Tagged with "real"
The Reality behind the crack Era-New Jack City Tags: new jack city reality crack ere nino brown ice t word life production classic

New Jack City is a 1991 American crime film directed by Mario Van Peebles in his directorial debut, who also co-stars in the film. The film stars Wesley Snipes, Ice T, Allen Payne, Chris Rock and Judd Nelson. The film was released in the United States on March 8, 1991.

Wesley Snipes played Nino Brown, a rising drug dealer and crime lord in New York City during the crack epidemic. Ice T played Scotty Appleton, a detective who vows to stop Nino's criminal activity by going undercover to work for Nino's gang.

The film is based on the crack cocaine war in the USA. It was the first theatrically released film for director and co-star Mario Van Peebles. The film was based upon an original story and screenplay written by Thomas Lee Wright who had previously penned a draft of The Godfather Part III and would go on to write, direct and produce a seminal documentary of American gang life, Eight Tray Gangster: The Making of a Crip.

The screenplay was co-written by journalist turned screenwriter Barry Michael Cooper, who also scripted 1994's Above the Rim, and Sugar Hill, which also starred Snipes. Cooper is the first African American screenwriter in history to have two films produced in one year:[citation needed] Sugar Hill was released on February 25, 1994 by Beacon-20th Century Fox Pictures, and Above The Rim was released on March 23, 1994 by New Line Cinema.

Barry Michael Cooper's rewrite was based on a December 1987 The Village Voice cover story written by Cooper titled "Kids Killing Kids: New Jack City Eats Its Young".The story revolved around the 20th anniversary of the 1967 riots in Detroit, and in its wake, Nicky Barnes, rise of crack cocaine gangs in the late 1980s, such as Young Boys Inc., and the Chambers Brothers.

Nino Brown (Wesley Snipes) and his gang, the Cash Money Brothers, become the dominant drug ring in New York City, once crack cocaine is introduced to the streets, during the late 1980s. Undercover detective Scotty Appleton (Ice T) strikes a deal with stick-up kid, Pookie (Chris Rock). The deal takes a wrong turn when Pookie takes the money and runs off, causing Scotty to have a long chase. He wounds Pookie with his gun and attempts to arrest him, but the police let him go.

Meanwhile, Nino plots a plan to turn an entire apartment complex (real life Graham Court, known in the film as the "Carter") into a crack house, with the assistance of his best friend/right-hand, Gee Money (Allen Payne), enforcer, Duh Duh Duh Man (Bill Nunn), gangstress Keisha (Vanessa A. Williams), Nino's girlfriend, Selina (Michael Michele), and her tech-savy cousin, Kareem Akbar (Christopher Williams). Gee Money and Keisha take out Rastafarian rival, Fat Smitty, while Nino forces the Carter's landlord out into the streets, naked.

After Det. Stone (Mario Van Peebles)--leader of the team tasked with taking down the CMB--is put under pressure by the Police Commissioner, Scotty volunteers to go undercover and infiltrate Nino's gang. He is partnered with loose-cannon, Nick Peretti (Judd Nelson), as they try to convict the gang with evidence of drug trafficking. Elsewhere, Frankie Needles (Anthony DeSando) pays Nino a visit to deliver him a message from mob boss Don Armeteo (John Aprea), who taxes the CMB. Nino scornfully calls for Needles to rely a message back to the Don that he's cutting off taxing him, and that CMB is an independent operation.

While he and Nick are spying on Nino and his crew as they hand out Thanksgiving turkeys to the poor, Scotty spots Pookie, now a crack fiend. He tracks him down just as Pookie was in the middle of beating his junkie girlfriend over the turkey he brought back. Instead of arresting him, Scotty puts Pookie in rehab for his drug addiction. After completing treatment, Pookie wants to return the favor and help Scotty bring down Nino. Against his better judgment, as well the strong disapproval of Stone and Peretti, Scotty recruits Pookie to work undercover at the Carter, gathering incriminating evidence against Nino and the Cash Money Brothers.

