Chuck D Is Salty About How Rich Jay & Diddy Are
- Thread starter Goldie
- Start date
1/2
Dont drank out my drank, foo
im sure he would have
his style just got boxed out before it even took off
"they" would much rather a bunch of Eazy E's over Chuck Ds and thats the whole gist of this shit
the minute positive was deemed uncool it was over
I gotta admit I missed that shit myself......I went from Kool Moe straight to Scarface, Dre, and Master P
Playmaker88
G Money is Cash
Its funny in the sam token niggas stop pocket watching only in reference to what might be construed as negstive commentary... but when its the other way its a celebration .....
:shrug3:
:shrug3:
ghostdenithegawd
Yuuuuuurrrr
my daughter just got accepted to a school diddy helped open up in harlem soooooo wtf his he talking about
Broddie
Active Member
I get him I really do. I also felt if I ever achieve that level of success I'd go about it that same way. However who is to say that Jay and Puffy haven't tried to gain more leverage to help their people? Who's to say they're not trying to become the distributors and controllers like the jews did in order to give their people more opportunity?
It's easy to judge when you're on the outside looking in. Hov was literally partying 3 blocks away from my crib a few weeks back. He spent hours in a restaurant I know people at (Made in Mexico) and had a big pow wow with his roc nation peeps who I was told were all black and brown (hence his own people being employed). Then he went over to Playroom next door to celebrate the rest of his boy's bday and his boy pretty much paid their rent for months in advance in one night.
He didn't have to do that. They could've easily patronized white businesses downtown but they didn't. If he's willing to still chil with his own in the hood like that every now and then I don't know bro but I don't see how that is fully selling out and not giving back to or suporting your own. Like if that's uptown imagine what he does out in Brooklyn.
It's easy to judge when you're on the outside looking in. Hov was literally partying 3 blocks away from my crib a few weeks back. He spent hours in a restaurant I know people at (Made in Mexico) and had a big pow wow with his roc nation peeps who I was told were all black and brown (hence his own people being employed). Then he went over to Playroom next door to celebrate the rest of his boy's bday and his boy pretty much paid their rent for months in advance in one night.
He didn't have to do that. They could've easily patronized white businesses downtown but they didn't. If he's willing to still chil with his own in the hood like that every now and then I don't know bro but I don't see how that is fully selling out and not giving back to or suporting your own. Like if that's uptown imagine what he does out in Brooklyn.
LUCIEN
I hate getting punched in the head
If that was true then he wouldn't have teamed up with Rage Against the Machine
This thread addresses a bigger issue. Rhetoric verses a step by step, detailed plan.
You can always say, "Fight the Power" or "Power to the People" or "We need to get together and unite".
But its another thing to actually form a corporation or LLC, hire a lawyer to help write the bylaws, then rent an office space. Then paying an artist to design a logo, get a bank loan to pay the start up expenses, hire employees and produce a balance sheet, income statement, profit and loss statement and s statement of owners equity every quarter.
You have to hold board meetings once or twice a month and read the minutes from the last meeting, etc.
That's not the same as saying, "We need to get together and unite!" or "Buy Black!"
My point is a lot of rappers are all talk and no action, while others , like Jay and Puff, are businessmen.
I remember when I was 15 I thought KRS and Chuck D were like Martin Luther King and Malcolm X. In hindsight they made inspirational music, but they weren't qualified to lead. It's not a diss, but it's the truth.
You can always say, "Fight the Power" or "Power to the People" or "We need to get together and unite".
But its another thing to actually form a corporation or LLC, hire a lawyer to help write the bylaws, then rent an office space. Then paying an artist to design a logo, get a bank loan to pay the start up expenses, hire employees and produce a balance sheet, income statement, profit and loss statement and s statement of owners equity every quarter.
You have to hold board meetings once or twice a month and read the minutes from the last meeting, etc.
That's not the same as saying, "We need to get together and unite!" or "Buy Black!"
