Paid In Full Entertainment: Hollywood

Woods, Houston rap pioneer dies at 37
Artist known as O.G. Style had recently fallen ill


By ANDREW DANSBY
Copyright 2008 Houston Chronicle

Hear music and more
Artist's MySpace page

Eric Woods, a Houston rap pioneer who recorded as O.G. Style, died Thursday night. According to friends, Woods, 37, felt ill Wednesday night and was taken to St. Luke's Episcopal Hospital. He suffered from a brain hemorrhage and slipped into a coma Thursday morning.

Woods is best known for Catch 'Em Slippin' (I Know How to Play 'Em), a song that was popular in the region in 1991, though it didn't chart nationally. Still, one of O.G. Style's contemporaries, K-Rino (aka Eric Kaiser), calls the song "a true hood anthem, one that you still hear to this day. Every rapper in this town knows the lyrics to it."

Said rapper Smurk, aka Dwight Allen, a friend and frequent collaborator: "A lot of people talk about the pioneers of Houston rap, the people who made an early impact. If they don't mention O.G. Style, they don't know what they're talking about."

Prior to adopting the name O.G. Style, Woods performed around the city as Prince Ezzy-E starting in the mid-'80s.

When rapper Eazy-E began to draw attention with N.W.A around the same time, Woods tweaked his moniker to Original E. With the late DJ Boss he started a group called O.G. Style, which signed to Rap-A-Lot records and released its only album in 1991. DJ Boss soon formed another group, and Woods adopted the name O.G. Style as his own.

Woods grew up in the Fourth Ward, a neighborhood west of downtown Houston and a frequent backdrop for his music over two decades. "Fourth Ward," said Smurk, "he owned that. He represented that."

In 2006, he shot his Gangsta video there. As with his music more than 15 years earlier, O.G. Style chose an alternative to glorified gangster rap. The song is a reaction to 50 Cent's rise. "Watch how many gangsta rappers start coming out," he raps. "Sticking out their chests like they're hard. ... Walking with a gangster limp, talking like you is a pimp."


Regional ripples
I Know How To Play Em', the album Woods and DJ Boss recorded as O.G. Style, is out of print today. It's also a tough find: Used copies on Amazon.com are on sale for more than $40. That album included the popular Catch 'Em Slippin', which Woods (as Original E), DJ Boss and local producer/engineer Carlos Garza created based on an old sample of a song by New Orleans singer King Floyd.

Garza said he and Woods listened to hundreds of records at Garza's duplex to find the right sample. They assembled "a skeleton" for the song with just turntables and a drum machine.

"Plain and simple, we were just trying to find something that sounded like a hit single," Garza said.

Woods and DJ Boss built the song up from the demo into the version that appeared on the O.G. Style album. Another song from that album made regional ripples. Free World, with its "sitting in the Harris County jail" hook, was the flip side to a 12-inch of Slippin'.

Peers and fans say Woods' style stood out on these songs.

"He was a real lyrical rapper," said K-Rino. "A real skillful artist, real clever with wordplay. He had a hell of a voice and his delivery was as good as anybody's. He was one of the best Houston ever produced. It's a shame he was in a category of forgotten rappers.

"There's a new generation coming up that don't even know who these people are who built the foundation for what happens today. The new guys don't mention guys like O.G. Style on BET and MTV. And then they get written out of history."

K-Rino and UGK rapper Bun B appear on O.G. Style's single Steppin' on Toes and addresses that issue.

"It was about representing the South and how weak the game had gotten in Houston," K-Rino said. "He wanted to get three originals, OGs, together and really rep that. That song was really tight. And it never got heard."


'He was independent'
A lack of national exposure didn't keep O.G. Style from recording. He remained active up until the week of his death.

"We were always friends, but he kind of did his own thing," said Garza, who last produced O.G. Style in 2000. "He would move from producer to producer to get a recording done. He had to, he was independent. He couldn't wait. When he was ready to do something, he did it. He was go-getter, and he was focused, and he never gave up."

O.G. Style and Smurk were about to begin work on a new album, combining some new material with re-recorded tracks from Return of Da Game, the final album he made before his death.

"It was still going to sound like new material because a lot of people hadn't heard that last album," said Smurk, who appeared on Return of Da Game and a mixtape called Mixed Drinks, Blunts & Exstacy with O.G. Style. "He had another new album he was working on. This was just untimely, man."

He doesn't plan to abandon the project entirely, though. One of Woods' sons, also named Eric, is a teenage rapper.

"When I went to see him at the hospital last night, his son told me, 'We're still gonna get it done.' I told him I was gonna hold him to that," Smurk said.

O.G. Style included commentary about a lot of his work on his Web site. With Return of Da Game, he wrote, "I've learned how to do songs and not just be a rapper. This is a grown folks' rap album."

It ended up being his last. But the Internet has made his music easier to find and allows an early voice of Houston rap to be heard.

"You have to give credit to him," said K-Rino, "He got love everywhere in this city. He was always concerned with the present state of rap in Houston — the direction, the subject matter. Him being from that first era, he was just trying to bring it back to the true essence of what it was."

Smurk said his first impression of his friend was one that endured until his death. "O.G. Style was the bomb," he said. "If that term sounds old school, well, I said it intentionally."

Woods is survived by his wife, Shelley, their five children, his father and three siblings.

andrew.dansby@chron.com

Z-RO TO THE ROC?


I had not heard this until Mu$h Da Great said something, but I thought it was worth putting out there. People are spreading the rumor that perhaps Z-Ro might be going to the Roc as an artist. I don’t know, but it's not a ridiculous thought. The Roc and Def Jam have been pulling in talent from the South and H-Town to be specific. What up ‘Face! Anyway, we’ll see what happens.

Where were you when you found out he died? Who told you?

I don't want to get into all that because I don't want to put other people's grief out there. It was a very close person to myself and him. Because no one was there [when he died], we have to wait to receive information, receive the right information. But we got a call, and when they called, they were crying, and we knew what it was. It was my wife and I together. I was home with my wife. And we're moving this week, so we were packing up a lot of different boxes. And it kind of helped me, because it helped me occupy my mind, but then I'd get a phone call from somebody, and different people wanting to make sure I was okay. It was and it is rough. It's still very, very new. And for a lot of people, it's still very surreal.

When was the last time you saw him?