However, Pookie ends up relapsing and sneaking drugs. While high, Pookie is caught by Gee Money, who also realizes that he is wired. When the cops realize their cover has been blown, the CMB abandon and burn the Carter complex, including any evidence of their activities with the crack addicted civilians inside. Later, the cops try to reach Pookie, but they find his bloody corpse attached with explosives. Nick defuses the explosives mere seconds before they explode. Meanwhile, when Nino discovers that Gee Money ordered the Carter to be destroyed, he vehemently threatens him to never make a costly mistake again.

After Pookie's funeral, Scotty and Nick take matters into their own hands by going undercover as a drug dealers wanting to do business with Gee Money. Scotty infiltrates the CMB--thanks in part to the ambitions (and increasing drug use) of Gee Money--after they bribe Frankie Needles. Nino doesn't trust Gee Money's new clientele, but agrees to do business with Scotty, warning Gee that if Scotty isn't who he claims, he'll kill the both of them. On their first encounter, Nino tells Scotty a story of how he murdered a school teacher as a part of his initiation into a gang called the L.A. Boyz, as a youth. When questioned by Scotty if the murder was personal or business, Nino explains this away by saying: "My brother, it's always business. Never personal." Scotty further gains the trust of Nino after "saving" him from a gun-toting old man (Bill Cobbs)--who earlier, tried to convince the police of Nino's destruction of the community--and by revealing information about Gee Money's side deal.

While Nino, Scotty and the CMB attend a wedding, Nick sneaks into Nino's mansion to collect the video tapes from the Carter drug operations, in order to gather evidence of Pookie's death and the drugs. After the wedding, Don Armeteo sends hitman to assassinate Nino. A massive shootout erupts between the CMB and the hitters. After witnessing Nino use a little girl as a shield to protect himself, Scotty attempts to shoot Nino behind his back. Keisha is gunned down as she sprays a hail of bullets into the van the shooters escape in. Later, Selina condemns Nino for his murderous activities and Nino throws her out. Don Armeteo calls Nino to taunt him, explaining that he "needed to be spanked" for his arrogance. Nino threatens him before the Don hangs up. Later, he opens fire on Don Armeteo and his henchman from the back of a speeding motorcycle, killing them all.

Scotty and Nick meet with Stone to arrange a sting operation to nab Nino, once and for all. But at the sting, Scotty's cover is blown by Kareem, who just happened to be at the scene the day Scotty wounded Pookie. A shootout ensues; Nick saves Scotty by killing the Duh Duh Duh Man, before he could open fire on him. Nino manages to escape. That night, he confronts Gee Money for his act of betrayal. Gee accuses Nino of being egotistical, and putting himself over what they built together. Gee wants things to go back to the way they were, but Nino sees no going back, and regretfully kills him.

After the gang's collapse, Nino holes himself up in an apartment and continues his criminal empire, solo. Scotty and Nick infiltrate the complex, with Nick taking out Nino's guards and Scotty crashing into Nino's apartment. Nino is brutally beaten by Scotty, who reveals that the school teacher Nino killed was his mother. For his crimes against the community, as well as his mother's murder, Scotty attempts to kill Nino again, but Nick gets him to put down the gun. As a bloodied Nino is taken into custody, he warns Scotty that he'll be out in a week and that he's a dead man.

At his trial, Nino pleads guilty to a lesser charge and turns state's evidence, falsely claiming that he was forced to work for the CMB because they threatened to kill his mother and pointing the finger at Kareem as the actual leader of CMB. Because his punishment would include at least 12 months prison time, Nino gets only a year in prison, which leaves Scotty outraged. But as he's speaking with reporters outside of the courtroom, Nino is greeted by the old man (who tried to kill him earlier) who says "Idolator! Your soul is required in hell!"; the old man then shoots Nino in the chest. Scotty and Nick are both satisfied, as Nino falls over the balcony to his death. As onlookers look down at Nino's body, an epilogue states to the viewers that "Although this is a fictional story, there are Nino Browns in every major city in America. If we don't confront the problem realistically--without empty slogans and promises--then drugs will continue to destroy our country."