My point is a lot of rappers are all talk and no action, while others , like Jay and Puff, are businessmen.
I remember when I was 15 I thought KRS and Chuck D were like Martin Luther King and Malcolm X. In hindsight they made inspirational music, but they weren't qualified to lead. It's not a diss, but it's the truth.
Earth 2 Superman
Real Nigga Shit Mayne!
flava flav had his own tv show and prolly made decent $ off that. Give Vh1 a call Chuck.
Natural Born Sinners
Active Member
Man the elders got no way of speaking and calling shit how it is w/o looking salty. I'm 33 and was having this conversation w a producer friend of mine. He basically made me finally understand this. No matter what a older nigga say regarding parts of the current culture that he dont agree or fuck with. He is gonna come off like a hater. I see what Chuck is tryinta say, however. How does he know puff and jay have not created jobs in the urban community. I mean I don't know, but does he have facts or just talking just to talk. IDK. I thought that Barclays Center shit brought jobs to Brooklyn residents
Yeah I remember back in 89/90 when KRS One and Chuck D were supposed to be leaders. We thought they were going to lead us to the promise land. Neither one of them created a successful record label. As far as I know their best music, when they were in their prime, is owned by the white man. They were talking about Fight the Power and You Must Learn, but at the end of the day, the whiteman went home with a bag full of money.
But I can't hate, they did make inspirational music.
Chuck D and KRS inspired a generation with their music.
But I can't hate, they did make inspirational music.
Chuck D and KRS inspired a generation with their music.
I came across this interview. I figured I'd drop it here rather than creating a new thread.
An Interview With Chuck D On Public Enemy’s Seminal Album 'It Takes A Nation Of Millions To Hold Us Back'
A look at how Marvin Gaye and Earth Wind & Fire inspired the album on its 30th anniversary.
Kyle Eustice
Apr 13th 2018
It was the summer of 1987. Public Enemy was on the Def Jam Tour alongside LL Cool J, Doug E. Fresh, Eric B. & Rakim, Stetsasonic, and Whodini. During those extensive rides on the tour bus, the blueprints for three classic albums were drafted—De La Soul’s 3 Feet High and Rising, Stetsasonic’s In Full Gear, and Public Enemy’s It Takes A Nation Of Millions To Hold Us Back.
Chuck D, the legendary hip-hop group’s mastermind, spent hours trying to figure out how to rap over the frenetic drums and abstract noises The Bomb Squad’s Hank Shocklee injected into the single “Bring The Noise.” Once he did, it was on.
As Public Enemy’s sophomore effort—and the follow-up to 1987’s inaugural albumYo! Bum Rush The Show—It Takes A Nation Of Millions To Hold Us Back rocked the hip-hop landscape upon its 1988 release. With Chuck’s brutally honest and politically charged lyrics, Flavor Flav’s comedic relief, and The Bomb Squad’s avant-garde approach to production, it became Public Enemy’s most influential body of work.
On the iconic album’s 30th anniversary, Chuck D reveals the unsung heroes of its production, how Marvin Gaye and Earth Wind & Fire played a role, and the story behind “Black Steel In The Hour Of Chaos.”
Urban Legends: Would you consider It Takes A Nation To Hold Us Back Public Enemy’s magnum opus?
Chuck D: 1986 was really when the rap album was official in the mainstream as being a legitimate format. Albums released before were more like compilations. Grandmaster Flash and the Furious Five and Run-DMC’s first album were more like a collection of singles. Whodini was the first album in hip-hop that was kind of significant as being a mighty piece of work. Run-DMC’s Raising Hell was really the album that broke that mold and that’s my personal favorite album of all time. Then, you had the Beastie Boys’ License To Ill.