We performed together in Dallas the day after Thanksgiving. And we attended the Young Jeezy concert together Thanksgiving. And that was the last time I physically saw him. We met, we hugged, said we loved each other. When we separate we always make sure we hug and say we love each other. And keep in mind, Pimp C and I, we didn't agree on everything. We had our differences about different things. And I know people are going to draw conclusions, but it's not like that. I've been knowing Pimp C since he was 16 years old. By nature, our personalities and our character tended to be at odds, but because of who we were and where we were from, and where we were trying to go and what we were trying to prove, we were always together in that respect. And I loved him, and he loved me, and we're never ashamed to say it. And I know we're in the era of "pause" and "no homo" and all that, and that's all fine and dandy, but if you really love your homie, don't feel like you can't tell him you love him. Who gives a fuck how somebody take it. Because when things happen, you're going to wish you had said it. You're going to wish you said it louder.

Artists React To Sudden Death of Pimp C
Source: bet.com
Posted On: Wednesday, December 5, 2007 09:39 MST

The sudden death of UGK rapper Pimp C has shocked the hip-hop community. Many rappers have credited UGK as an influence on their own music and Southern hip-hop in general. Here are some words from Pimp C's fellow artists and friends.
T.I.: "My heart goes out to Pimp C's family. He was a pioneer in the rap game. I have a lot of respect for him and his accomplishments. It's definitely a sad day in hip-hop."

Too Short: "That was my homie from when he first first signed to Jive. We did a lot of shows together over the years. We did tours together, we did several songs. He was like my little brother. I always kept in touch with him. I just saw him Saturday and Sunday in L.A. I did a show at the House of Blues, and he popped up backstage and came on stage, and we hung out after the show that night. I talked to C like once a week. My man was on top of his game, getting his hustle on, doing good and he was happy.

Rick Ross: "We lost one of the greatest icons in music, period. He's one of my favorite lyricists that inspired me, Ricky Ross, that pushed the boundaries of Southern hip-hop. I felt like Ridin' Dirty was one of the best three albums in the history of Rap. And just to see the loss of life, it's a sad thing. He won't be forgotten. My prayers go out to Bun B and Pimp C's kids. And it's sad to watch him go to prison and for him to come home and...they just had their number one album. Their future was in front of them. There was so much left on the table for Pimp C and UGK. My deepest sympathies go out to him and his family, straight up."

Pimpin' Ken: "A friend of mine named Paper Chase called me, telling me that Pimp C was dead. I was like, 'nah. I just talked to the man yesterday. He can't be dead, unless he died recently.' He was like, 'It's all over the internet. It's all on TMZ and this and other stuff.' So I called my manager, Rick Martin, who is also Pimp C's manager. My brother just died Friday. He was supposed to come to my brother's funeral. I was like, 'Wow! Not again.' It was total shock, 'cause you know Pimp was like my little brother. They called me to calm him down a lot of times. I'm the one that told him to apologize to Atlanta. I'm the one that told him to reach out to [Young] Jeezy and make peace. I mean, he listens to me. I was one of the only people that went to visit him when he was in jail. We used to sleep over his momma's house, be in the studio and kick it. He loved the game and he was all about the game."

DJ Drama: "It's a sad thing. It's a bittersweet day for me, personally. I'm coming out on the same day we're losing a legend, Pimp C. I got the honor of being on a song with him on T.I.'s album called "Front Back." I got to meet him at the video. It was an honor and a privilege. I haven't heard too much outside to his passing. I send my condolences to Bun. We gon' rep for the big homie. Keep his legacy alive."

Update: Pimp C Believed To Have Died From Natural Causes

The Los Angeles coroner’s office has revealed that UGK member Pimp C may have died from natural causes.

As reported earlier, the legendary Houston rapper was found dead in bed in his room at the Mondrian Hotel in Hollywood, California on Tuesday morning (December 4).

According to the L.A. coroner’s office, Pimp C was found fully clothed on his bed. No drugs or drug paraphernalia was found in the room and they were no signs showing the rapper had fallen or injured himself.

“It appears that he died naturally,” said Capt. Ed Winter of the L.A coroner office. “There were no signs of trauma, no signs of drug paraphernalia.”

“At this time there's no signs of foul play but pending autopsy and toxicology, we can't say the cause,” he added.

Pimp C, whose real name is Chad Butler, was only 33 years old and is survived by a wife and three children.

Pimp C and his partner in rhyme, Bun B, released their seventh group album titled U.G.K. Underground Kingz earlier this year . The set debuted at No. 1 on the Billboard 200.

It was the group's first project together since Pimp C’s 2005 release from prison. During Pimp C’s incarceration, Bun B released a solo album titled Trilla. Pimp C would release his solo project, Pimpalation, in 2006.

Pimp C’s untimely death has overwhelmed his friends, fans, his peers in the music industry.

“The passing of Pimp C will not only be felt by the southern Hip-Hop scene, but by the Hip-Hop world as a whol e,” DJ Chuck T told Sixshot.com. “Pimp C was a solo great artist and one half of a rap group that is legendary. His incarceration in his prime kept us from realizing his true star power and now his untimely death will keep us from truly seeing how great he could've been. Pimp C's presence in the rap game will be missed.”

“Chad was finally seeing the results of the years of love and labor that he and Bun B have put in over the years, culminating in the tremendous success of their album, Underground Kingz.,” said Pimp C’s manager, Rick Martin, via a statement. “Chad was set to soar with not only a new solo deal on Jive Records, but a lucrative publishing deal, a new satellite radio show, several group projects and a national cologne endorsement. Chad had everything to live for, making his unexpected passing a travesty.”

Oct. 15, 2007, 1:21PM
Houston rapper Big Moe dies


By KRISTIE RIEKEN Associated Press Writer
© 2007 The Associated Press

TOOLS
Email Get section feed
Print Subscribe NOW
Comments (16) Recommend (6)
HOUSTON — Big Moe, a Houston rapper whose 2002 album reached No. 3 on Billboard's hip hop charts, has died.

Big Moe, whose real name was Kenneth Moore, was 33. He died Sunday afternoon at Houston's Ben Taub hospital after being hospitalized for more than a week, said Bryan McLeod, a spokesman for the county public hospital system.

McLeod did not release a cause of death, but numerous hip hop Web sites said the obese rapper suffered a heart attack.

Big Moe, who rapped and sang, was a member of the late DJ Screw's rap collective the Screwed Up Click. DJ Screw died of a heart attack in 2000 after a reported overdose of codeine-laced cough syrup.

Big Moe often rapped about the drug and the titles of his first two albums made reference to it. His first album was called "City of Syrup" and his most successful offering was 2002's "Purple World," for the color most often associated with the drug.

Big Moe's top two singles, "Barre Baby" and "Purple Stuff" were odes to the drug. He also released a third album, "Moe Life," in 2003.