Source: Wikipedia

WE WILL ALWAYS REMEMBER CHAP ONE Tags: chap one real hip hop music word life production feature

The first release from a collaboration between Chap One & Durban Poison. The artistry on display on these 2 amazing tracks is breathtaking, deeply moving and powerful. This music from the one and only is going to be around for a long time folks!

Biography: Chap One (Sam McNulty) was born in Sydney, Australia in 1981.  In 1988, at age 7, he traveled with his mother to NYC and was raised in NYC through 1999.  He returned to Australia at age 19, traveling back and forth between Melbourne and NYC throughout his life.

Although, Chap One's music clearly has its roots firmly planted in the hip hop genre, he was introduced to many different styles of music as a child growing up between cultures and across borders.  His musical lineage was stronger than most, having a mother, father and step father as accomplished, internationally recognized, jazz musicians.  As a consequence, Chap One had musical finesse running through his veins. Growing up surrounded by jazz legends, in the birth place of Hip Hop culture, he re-defined the boundaries of Hip Hop, Jazz, and RnB to masterfully craft a hybrid style reflective of his roots, and uniquely his own.

Chap One passed away suddenly and tragically this past July 16th, 2011. The message in his music is powerful, uplifting and positive one. Chap One created an enormous body of composed and recorded work and left an indelible mark on many he came in contact with, not just as an artist-musician but as a human being.  If you were lucky enough to catch Chap One performing at The Horn on Johnson Street, in Melbourne, with the Black Jesus Experience, you would have been thrilled at the level of rhythmic and poetic prowess on display. Anyone who knows about "flow" knew that Chap had it in abundance. He was an enormously gifted freestyler and improvisor as well as a prolific composer.

About The Music -

EP "Future History" is a collaborative project between Chap One and Durban Poison (released digitally December 16th, 2011 and on vinyl, March 19th, 2012). The four tracks were produced and mixed by Durban Poison. All compositions by Chap One and Durban Poison.

Fifteen track ‘Strange Frequencies’ (releasing in all formats - CD/Vinyl/Digital, March 19th, 2012 )is the result of this finely tuned cross-genre of bang’n conscious Hip Hop, with ingenious musical composition. "Strange Frequencies" was originally produced and recorded by Chap One in Australia. In collaboration with his mother, jazz vocalist, Chris McNulty and step father, guitar legend, Paul Bollenback, they produced the live recording session, opening up 8 of the 15 tracks for improvisation by some of jazz music’s finest including; Gary Thomas, Paul Bollenback, Barney McAll,  Ugonna Okegwo, Adam Christgue, Jeremy Clemons, Chris McNulty, Chanda Rule and Jesse Boykins III.  Mike Justice (ThreeSixtyMusic Fam) joins Chap One on NuSoul and Durban Poison collaborates on beats on several tracks.

Chap One performed live together or alongside Elf Tranzporter, Culture Connect, The Black Jesus Experience and Elemente while working on many projects alone and in collaboration with artists such as James Hebblethwaite (aka) Durban Poison, Nathan Smith (aka) Tony Wolf, Liam Monkhouse (aka) the Monk, Nui Moon and the ThreeSixtyMusic Fam (Mike Justice, Pablo, Rhys (aka) Ardent One, Terry (aka) Trumpnotics, MC Trooth and Gemstone.  Chap One also performed with his mother, vocalist-composer, Chris McNulty and step father, guitarist, Paul Bollenback.

