently, Hip Hop’s biggest challenge is to resist all the attempts to dilute and redirect its potential to spark meaningful social and political change in the face of oppression. This especially true for Hip Hop that makes its way into corporate backed mainstream enclaves. The corporate agenda is to reduce Hip Hop down to a meaningless disposable song and to reduce politics to a voting over catchy phrase or sensationalistic headline and scandal.

It’s no mistake that much of what I’ve written about has not been highlighted, celebrated, shown on TV or played on the radio. It’s not because people won’t find these acts interesting, newsworthy or popular. The end game is to lessen the influence of an artist and dumb down the audience so game can be run on us. That game of course is to sell us product and complacent ideology. The end game is to get Hip Hop to be used as a tool to drive consumerism vs activism and make the music and our people disposable entities to be discarded or conquered.

Return to Davey D’s Hip hop Corner

Scarface Reminds Us Houston Rappers Are No Joke-He’s the Latest to Speak Truth to Power-Turns Down VH1 Honors

We have to show love and give props to Houston rappers for always stepping up to the plate over and over again, no matter what.

Case in point, when the Geto Boys came out, many did not know  but they would often lay out money and pay for legal counsel of those who were locked away in jail and needed to prove their innocence… I remember doing a show with Bushwick Bill and Scarface and them talking in great detail about the prison industrial complex, the horrors of the death penalty and why they had spent well over 200 thousand bucks trying to free those locked away on trumped-up charges…

What impressed me most was the fact that they were doing this without a whole lot of fanfare. This wasn’t a publicity stunt or anything like that. In fact the way we even wound talking about the topic in the first place was I had asked them about the uproar and controversy around the execution of Shaka Sankofa.

I recall when Katrina happened and interviewing Paul Wall and him talking about the work that him and many of his fellow Houstonian artists were doing to help victims. He talked about the clothes they had donated, much of it new. They talked about money they were raising and how they were doing what they could to make folks comfortable. The list of names involved was a who’s who. It was very impressive. I recall my man DJ Zin doing a number of radio shows from the Astrodome highlighting the efforts that many of the Houston artists had undertaken..

Speaking of Paul Wall we got to give him dap for making a trip to Africa,  learning about Blood Diamonds and then returning to Houston and firing all his suppliers to his grill shop until they could prove they weren’t using conflict diamonds..This was shown in the documentary Planet Bling.

I recall the 2008 election and getting involved in efforts to register the over one million voters not registered in Houston and radio hosts like Matt Sonzala introducing us to everyone from Slim Thug on down to K-Rino who all spoke passionately and insightfully about the day’s political climate and things they felt needed to be done. Artists after artist came through, donating time, videos, music and their likeness for a Get Out to Vote documentary we put together called ‘Texas is in Play‘ . Even though Barack Obama was making his historic run, many of the artists we ran into spoke about local issues and how folks could impact things. End result was record turn out,  all but 4 judges being swept from office and the ouster of a tyrannical sheriff named Tommy Thomas.

Bun B

We saw other Houston artist like Bun B step up. He attended the Democratic Convention in Denver and weighed in on important issues. We saw him recently get down and put together a successful fund-raiser for victims of the Haiti earthquake. Again Houston’s rap community came out in mass to show support..

Over the years we’ve seen artist like Trae Da Truth step up and do everything from visit juvenile halls to put on a festival to raise money and school supplies for kids. Recently we saw him put the gauntlet down and launch a lawsuit against powerful broadcast company Radio One and their station KBXX. This came about because Radio One decided to ban Trae and anyone associating with him after he responded in a mixtape with verbal jabs to being falsely accused by a station jock of ‘attracting a bad crowd’ to his Trae Day community event. Trae was not allowed himself to get bullied by some big time corporate media outlet..

The list of community events engaged by Houston based artists is a long one. The point being made is that many do step up to the plate, speak their minds and try to do what they think is right.

One of the people garnering a lot of attention is Scarface who recently penned an article for Ozone magazine explaining why he wasn’t gonna be apart of VH1’s Hip Hop Honors. Personally I’m  a bit conflicted because I know Fab 5 Freddy who produces the event is my man and he seemed genuinely excited that there was finally an opportunity to honor a region and many of the artists for their accomplishments which he feels are often overlooked.

http://www.youtube.com/watch?v=rvjcaVYJXn0

However, Scarface in his essay lays out some compelling points and left many of us both marveling at his conviction and re-assessing our own place in this culture we call Hip Hop.

Below is Scarface’s article.. Check out Ozone Magazine for more info..

http://www.ozonemag.com/2010/05/13/scarface-speaks-on-vh1s-dirty-south-hip-hop-honors/

Scarface

I was nominated [to be honored at the Dirty South Hip Hop Honors] but I declined to accept because I don’t wanna be classified as just “Dirty South.” I’m Hip Hop, man. I’m not going because I feel slighted. Even though it was a nice gesture, I feel like it’s just a pacifier. They’re like, “Let’s give these niggas down there a pacifier so they can stop feeling left out. We’ll make Luke and all these niggas down there look funny,” you know? “Let’s put a plate of fried chicken and some watermelon and let’s just do some nigga-ass shit.” (laughs) Quote, end quote. “Some nigga-ass shit.” Fried chicken and watermelon. “Shit, the faster we get this over with, the better.”