"He was a great influence to the music community here in Houston," said Swishahouse Records founder Michael "5000" Watts. "He was a good person and one of the founding fathers of the music movement here."

He collaborated with various Houston rappers including Mike Jones, Z-Ro and Pimp C.

Other Screwed Up Click members who have died are Big Hawk, who was shot to death last year, and his brother Fat Pat, killed in 1998.

Mike Jones 'American Hater' Episode 2 and TI's Gun Pics

So, what's up I've got a new episode of the American Hater. That's the Mike Jones internet video series and this one is brand new and at least a little bit entertaining. I know Mike Jones fans have been waiting and waiting and waiting for that album to drop and it's still being pushed back so it looks like for now all we've got to look forward to are these videos.

Slim Thug, Z-ro, Lil Keke, Trae The Truth And More Among Those On Hand To Celebrate The Life Of DJ Screw
Date: 10/9/2007


On September 30, 2007, nearly 10,000 fans, friends and loved one's gathered at Houston 's Reliant Arena to pay tribute to the city's own DJ Screw. Robert Earl Davis, Sr., (aka Papa Screw) the father of the legendary DJ, received a standing ovation as he was brought on stage to be recognized for birthing the father of Chopped and Screwed music. DJ Screw's untimely death left a void that was visibly missed as crowds of people packed the arena to experience some of Houston's biggest supporters of DJ Screw pay homage to the late great one.

The world famous BumSquad DJZ sponsored the concert and car show which hosted over 150 custom cars and bikes, a bikini contest, graffiti show, DJ exhibition and a star-studded roster of Houston's finest who were on hand to pay tribute. The crowd couldn't get enough as the likes of Slim Thug and the Boss Hogg Outlaws, Lil Keke, Z-Ro, and Trae the Truth gave amazing tributes to the deceased DJ. Also taking the stage for the event were: Swisha House: Archie Lee, Coota Bang, E-Class & Young Redd, the Original S.U.C.: D-Redd & the Botany Boys, Lil' O, Big Pokey, Big Moe, Mike D, Youngster, Mr. 3-2, Madrid Pimps, G.R.i.T. Boys, Papa Reu, Wonderous, Billy Cook, Steph Jones, Juan Gotti ft. the Thug Rock Kingz, Rob G., Pryme Status, Grade A, D1, Cubanito, Raquel Serenil; as well as amazing DJ showmanship from: Micheal "5000" Watts, Choppaholix: DJ Cool Aid & DJ Ovadose, Crisco Kid, DJ Chill, DJ Demo, DJ Goofy, DJ Kaos, DJ Mpulse, DJ Noble, DJ OG Ron C, DJ Play>boy, DJ Rockwell, Eddie Deville, Latin Prince, Lyrikal Wun, Nina 9, and Wu Chang.

Event organizer, Elaine Gracia of Kloud 9 Productions & Vice President of the BumSquad DJZ, was astounded by the support she received for the event. "All the artists that were in attendance gave freely, and passionately of their time simply based on the love and respect they had for a man that did so much for the Houston music scene, and to see them all give back in his memory was extremely touching and it virtually brought tears to " Papa Screw" to see how much his son was loved and appreciated." A portion of the proceeds from the event will benefit the DJ Screw Foundation & The "Big Hawk" Hawkins family which will help young adults & children in music studies by awarding scholarships for music lessons and audio engineering and production classes

For more on DJ Screw, DJ Screw: The Untold Story DVD tells the story of Robert Davis Jr. before fame from the people who were there. This DVD also contains never before seen footage of the one man who gave Houston it's sound identity, at work and at play as well as interviews with the original members of S.U.C (Screwed Up Click), Davis family members, the last interview from "Hawk" and his thoughts about his brother and DJ Screw filmed just 3 days prior to his untimely death. This DVD is available in major outlets including Best Buy, Sam Goody, etc.

"Oh No They Didn't! Oh Yes They Did!"

Let's play a little game today and throw up what are some of the worst collabos and features done by southern artists that you've seen in recent times or if you've got that old man memory , then from way back in the day too. I'll start with... Hillary Duff With Love remix featuring Houston's very own Slim Thug. Yeah that's right a Hillary Duff song with Slim Thug, get that money boss!

No Houston, There Isn't Any Problem
Posted: Friday - July 6, 2007
By Bear Frazer




There isn't any secret that the Houston Movement blew the fuck up back in 2005 when Mike Jones, Paul Wall and Slim Thug were introduced on a national scale via "Still Tippin'." From there, it was pandemonium.

Everybody jumped at the opportunity to holla at Mike Jones on his cell phone and every artist holla'd at Paul Wall to get a pair of grillz, while Slim Thug was trying his best to make sure some fool didn't leak his album. The guys in demand and the H-Town sound was something new to most of us.

I enjoyed it and still do to this day. Paul Wall and Slim Thug are some of the guys whose music I look forward listening to everyday. They're delivery is smooth and they don't try to complicate what their saying. Plus, I don't mind hearing them talk about how cool their whip is or how nasty their grillz are.

But as we fast forward to 2007, some hip-hop media outlets are questioning whether Houston is just a fad. I think this is fucking ridiculous, and what makes this even more ridiculous is the fact that some of the people who have been saying this have never lived in the South.

This year alone has been big for Houston. So far, Paul Wall, Lil' Flip and the Boss Hogg Outlawz have released albums, and by the end of the year, new records from Mike Jones, UGK, Slim Thug and Chingo Bling will be on shelves. That's not even mentioning the young artists coming out and dropping for the first time like the G.R.i.T. Boys. Plus, Michael Watts and the Swishahouse is in the process of dropping his latest mixtape, Something To Smoke 2. And we haven't even touched on the smaller independent labels in the area, including the ones owned by operated by some of these artists.

I'll admit, the Houston Movement may not have the same zing it first had when it emerged onto a mainstream level in 2005, but then again, does anything when it first comes out? Yeah, that's what I thought. And I'll also admit, some of these artists may not see the same success in moving units because they might not have the right single for radio, because record sales as a whole is dropping, etc.

Regardless, Houston isn't a fad. It's only getting stronger and even a blind man can see that.

Your BFF,
Bear.Fuckin.Frazer.

(PS - If someone sees a blog comment under my name, it isn't from me. I don't respond to blogs.)

Mike Jones' Manager Accuses Texas Police Of Assault

Mike JonesThe manager of rapper Mike Jones has reportedly filed a police complaint in Texas claiming he was assaulted by two cops last month. Terrance 'T' Flowers, who filed the complaint on May 25, says he was confronted by authorities when he got into an argument with his ex-girlfriend in a Jersey Village car park.