Chap One, was a diamond. He sent a powerful message of hope and redemption, love and peace AND it's all here in this music

 

~Chap One - March 19th, 1981 - July 16th, 2011~

IT'S NO SECRET THAT THIS EMCEE IS A LEGEND Tags: krs one hip hop music real hip hop legend emcee word life production feature

 pioneering Bronx-based hip-hop group with a socially conscious message, Boogie Down Productions (BDP) is the hip-hop vehicle of rapper Kris "KRS-One" Parker. Parker originally formed the group with DJ Scott LaRock who was gunned down in 1987 while trying to break up a street fight and help spark KRS-One's ambitious antiviolence crusade. But it was BDP's Productions' blend of hip-hop with reggae dancehall and rock influences that set the group apart from other message-oriented rappers, as well as KRS-One's dexterous verbosity and blunt beat sense.

Growing up poor in Brooklyn and the Bronx, Kris Parker was introduced to rap music through his mother's collection of discs, including some by the Treacherous Three and Grandmaster Flash. Parker ran away from home at 13 and began living on the streets. During the day he would read about philosophy and religion at the library, and at night he'd practice rapping at the homeless shelters where he lived. At 17 he got his GED.

While staying at the Franklin Armory Shelter in the Bronx, Parker met social worker Scott Sterling, known on weekends as DJ Scott LaRock. The two formed BDP and released Criminal Minded on the independent B-Boy label in 1987. The album's smooth grooves and hard rhymes foreshadowed gangsta rap. In August that year LaRock was murdered.

Parker kept going with his brother Kenny, releasing By All Means Necessary (Number 75 pop, Number 18 R&B, 1988) the following year. The album introduced the rapper's "edutainment" style of rap in songs like "My Philosophy" and "Stop the Violence," the latter of which Parker turned into a movement in 1989 to help curb black-on-black violence. BDP's albums sold relatively well. Both Ghetto Music (Number 36 pop, Number Seven R&B, 1989) and Edutainment (Number 32 pop, Number Nine R&B, 1990) went gold and continued Parker's message of nonviolence, with the latter scoring a modest MTV hit with "Love's Gonna Get'cha (Material Love)." Although Live Hardcore Worldwide failed to make it onto the pop chart, Sex and Violence reached Number 42 (Number 20 R&B, 1992). Return of the Boom Bap, KRS-One's solo debut (in reality BDP was increasingly a solo project), reached Number 37 (Number Five R&B, 1993), while the commercial success of KRS-One (Number 19 pop, Number Two R&B, 1995) and I Got Next (Number Three pop, Number Two R&B, 1997) bolstered his fan base.

By the late 1980s, Parker had begun doing college lecture tours wherein he would touch on a range of topics including Afrocentrism, religion, politics, violence, and his own revisionist views of American history. In 1991 he organized a group of artists including Chuck D, L.L. Cool J, Queen Latifah, British folkie Billy Bragg, and R.E.M.'s Michael Stipe for the consciousness-raising compilation H.E.A.L. (Human Education Against Lies): Civilization Vs. Technology. Toward the end of the 1990s KRS began erecting the Temple of Hiphop — an organization dedicated to the teaching of hip-hop history — and became a mentor/tutor at Harlem's Riverside Church. He also took an A&R gig with Reprise Records in 1999, which he held for two years.

In 2000, KRS-One finished his contract with Jive by releasing A Retrospective; the following year, on Koch/In the Paint, he released The Sneak Attack, his first studio album in four years. In 2002, he shocked many fans by issuing Spiritual Minded. He continuing releasing new music through the decade, most notably with 2007's Hip-Hop Lives, a collaboration with Marley Marl — the DJ-producer KRS had explicitly dissed on 1986's "South Bronx" — thus bringing to an official end to hip-hop's "Bridge Wars," where Bronx MCs battled their Queens counterparts. In 2008 KRS-One released Maximum Strength which was something of a returned to form with "The Teacher" waxing poetically and skillfully on everything from politics to corporate malfeasance to ancient history.

Portions of this biography originally appeared in The Rolling Stone Encyclopedia of Rock & Roll (Simon & Schuster, 2001).