By 1987 and ’88, the major record companies finally got what they were looking for when they invested in hip-hop and rap. They didn’t want to be in the singles market. Singles weren’t enough for them. We were right there at the cusp of proving hip-hop was an album oriented format. When we released that first album, we then knew what to do with our second album. After traveling the country and the world, we knew what an album was supposed to be like. I predicted in an interview that I wanted to make the record our What’s Going On by Marvin Gaye.
Why did you feel that album was particularly important at that time?
We wanted to present an experience that was a bunch of different feelings all in one. One, we wanted to present what Run-DMC’s Raising Hell was. We also wanted to present a record we could perform. We noticed when we did Yo! Bum Rush The Show, whenever a concert would happen, we would want to pick up the music on the turntable to join the hype of the crowd. We felt that recording wise it was one speed, so our BPM went up. We also wanted to present a live aspect. We were really influenced by the live Earth Wind & Fire album called Gratitude. It influenced It Takes A Nation when we finally had all our songs done. I had this tape of our live performances in London to intersperse within the album. That was the first album that was broken up. We used live excerpts from that point on. De La Soul had done it with skits, but we wanted to present an experience, so all of those elements went into it.
You hear that on the beginning of “Countdown To Armageddon.” It starts with audio from a London concert.
We called it the ‘London Invasion’ when we went over there with the Def Jam Tour. We had the recordings to let people know that, ‘Look, you might not be on to what we do, but we have a whole entire world on to what we do.’ So, it takes a nation to hold us back.
That makes sense with the title then.
The album title was actually conceived from an interview from Now Magazine in Toronto, where they used it for the headline of their article. It comes from a line from a song that’s on Yo! Bum Rush The Show called “Raise The Roof.” Originally, the album was going to be called Countdown To Armageddon, but myself and Hank Shocklee, who was the other wall of noise, saw the interview together. We saw how long it was. It was so crazy long that it was actually kind of dope ‘cause it stood out.
How did you market it?
Hank actually was working in a record store — he was the manager of Sam Goode up in Queens. One day he showed me Iron Maiden and he says, ‘Yo these dudes are dope.’ That stuck with us when it came down to marketing Public Enemy, like their titles and themes.
One of my favorite remixes you did was “Bring The Noise” with Anthrax. On It Takes A Nation, there a lot of metal samples in there. I know Rick Rubin did that with Beastie Boys and Run-DMC did that with Aerosmith, but did hardcore metal seem like a risk at all?
Nah, because we came from Long Island. We knew these sounds and we knew it worked. By 1986, we were masters of records. We had rooms of records. We understood groups, records and sounds. We knew turntablism makes them all come to the forefront.
For the rest of the interview click here
http://www.urbanlegends.com/features/chuck-d-interview-it-takes-a-nation-30-year-anniversary
An Interview With Chuck D On Public Enemy’s Seminal Album 'It Takes A Nation Of Millions To Hold Us Back'
A look at how Marvin Gaye and Earth Wind & Fire inspired the album on its 30th anniversary.
Kyle Eustice
Apr 13th 2018
It was the summer of 1987. Public Enemy was on the Def Jam Tour alongside LL Cool J, Doug E. Fresh, Eric B. & Rakim, Stetsasonic, and Whodini. During those extensive rides on the tour bus, the blueprints for three classic albums were drafted—De La Soul’s 3 Feet High and Rising, Stetsasonic’s In Full Gear, and Public Enemy’s It Takes A Nation Of Millions To Hold Us Back.
Chuck D, the legendary hip-hop group’s mastermind, spent hours trying to figure out how to rap over the frenetic drums and abstract noises The Bomb Squad’s Hank Shocklee injected into the single “Bring The Noise.” Once he did, it was on.
As Public Enemy’s sophomore effort—and the follow-up to 1987’s inaugural albumYo! Bum Rush The Show—It Takes A Nation Of Millions To Hold Us Back rocked the hip-hop landscape upon its 1988 release. With Chuck’s brutally honest and politically charged lyrics, Flavor Flav’s comedic relief, and The Bomb Squad’s avant-garde approach to production, it became Public Enemy’s most influential body of work.