He co-operated with the two officers, identified as Virgil Thomas and Mark Zatzkin, and alleges that even though his ex explained there was no problem with the situation, he was still physically assaulted.

Flowers claims the cops taunted him saying, "You think you can get away with certain types of behavior because of who you are", before they handcuffed him and forced him to the ground.

He adds, "They jumped out their car, pulled their pistols out, told me to get down, yelling and screaming, so I automatically did what they told me to do.

"I get down to my knees. They shove me down. A black cop put a foot on my head. They still had their pistols on me, telling me to get down, get down, but I'm already down, though."

Sergeant Stephan Ruff of the Jersey Village Police Department admitted he had only heard about the allegations when Flowers filed the complaint, because the officers had not written an incident report.

Ruff has now launched an internal investigation into the claims.

OutKast and UGK's "International Players Anthem": Song of the Year
posted: 4:34 PM, June 5, 2007 by Tom Breihan

UndergroundKingz.jpg
Ask ask Paul McCartney

There are a couple of schools of critical thought about Andre 3000's recent blitzkrieg of guest-raps, a hobby it once looked like he'd given up after murdering the intro of Sleepy Brown's "I Can't Wait" a few years back. One side of the debate has greeted Andre's return with unqualified hosannas: one of the greatest rappers of all time finally rediscovering the joy in what he does best, figuring out that he's better at putting verses together than he is at doing gallingly cutesy Prince impressions. The other side says that Andre has duped us all, that his long absence from rap made us miss him so badly that we're falling all over ourselves to praise his rhythm-free mickey-mouse guest-spots; Al Shipley even went so far as to compare him to Murphy Lee. Before UGK's new single "International Players Anthem" hit the internet a while ago, I would've placed myself somewhere between the two poles. I was definitely happy to hear Andre rapping again, and I really liked that he was making his big return alongside jokers like Jim Jones on pop-rap megaliths like "Walk It Out" and "Throw Some D's," treating his big return like it wasn't even a big deal at all. But I didn't like how he brought his new cartoonishly cheery persona to those verses or how he'd altered his slippery flow to the point where he was just rushing to cram in syllables, barely paying attention to the beat at all. On the remix to Lloyd's "You," he talks about meeting a girl in Whole Foods, and it's a really nice bit of storytelling, observant and fluid, but it's also got a sort of Wes Anderson forced tweeness, like he's trying to transform himself into a stuffed animal before our eyes. Andre's verse on "International Players Anthem" isn't really all that different from the other stuff he's been doing lately, but works perfectly within the context of an amazing song. The "International Players Anthem" video hit the internet yesterday, and I've already watched it about fifteen times. I wouldn't change a thing about it. It's perfect.

Actually, that's overstating things a bit. Useless cameo-machine Bishop Don Magic Juan hogs precious seconds of screen-time like this was a Snoop Dogg video, and I sort of don't like the way a UGK video somehow reduces Pimp C and Bun B to Andre's supporting cast. Still, it's an amazing piece of work, and anyone who hasn't seen it yet should probably go watch that shit right now before reading another word of this entry. The whole thing is set around Andre's wedding, starting out with UGK and Three 6 Mafia sitting around and taking good-natured shots at Andre. (Honestly, I could listen to Southern rap luminaries make fun of Andre's clothes for hours.) From there, everything unfolds in a gorgeously sunny haze: Andre's groomsmen goofily lip-sync his lyrics at him, more Southern rap luminaries make split-second cameos, two video-chicks inexplicably wrestle in the wedding cake. The whole thing comes with a fuzzy glow that I just love. This is going to look ridiculous, especially if Bridget's reading this, but I've been engaged for a little more than a year now, and in that time no piece of pop-culture ephemera has made me more excited to be getting married than this video. Even if Pimp C is almost certainly not showing up to my wedding in a giant white fur hat, this thing looks like a whole lot of fun.

The song, probably my favorite single of the year thus far, plays on similar romantic impulses in similarly goofy ways. DJ Paul and Juicy J produced the track, swiping the woozy and euphoric horns and vocals from Willie Hutch's "I Choose You." Paul and Juicy have used that exact same beat once before, for Project Pat's "Choose U" a few years ago, but I'm not really mad at them for that. It sort of dampened the track's cinematic lilt to hear Pat talking about spending your child support money on it, and anyway it's exactly the sort of warm, slow, organic track that generally works perfectly with Bun and Pimp's thick, wizened voices. Originally, Paul and Juicy also rapped on the track, but I guess record-company politics kept that version from seeing the light of day. I've heard the track's original version, and it's fine. It starts out with the Pimp C verse, tacking the serviceable verses from Paul and Juicy onto the end. If it'd showed up on the UGK album in its original form, it would've been a really good deep-cut. But with OutKast on the song instead of Three 6 Mafia, it's transcendent.

Andre shows up on the track before the beat actually drops, a trick that makes the most of his idiosyncratic sense of rhythm. There aren't any drums to worry about, so he doesn't have to worry about falling on and off the track. Andre's verse is happy and dazed and confused. It's about falling in love, about diving headlong into the idea that you'll never be single again and feeling vaguely smug about it. When Andre's verse ends, the huge thumping drums come in suddenly, and Pimp C's verse starts right away; it's an absolutely thrilling moment. In terms of technical skill, the verses from Pimp and Bun and Big Boi all just bury Andre's verse, but all of them need Andre's verse to give them a grace they wouldn't have had otherwise. Pimp and Bun both talk about pimping in bald terms, about convincing girls that it'd be a good idea to work for them. Big Boi raps about getting frustrated wondering what's happening to child-support payments. None of these are particularly laudable sentiments, but coming after Andre, they're humanized, almost romantic. In his verse, Andre effectively casts all of them as the friends who don't understand why he's getting married, a conceit that the video pushes further. There's a lot going on in the lyrics, and the verses seem to contradict or at least clash with each other in small ways, but that just makes them feel more like different sides of a conversation. And even when the buzz from the song fades, which it hasn't since it first leaked, we'll still have ideas to pick apart. I don't know whether "International Players Anthem" can become a bona fide hit; after all, it basically doesn't have a chorus. At this point, that doesn't matter. It's already a great pop moment.

Lil' Wayne, Baby, David Banner, UGK Help Raise HIV Awareness With Free Concert
By Roman Wolfe
Date: 5/30/2007 4:45 pm

xml


Rappers Lil' Wayne, Baby, David Banner and UGK will perform during the "Hip Hop 4 HIV - Know Your Status" concert, which takes place this June in Houston, TX to raise youth's awareness about HIV/AIDS.