 

IN THIS MONTH'S LEGENDARY CORNER THE SPOTLIGHT IS ON ERIC B & RAKIM Tags: eric b rakim real hip hop music legendary corner word life production feature


While Eric B dazzled listeners with his turntable techniques, Rakim pointed the way toward the easy-rollin' style of the '90s with his laidback raps, though forceful in content. Each of the duo's first three albums achieved gold status, and they even managed the Top Five R&B hit "Friends" in 1989.

While working as a mobile DJ for New York's WBLS during 1985, Eric Barrier met William Griffin, a top MC who had grown up on Long Island. The two began recording together and emerged with "Eric B Is President."

The single appeared in 1986 on Harlem's Zakia label, and became a street sensation. Signed to 4th & Broadway the following year, Eric B & Rakim released their debut album, Paid in Full.

The LP's success led to a contract with Uni/MCA in 1988, and their second album, Follow the Leader, was released that year. Two more albums followed, Let the Rhythm Hit 'Em (1990) and Don't Sweat the Technique (1992), after which the duo broke up. By the mid-'90s, Eric B. had emerged as a solo act on his own 95th Street label. — John Bush

Review: Eric B. and Rakim - Follow the Leader - LP (MCA - 1988)

 

After coming out with one of the most impressive and successful debut albums in Hip-Hop history, Paid In Full, there had to be serious pressure on Eric B. and Rakim to beat the dreaded sophomore jinx with the release of their second LP. Not only did the duo beat the odds with Follow the Leader, they also expanded their range with dope original music and beats and also with precise lyrics delivered by Rakim that had many MCs and fans on his nut-sack. The atmospheric title track (with its menacing keyboard accompaniment) gave Rakim the room to spit imaginative lyrics that showcased his original approach to rocking the mic while taking the listener on a musical journey - an instant classic track.

But wait, the second track is just as dope, "Microphone Fiend." Over Average White Band’s funky "Schoolboy Crush" Rakim explains his addiction to kickin’ lyrics that started at an early age: "’Cause I grab the mic and try to say yes y’all/They try to take it, they say that I’m too small/Cool ’cause I don’t get upset/I kick a hole in the speaker, pull the plug, then I jet."

The rest of the LP is consistent with this level of achievement, if not as stunning, which means it still was way above most of the competition. The bottom line is that this team has secured a permanent place in rap history, and way after all the wannabe gangstas and marijuana bandwagon-jumpers have been forgotten, albums like this will still have heads bobbin’.  

NOTHING LIKE SMOOTH JAZZ MUSIC FROM GROOVE:55 Tags: groove 55 quebec montreal jazz music featured artist word life production

Groove:55 is an up-tempo Smooth Jazz group, where the groove comes first. Groove 55 presents its new release “En Route”, an up-tempo smooth jazz album, foot-tapping, rhythm blended & steeped in rich harmonic original melodies!

Collectively, the four band members bring decades of music experience to the project having worked with Oliver Jones, Gregory Charles, & Zachary Richard to name but a few. So it seems almost fitting that they would come together as a unified collective to share in their many years of creative experience and knowledge to create “En Route”.

The Groove:55 members, all very talented esteemed musicians, are Yves Adam (alto, tenor & soprano sax) a graduate of McGill’s music faculty in jazz performance as well as teaching saxophone at The Montreal International Jazz festival Blues Camp; Jacques Mignault (Rhodes, piano, clavinet, synths)studied alongside Art Roberts at Montreal’s Concordia University, he would later go on to win the inaugural grand prize of the Roland Synthesizer music contest among hundreds of entrants spanning over 22 countries that was judged by the late great Oscar Peterson; Yves Nadeau (bass) is a veteran of the Montreal Jazz scene, having played hundreds of shows on stages all over Quebec with his bands Solstice & Espresso. Rounding out the Montreal quartet is Jacques Gagne (drums) he himself well known and ensconced early on with some of the biggest TV shows in Quebec and on the touring scene. Together they make up Groove:55, a number that has the remarkable property of being the 10th number of the Fibonacci suite and is the sum of the numbers 1 to 10... The most important part is its groove and this band has it in spades with their new release “EnRoute”!  http://www.groove55.com

  

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