Honoring [Uncle] Luke and James [Prince] and [Master] P and Timbaland and JD and Dungeon Family is a good thing. I don’t wanna fuck their Honors up. They helped lay the foundation. More power to ‘em. I respect what they do and I respect what they’ve done for Hip Hop, but to put us in a category is disrespectful. Why would you categorize us as “Dirty South”? Why can’t you just honor some muthafuckers from down here and leave it like that? You ain’t gotta make us look extra country. We know where we’re from and we know where you’re from. We know where Hip Hop came from, man. We’re cool with that. I’m proud to be from Houston but don’t make a mockery of my accomplishments. We’re not “dirty” down here in the South anyway. This shit down here probably cleaner than the rest of the country, cause we got grandmas down here. Our grandmas don’t play that shit.

I was a part of the Slick Rick and De La Soul and Too $hort and Public Enemy [Hip Hop Honors]. I felt good about being a part of that. I went [to Hip Hop Honors] when they honored Def Jam because I wanted to be a part of that. I felt honored that they would even call me to do it. But this year, I totally disagree with how they’re trying to categorize us. You know how they make us look on TV? Like we live on the front porch with flies and shit flying around us, with our stomachs all big eating watermelon rinds? That ain’t us, man. Don’t fuckin’ make a mockery of us because we come from down here and you have no fuckin’ idea what it looks like. They’re gonna try to put us with some cows and just make us look fucked up, man, like we don’t know what the fuck we doin’ down here. We’re smart, man. Our life is slowed down so we don’t miss nothing. When shit gets moving too fast you miss everything. Shit’s slowed down here so we see it all.

I come from the era when New York and L.A. had the only Hip Hop, and they weren’t fuckin’ with us, at all. If you think I’m lyin’, check the history of Hip Hop. Try to pull up some footage from the 1989/1990 New Music Seminar. That’s what I base my whole fuckin’ life on: the New Music Seminar 1989/1990. They was NOT fuckin’ with us. We sold records all over the fuckin’ country and New York made a mockery of it. They fuckin’ booed the Geto Boys in New York. They sure did.

Back when Luke had Skywalker Records and J had Rap-A-Lot Records, they weren’t tryin’ to do no South shit. “It didn’t come from New York, son, so fuck that.” That was their attitude. Just because a TV was made in Japan, is it a Japanese TV? Or is it just a fucking TV? If a lightbulb was made in China is it a Chinese lightbulb?

It was hard breaking through. It was hard getting respect from the East Coast. We didn’t get no fuckin’ love from nobody. Fab Five Freddy came down here early in our career to see what we were really about, and I respected and appreciated that. But we been having money down here. We been rollin’ fuckin’ Bentleys and Ferraris down here since the 80s. Muthafuckers ain’t just started rockin’ gold and platinum chains. We had that shit in high school. Shit, we just now started running out of money. (laughs) That’s how long we been had money down here.

Everybody throws up a fuckin’ smokescreen to make the picture look how they want it to look, but I know shit stank. I ain’t no goddamn fool. I was there in the beginning. We were fighting the power for real. Our raps were considered negative rap, and we got a lot of fuckin’ flak behind that shit. And we were just telling the truth. We were under immense scrutiny, from politicians to radio stations to the media. Luke got up there talkin’ about “Pop That Pussy” and had naked hoes on the stage; they were going to jail and shit. The Geto Boys were talkin’ this politicially-charged, racist-ass, system-ran, gangsta-ass dope-dealing whoopin’-ass shit, and it wasn’t accepted in New York.

Eventually New York came around and started fuckin’ with us. But for an East Coast-based show to call themselves showing some fuckin’ love by making a Southern watered-down version of what the show is supposed to be or what Hip Hop really is, man, I feel fucked up about that shit. Because we fought harder than a muthafucker. When [Ice] Cube was on Hip Hop Honors, it wasn’t the “Hip Hop West Coast Honors.” Every part of the ghetto is the same mu’fuckin’ story. Hip Hop is one machine, regardless if you come from New York or Bareback, Africa. It’s fuckin’ Hip Hop.

But that’s just [my opinion], and fuck me. I don’t mean nothing. I’m just a nigga who fought harder than a muthafucker to get our records played in New York and on the East Coast period. And now all a nigga needs to do is fart on a record and it gets played. So it’s fine by me. I’m cool with that. I’m not mad about it, I just feel disrespected. Whoever goes [to Hip Hop Honors], it’s fine and dandy by me. But if you wanted to do a Southern-based show you shoulda got a nigga DOWN SOUTH to do it in the South.

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