The Texstars Foundation Project is hosting the free concert featuring the superstar rappers at Houston's Reliant Arena on June 30.

The Foundation is a non-profit organization created by Texas State Representative Borris L. Miles in 2007.

The organization's goal is to promote, sponsor, and assist inner city communities in developing education, leadership development programs, as well as promoting tolerance (racial and sexual orientation).

In order to get tickets to the free concert, fans must first attend an HIV seminar and get tested for the HIV/AIDS virus at local testing stations, which will be staffed with counselors and health professionals.

The event is also sponsored by local radio station 97.9 The Box and according to organizers, the goal is to test at least 3,000 young adults between the ages of 15-30, with the primary focus being young, African-American males and females.

According to statistics, African-American's account for almost 60% of HIV/AIDS cases among those ages 13 to 24.

In Houston, African-American's make up 18% of the population, but account for 54% of the adult HIV cases since 1999.

Those over 30-years-old can still get tested at no cost, but the free concert is for young adults between the ages of 15-30.

The concert starts at 2:00 PM and ends around 6:00 PM.

Also on the bill are Mista Madd, Shei Atkins, J. Xavier and others.

Devin the Dude - Waitin' to Inhale


By Simone Wilson
Hiatus Editor

April 05, 2007 — Everystoner Devin the Dude watches most of his life from a permanent ass-dent in the couch. He fumbles with the remote, calls for a dusky sax loop and some guitar clucks, mumbling a sloppy - if ever lovable - flow of dirty talk from the left corner of his mouth, so as not to drop the bobbing joint clamped down on the right.

After three solo albums and an overstuffed scrapbook of guest spots, most famously on Dr. Dre's "Fuck You," the Texas-born rapper is finally starting to be recognized as a major player for the Southern team in America's location-based hip-hop tournament. He makes as fly a case for the bottom states as any of his teammates, rubbing the sweat of each - Scarface's cool sting, T.I.'s slow heat, UGK's rich, salty melody - into most every track of Waitin' to Inhale. But he's still nowhere near their status, and that's where a distinct self-awareness comes in to cap off the bowl: a sheepish scrawl that begs for free sex, complains about inflation and admits to getting boners when rapping about pussy (and he does - a lot).

Dev pulls killer cameos from Snoop, Lil' Wayne, Bun-B and former partners the Odd Squad ­- even convincing Andre 3000 to chill back for a sec - but this glory is his own. Some week-old purp beats roast in the center console, letting off a warm, wet skunk. Devin even dots his "i" with a marijuana leaf. Not like the herb is new to his genre, but this Dude's kicked-back, charred raps and smoldering tracks positively reek of it.

UGK: "The Game Belongs to Me." I

f this and "International Players Anthem" and "Next Up" are any indication, I really shouldn't be worrying about the new UGK album. On those other two tracks, Pimp and Bun manage to pull their guests into their world rather than awkwardly attempting to adjust their styles to fit their guests. And that UGK style is one of the most enduring in rap, a humanely downcast combination of sweet, organic Southern soul and dense, banging old-school drum-programming. They might be outsourcing some of their production, but they're finding people whose strengths complement theirs. Still, neither of those tracks has quite the eternal warmth of "The Game Belongs to Me," where Bun and Pimp sink determinedly back into their comfort zones and do away with any outside help. Pimp's track is a thing of beauty: fluttering guitars piled into undulating layers and wrapped around slow Ant Banks drum-ticks. Pimp's nasal singsong honk sounds like a natural outgrowth of the track; he knows exactly how to use one of rap's thickest accents. Bun's gravelly boom is just as intuitive, but his syllables come in quicker clumps, pushing and poking the track around rather than just rising out of it. They know what they're doing. Now if Jive will just go ahead and release the fucking album, we'll be set

At only 26, rapper Lil' Flip is thinking about his legacy

By ANDREW DANSBY
Copyright 2007 Houston Chronicle

TOOLS
Email
Get section feed
Print
Subscribe NOW
Lil' Flip looks comfortable — decked out in a Hotel Derek robe and Ralph Lauren flip-flops — but he does a little light grousing about a perceived lack of respect from his inner circle.

"If Beyoncé wants something done, it gets done," he explains. "If Flip wants something, he's lucky to get three out of 10."

He laughs at his own put-down.

Complaint aside, Lil' Flip actually seems to be doing OK on this day. It's past noon, yet he's just getting going, having worked his way through a big plate of breakfast in front of a wide-screen TV with the shades pulled in a sprawling hotel suite.

"I don't like it too bright," he says.

Flip's manager points out the rapper has had a few late nights in a row. "He visits two schools a day and two clubs a night," the manager says.

Flip is promoting I Need Mine, another lengthy double album by the Freestyle King. Despite Flip's often playful manner, he takes the album title seriously.

Flip sprung on the scene here as a teenage protégé of DJ Screw and took his rhymes national years before a new wave of Houston hip-hop was nationally recognized (his breakthrough Leprechaun still sounds fresh). Sunshine gave Flip a hit in 2004, but he was a little early to cash in the way others here did in 2005. Instead he found himself in the middle of silly feuds with other rappers — here and elsewhere — and stuck in a sour label deal.

But the guy doesn't sport a four-leaf clover medallion for nothing. If he doesn't believe good luck seeks people out, he certainly believes in creating your own.

"It just seems like as rappers, we tend to help everybody else," he says of his new album's title. "Family members, friends. A lot of times people take it for granted. At this point, with this record, I want to put the focus on me."

At 26, a veteran

Several times Flip talks legacy, which isn't the craziest topic for a 26-year-old who's been doing this for a decade. He doesn't stick to the usual touchstones (Tupac, Biggie). "I want to have a legacy like the Beatles," he says. "I want to sell 150 million records."
He's aware that hip-hop doesn't have tenure track careers like rock 'n' roll, so he's expanding his name brand. He passes over a bottle of Lil' Flip's Gangsta Lean Raspberry Lime Rickey, a nonalchoholic (and despite the name, codeine-free) fruit-flavored drink.

"That's the first one, those just came in" he says.

Flip also has worked up an alcoholic beverage that will soon hit retail.

He has an XM radio show, and he's filming his every move and uploading clips onto YouTube, where he eventually plans to host Lil' Flip's The American Rapper, a new talent search.

"It'll be the opposite of American Idol," he says. "I'm looking for somebody who wants to understand the rap game. It won't be a mockery of rap. There will be media training, freestyle work, you'll learn to carry yourself."