On the iconic album’s 30th anniversary, Chuck D reveals the unsung heroes of its production, how Marvin Gaye and Earth Wind & Fire played a role, and the story behind “Black Steel In The Hour Of Chaos.”
Urban Legends: Would you consider It Takes A Nation To Hold Us Back Public Enemy’s magnum opus?
Chuck D: 1986 was really when the rap album was official in the mainstream as being a legitimate format. Albums released before were more like compilations. Grandmaster Flash and the Furious Five and Run-DMC’s first album were more like a collection of singles. Whodini was the first album in hip-hop that was kind of significant as being a mighty piece of work. Run-DMC’s Raising Hell was really the album that broke that mold and that’s my personal favorite album of all time. Then, you had the Beastie Boys’ License To Ill.
By 1987 and ’88, the major record companies finally got what they were looking for when they invested in hip-hop and rap. They didn’t want to be in the singles market. Singles weren’t enough for them. We were right there at the cusp of proving hip-hop was an album oriented format. When we released that first album, we then knew what to do with our second album. After traveling the country and the world, we knew what an album was supposed to be like. I predicted in an interview that I wanted to make the record our What’s Going On by Marvin Gaye.
Why did you feel that album was particularly important at that time?
We wanted to present an experience that was a bunch of different feelings all in one. One, we wanted to present what Run-DMC’s Raising Hell was. We also wanted to present a record we could perform. We noticed when we did Yo! Bum Rush The Show, whenever a concert would happen, we would want to pick up the music on the turntable to join the hype of the crowd. We felt that recording wise it was one speed, so our BPM went up. We also wanted to present a live aspect. We were really influenced by the live Earth Wind & Fire album called Gratitude. It influenced It Takes A Nation when we finally had all our songs done. I had this tape of our live performances in London to intersperse within the album. That was the first album that was broken up. We used live excerpts from that point on. De La Soul had done it with skits, but we wanted to present an experience, so all of those elements went into it.
You hear that on the beginning of “Countdown To Armageddon.” It starts with audio from a London concert.
We called it the ‘London Invasion’ when we went over there with the Def Jam Tour. We had the recordings to let people know that, ‘Look, you might not be on to what we do, but we have a whole entire world on to what we do.’ So, it takes a nation to hold us back.
That makes sense with the title then.
The album title was actually conceived from an interview from Now Magazine in Toronto, where they used it for the headline of their article. It comes from a line from a song that’s on Yo! Bum Rush The Show called “Raise The Roof.” Originally, the album was going to be called Countdown To Armageddon, but myself and Hank Shocklee, who was the other wall of noise, saw the interview together. We saw how long it was. It was so crazy long that it was actually kind of dope ‘cause it stood out.
How did you market it?
Hank actually was working in a record store — he was the manager of Sam Goode up in Queens. One day he showed me Iron Maiden and he says, ‘Yo these dudes are dope.’ That stuck with us when it came down to marketing Public Enemy, like their titles and themes.
One of my favorite remixes you did was “Bring The Noise” with Anthrax. On It Takes A Nation, there a lot of metal samples in there. I know Rick Rubin did that with Beastie Boys and Run-DMC did that with Aerosmith, but did hardcore metal seem like a risk at all?
Nah, because we came from Long Island. We knew these sounds and we knew it worked. By 1986, we were masters of records. We had rooms of records. We understood groups, records and sounds. We knew turntablism makes them all come to the forefront.
For the rest of the interview click here
http://www.urbanlegends.com/features/chuck-d-interview-it-takes-a-nation-30-year-anniversary
Race Jones
gangster. grace. alchemy
“Chuck D is smarter than both of them put together” she said while listening to 4:44
Race Jones
gangster. grace. alchemy
nex gin
Active Member
Niggas criticize VLAD for asking the questions instead of blaming the mfs who answer them. A person can simply refuse to answer any questions that they have an issue with.