A two-album deal also will come of the competition. It's Flip's opportunity to try and help a young talent the way Screw helped him. Flip is never at a loss for words until Screw comes up, at which point his answers are preceded by long pauses.

"Mostly I just want to keep his name out there," he says.

He looks surprised when it's mentioned that Screw has been gone for seven years.

But where Screw's bag was slowing things down, Flip's work ethic is caffeinated by comparison.

There are 37 tracks on I Need Mine, and he points out that he flung every style and sub-style he could at the wall.

"You have to have these different sounds to break things up," he says. "There's girl songs, club songs, sad songs, street songs, but not two of them together."

While the music biz seems to be moving back toward the single, Flip's defiantly album-minded.

Something for everyone

"Nowadays it's about having one hot song," he says. "Well, I still want to have one hot album. I feel like every song on here could be a single.
"I've been putting out doubles since my first record. I like to give people a reason to buy them. Why buy Flip's albums? Well, I don't limit myself to urban music. There's some rock 'n' roll on there."

He points to Find My Way, which is built on a cool acoustic guitar groove.

Flip says he has no regrets about starting so early.

"I feel like I've learned things. I was able to see how people treat you. How they take advantage of young artists."

There also have been personal finance lessons that he hopes to pass along to the winner of his reality show.

"You know, simple stuff: Don't buy jewelry unless you have a place to live. You have to set your priorities."

He suggests that the new album is a result of his ongoing education about the business.

"I wrote more than usual on this one," he says. "It's cool to freestyle, but sometimes that's difficult to convert to records. I wanted to come with more concepts, some messages.

"There's less cursing on this record. Not that I usually curse that much."

Why?

"It sounds horrible on the radio," he says laughing.

"You don't hear anything but the beeps. Who wants to hear that?"

andrew.dansby@chron.com

Paul Wall wears his emotions on his sleeve with tattoos


By ANDREW DANSBY
Copyright 2007 Houston Chronicle

TOOLS
Email Get section feed
Print Subscribe NOW


RESOURCES
Check out Paul Wall's tattoos
Paul Wall in The 4123 Chronicle
Paul Wall's tattoos tell two-part stories: Pre- and post-fame, happiness and sadness, life and death, home and away, and that sort of thing.

They're united by one factor, well, one other than his skin being the canvas: "Each one of them hurt like hell," he said. "On a scale of 1 to 10, they were all a 9 1/2 . The ones right here on my wrist bones are the ones that hurt the most. I guess it's because it's right on the bone. I've seen other people get tattoos, they got the cool face. But me, I've never had it."

Wall's blue forearms are prominently featured on the cover of Get Money Stay True, his new album out this week. As with his previous record, the million-selling The People's Champ, Wall's latest is something of a document of his likes: cars, grilles, Houston, etc.

His tattoos tell a similar story. Earlier this week, Wall offered the stories behind his ink. Well, most of it. He opted not to put his chest tattoos on display. "I got to lose some weight first," he said, before flashing a sparkling smile.

The two prominent tattoos on the album cover — a Texas logo with an Astros emblem on his right hand, and a "Freedom/Broderick Brown" on his left forearm — represent very different aspects of his story. They mark with earnest love the happy parts of his life (his family, his hometown) and with regret some of its rougher parts (friends killed or in prison).

There also are two different styles represented. His upper arms were inked by an artist named Junior at Dago's , a tattoo place that's been a Houston staple since the '70s.

Those tattoos, he said, were his way of "venting" and marking when "something significant was going on in my life."

His first four tattoos came in pairs: One arm has "Paul," the other "Wall." Pretty self-explanatory, as was his second set. One arm reads "Houston," while the other has "Texas," "because I got such love for where I'm from."

Many of the upper-arm tattoos — "Underdog" and "Me against the world" — document Wall's struggle to find respect on the hip-hop scene as a white rapper.

"I felt I had to earn my way," he said. "I had nobody to support me. Then I got these over here: 'Against all odds.'

"Of course, those are 2Pac quotes. Anytime you get tattoos, you can't go wrong with 2Pac quotes."

There's a " 1/2 -full/ 1/2 -empty cup" on his left upper arm. He favors the former because "that was my outlook on life. I try to find the good in a situation."

And then "Waterboy," a reference to the Adam Sandler film of the same name about a waterboy who becomes the star of his football team; Wall also used the word as a name for one of his groups.

"I started off doing street teamwork for No Limit and Def Jam. I was the waterboy, the scrub. I was passing out demo tapes, and nobody wanted to hear them."

He credited Michael "5000" Watts of the Swishahouse label for giving him "a spot on the team. Then I earned a starting spot."

There is a microphone on the back of each arm. On the right arm, the top of the mic is shouldered globelike. "It's the universal man," he said. "The globe is a microphone, and the microphone turns into a key." There's a padlock with his name on it.

"It had to do with what my life was. My life was music, I love music to the fullest."

A clock features the caption "In due time," a phrase Wall says his mother used.

"Be patient. That's something a lot of people don't have. A lot of rappers, they don't have patience. Let God's will be God's will."

Wall said he stopped getting inked around 2003. When he posed for the Chronicle in 2005, his forearms were bare.

Now they hold the work of Mr. Cartoon, a Los Angeles tattoo artist who also designed the cover of Get Money Stay True. Wall met him through former Blink-182 drummer Travis Barker. Barker and Skinhead Rob are in a band with Wall called Expensive Taste.

Wall says two events — the birth of his son, Will, last April and the murder of rapper Hawk last May — sent him back to the chair.

Will's name is on his left hand, and Hawk is one of three names (DJ B-Swift and a friend named Duke) on an "R.I.P." scroll on his right forearm. A wing for Hawk pokes through some clouds.

There's further tragedy on Wall's right arm. The "Freedom/Broderick Brown" tattoo is his tip to a childhood friend who made different life choices. Brown is six years into a 45-year prison sentence after pleading guilty to robbery. (It was the aggravated variety, with a deadly weapon.)

But Wall's ink isn't all struggle and tragedy. His recent tattoos were done after he'd had national success, selling 1 million copies of his last record.

In that celebratory vein, he also took us through his loves, including the Astros logo on his right hand, his son's name on the other and on the inside of his left arm his wife's name, Crystal. "I represent for the wife 100 percent," he said.

And each forearm holds one of Mr. Cartoon's two trademarks. On the left is a smoking skull with the caption "Live by die by," which Wall took from a F.T.F. album.

Just below that, he said, "we got sunrays shining down on the great streets of downtown Houston." That arm also reads "Expensive taste," the name of his band and also "a motto for our lifestyle."

The other Mr. Cartoon icon is Wall's visage reimagined as a clown.

"He took a picture of me and printed it out and freehand-drew the clown," Wall explained.

"It looks just like me.

"The grille looks just like me, the beard has gray hairs, the eyebrows are bushy. That being his trademark, it was an honor for me to get him to do it."

And that's the inky tour through much of Wall's life from his teenage years to the present. There are triumph and tragedy, persistence and ignorance (admittedly some would argue that all tattoos fall into the latter), family and friends and more.

Wall and his wife are expecting their second child in November, and he's left some open forearm for another name. He'll undoubtedly cringe throughout.

"You can ask Junior, you can ask Mr. Cartoon, I'm a wuss when it comes to tattoos," he said. "I'm squirming in the chair, making sideways faces, yelling. You might not think that, because I have so many of them, but I'm an absolute punk when it comes to tattoos."

andrew.dansby@chron.com

The People's Champ Retains His Title
CD Review

By: Stephen Ortiz
Posted: 4/5/07

There's something about these Houston rappers and their money. They have it. They flaunt it. They rap about it. They spend it on "grillz" and "purple drank." So why do the listeners and fans keep giving them more? Because of artists like Paul Wall.

The Swishahouse spokesman is just one of many rappers coming out of Houston who have found great success on the national level with their joining the ranks of Mike Jones, Lil' Flip and Chamillionaire. Paul Wall first found fame after appearing on Mike Jones' first commercially- distributed single, "Still Tippin'," from his first major label album, "Who Is Mike Jones?" and eventually went on to release his first LP, "The People's Champ," in 2005.

Thanks to his charming flow and catchy, materialistic rhymes, Wall went platinum easily, and looks to do so again with his sophomore album "Get Money, Stay True."

What "Get Money, Stay True" is able to do best is capture the magic that made Wall's first album work so well and turn it up a notch. There is more of the trunk- thumping bangers meant to be played at high volumes, preferably in residential areas - Southern looping beats that run so slow they never really go anywhere and of course, those Southern trademarks from diamond coated grills to "sipping on sizzurp."

Wall never takes himself out of his boast, brag and party comfort zone and covers up a whole lot of redundancy with top-notch productions and easy-to-follow, solid raps that drop just enough punch lines to keep the listener hooked.

"I'm fresh like green bananas / I'm fly like Continental / Cuz I stay up on my grind late night like Jimmy Kimmel," he rhymes on "Everybody Know Me," which also features a smooth guest shot from Snoop Dogg on one of his best verses in recent memory.

"Get Money, Stay True" was produced by Houston's great beat maker, Mr. Lee, who handled a handful of tracks on the album including the kickoff track, "Get Your Paper" - an excellent opener with an instantly gripping, synthetic organ backing and features emcee Yung Redd on the chorus - and "Call Me What U Want," on which Wall raps his life motto: "Call me what you want / As long as you don't call me broke."

The late, legendary DJ Screw gets honored on producer Russell Howard's work, "Bangin' Screw," which sports a "chopped and screwed" - or slowed down vocals and usually altered - chorus with an addictive synthesized beat with the occasional clap.

The final track on the album, "Slidin' On That Oil," is a preview of what's to come for the Houston emcee. The song is a product of new rap group, Expensive Taste, which is made up of Skinhead Rob (the Transplants,) Travis Barker, currently the drummer for (+44) and best- known for his work with Blink-182 and Wall himself. Barker is solely responsible for producing the track, but Rob and Wall compliment each other very well and demonstrate their talent without stepping on each other's toes.

Although the album is much of the same and runs short at under 60 minutes, "Get Money, Stay True" enlists numerous guest stars that helps keep the album fresh and enjoyable for the entire time. The People's Champ may just keep his title for another year

Next Few Months Will Determine The Future Of Houston Hip-Hop

What's good Houston? The next few months are gonna be huge for Houston hip-hop with major Houston artists dropping albums left and right. We have established ourselves as a major hip-hop culture city, and this next few months will determine if we actually stay up on top or not.

Today I just want to go over some of the good things we can definately expect to come out of this nexy quarter, and some things that may or may not go well.


Let's start if off with a CD that will definately be straight fire. The new album from UGK called U.G.K Underground Kingz is set to release on April 3rd of 2007 and is definately one of the albums this year that I am looking forward to buying on the day of it's release. This will be the 6th major release from Bun B and Pimp C's group UGK. When you think of southern rap UGK has got to be the first thing that pops into your head. Nobody puts together that down south country vibe like these dudes, and that is why they call their music "country rap tunes." It's been a minute since the last UGK album and I know everybody in the H and all over the map is ready for the release of this album. According to UGK's website, http://www.the-ugks.com/, this will be a double album with 32 tracks. The line up of guest artist is rediculous with appearances by Z-Ro, T.I., Talib Kweli, Rick Ross, Slim Thug, Paul Wall, Young Buck, Mike Jones, Sleepy Brown, Three 6 Mafia, Birdman, Lil Wayne, and many more. You can also hit up the website I posted above to hear a few cuts off the new album. The first single is entitled "The Game Belongs to Me" and is already blazing on radio stations all over the place.

Here's an old UGK video just to let you get a feel of how these dudes do their thing:

UGK- Take it Off




Another album that we know is gonna be jammin all over Houston is the new Devin the Dude album, set to release on March 13, 2007. This album is another reason that I am confident Houston, TX will remain a hip-hop powerhouse and continue to put out some of the best in hip-hop for years to come. Devin is one of the most well-rounded artists I have ever heard. He can go from being a comedian to a preacher in a split-second. He is a dude I have started listening to more and more, and cannot wait to cop his new album. As well respected as Devin is he has never gotten the national attention he deserves (atleast sales wise), and hopefully this album can push him into the nation spotlight. One of the tracks off the new album is called "Little Girl Gone" and I have posted it before so I know some of ya'll heard it...however I can no longer find the video to post so you'll have to listen to it on Devin's myspace at www.myspace.com/devinthedude.
I'm gonna post one of my favorite Devin songs. This shit is just funny and chill. Devin is one of rap's best kept secrets.

Devin the Dude- Lacville '79




Here is an album that I can see going either way. Lil' Flip is either gonna come back huge on this album, shooting the middle finger up to Sony and all the people who doubt his return, or he's gonna blow it. I have heard a few cuts off the Flip album that is scheduled for release March 27, 2007 and I have dug 'em all so far. The album is entitled I Need Mine. A few months back Sony leaked the entire album, causing Flip to change labels to Asylum, and re-record most of the album. Now the fact that it's been 3 years since Flip dropped an album scares me a little. After the whole T.I. beef thing I feel like Flip lost alot of credibility...regardless of if any of that shit was true. I think that whole situation affected Flip and T.I. negatively, and put their situation in the rap game under bad lighting. Now, T.I. has already come back dropping King and has obviously proven that the beef didn't affect his work ethic or album sales. Lil' Flip is going to have to try and prove the exact same thing when he releases I Need Mine. I know Flip has money in the bank and has already established himself nationally, but somtimes I wonder if dude really gives a fuck anymore. We will see on March 27th.

Lil' Flip- I'm A Balla

Here is one of the first singles that will be released off of the new album. Looks like a good start to me.

Lil' Flip- Fly Boy

Another single. Diss track? Haaa. Obviously the video is in no way related to the song.

Lil' Flip feat. Lyfe Jennings- Ghetto Mindstate

I know I already posted this...but it's gonna be on the new album and it's a throwed song.
You gotta agree with that line "Why everybody tryna bring me down? Because of me they respect H Town." I mean Lil' Flip was the first dude to break out huge from Houston and really get that national attention. He was the first dude to go out and go platinum (actually double). I know ya'll remember the first time you saw Flip on BET or MTV and you were like holy shit...that's Flip.

(update)

Also on the R&B tip undaground grinda Shei Atkins is releasing her new CD entitled "Girl Talk". There is a lot of Buzz on the Streets of H-town about this chick and if the first single "Trunk Bangin" with Lil Flip is any indication, she is going to go far...

Alright ya'll later this week we'll talk about the Jokaman album, update on the Cham album, and talk about Paul Wall and Mike Jones albums also.

Paul Wall touts family and grill
He's a new dad, and not your stereotypical rapper
By Kevin W. Smith
KSMITH@AZSTARNET.COM
Tucson, Arizona | Published: 01.11.2007

For a platinum-selling rap star, accessories may include money spilling out of pockets and a diamond-studded grill.
Houston rapper Paul Wall has both, plus a Grammy nomination and song with Kanye West. But unlike many rappers, he has no desire to parlay all that into conquests with women.
Wall got married in 2005 and has a 9-month-old son, William Patrick.
"Getting married and having kids is the greatest reward you can possibly have," said Wall, whose first album on a major label, "The People's Champ," debuted at No. 1 on the Billboard album chart. "The house, the cars, the money, the jewelry, the accolades, the success — it's all great and it's all fine and dandy. But the most important thing is family."
If you're thinking Wall isn't your stereotypical rap star, you're right.
On the surface, there's his skin, which has a lighter pigmentation than most rappers. Wall says that's never been an issue for him, but also gives credit to Eminem and others for breaking down color barriers in hip-hop.
He's down with diversification, too. He owns Grills By Paul Wall, a company that sells customized bling for the teeth and ready-to-wear mouth gear with names like Snow Storm and Count Ice-Ula — sold with a dentist's consultation, of course.
And that's not all for Wall, whose calendar last year included a trip with some other rappers to Sierra Leone, where he learned about the perils of the diamond trade.
"It changed my life," he said about the trip, which was filmed for a VH1 documentary. "I just feel embarrassed that I never knew this."
The recently enlightened Wall said in an interview last week that he won't use conflict diamonds. Also, all profit from rubies will be donated to humanitarian efforts in Sierra Leone and other troubled countries.
Atlantic Records used to maintain Wall's MySpace page, but he recently took control of it. He uploads the pictures, moderates the comments, writes about raising his son and posts typo-filled messages to his fans.
As for his mic skills, Wall stands out with his distinctive low, Southern drawl and wordplay, which works especially well when he flows about what he knows: teeth jewelry, for example, on the Grammy-nominated "Grillz" with Nelly:
"My mouth piece simply certified a total package / Open up my mouth and you see more karats than a salad / My teeth are mind-blowing / Giving everybody chills / Call me George Foreman / 'Cuz I'm selling everybody grills."
Wall is now finishing his new album, due in early April, "Get Money, Stay True," and looking forward to Expensive Taste, a project he's working on with Travis Barker of Blink-182 fame.
This year looks to be eventful for Wall, who sounds more than credible when he spouts the I-never-expected-to-make-it-big cliché.
"If I wrote a book about this, I wouldn't even believe it," he says.

Paul Mooney, Jesse Jackson Ask Everyone To Stop Using The N Word
By: SoundSlam
Published: Nov. 29, 2006 - New York, New York





Black leaders Monday presented the entertainment industry with a challenge: to stop using the "N-Word."

The word that was used in Michael Richard's violent outburst is seen as a racial slur by any of those who use it, and politicians and entertainers decided that they have had enough of this intolerance. Rev. Jesse Jackson was one of the leaders who was there to speak, and voiced his concerns about the use of the "N-Word." "We want to give our ancestors a present," said Jackson. "Dignity over degradation." Jackson says he and others plan to meet with TV networks, film companies and musicians to discuss the word's use.

Comedian Paul Mooney, who is known for his work on The Chappelle Show and with Richard Pryor, claims the he will now remove the word from his act entirely, and he thanks Michael Richards. "He's my Dr. Phil," said Mooney. "He's cured me."

Rappers Paul Wall, Noreaga and Chamillionaire also discussed their beliefs and opinions of how the infamous slur should be viewed. "I think the word is very offensive for anybody to use," said Wall. "It's a disgraceful, offensive word that was used to belittle people because of the color of their skin." Wall went on to say that he supports the NAACP and all of their efforts to stop the word's use.

Queens rapper Noreaga took a different stance. "I definitely don't plan to change my vocabulary or speech pattern because of [the Michael Richards] incident," said the Queens lyricist. "You never hear from these leaders until something controversial happens."

Chamillionaire tried to shed some light on the issue. "It's not just rappers, it's as African-Americans in general, we do a lot of things that are opposite of past history," said the southern rapper. "We promote violence and drugs, but complain about violence and drugs. We don't vote, but complain about who is in office. We throw the 'n-word' around like it's a good thing, when in the past it was one of the most dreadful words. All of this stuff has grown to become part of the culture."

On of the leaders Democrat Maxine Waters, from Los Angeles. She is hoping that, no matter what becomes of this issue, that people focus on the racial problems that are still current in today's society. "This is not simply whether or not the black community forgives and forgets," said Rep. Waters. "This is about understanding that this is pervasive, that this happens in all of our institutions one way or another."