Follow the Leader: In Search of Hip Hop's Talented Tenth

Follow the Leader:
In Search of Hip Hop's Talented Tenth

Paul Scott



"I'm here to break away the chains, take away the pains, remake the brains..."

Follow the Leader -Eric B and Rakim 1988




Twenty years ago the members of Public Enemy announced that they were going to raise up a nation of 5,000 black leaders. For a time it seemed to be working as many black folks started reading Afro-centric literature and listening to lectures by black scholars for the first time. This is not much different than Dr. WEB Du Bois's efforts a century earlier to cultivate a "talented tenth" that was supposed to uplift the black race. But in 2009, when ignorance is produced in mass quantities, the question that we must ask is where are they now?

If Du Bois's challenge was to uplift a people just two generations up from slavery, why do we find it so difficult, in the 21st century, to organize against ignorance?

During the era 1988-92, members of the Hip Hop Nation tried to develop a massive mass education project . For example, KRS not only tried to organize H.E.A.L. (Human Education Against Lies) but also released the timeless track, "My Philosophy" which, till this day, is still one of the greatest arguments against anti-intellectualism ever recorded.

Groups like the X-Clan moved a whole generation towards Afro-centric thought and exposed a nation of black youth who had only known of Rosa Parks and Dr. Martin Luther King to the philosophy of Garvey-ism via songs such as "Funkin' Lesson."

The impact of the 5% Nation (NGE) cannot be overstated as groups such as Brand Nubian and Poor Righteous Teachers saw it as their spiritual mission to "civilize the uncivilized."

However, by 1992, the age of enlightenment gave way to Hip Hop's Dark Age, in which, we still find ourselves 17 years later.

The reasons for this backwards journey are many.

However, we must start with the nature of the beast, the music industry ,itself, and it's relationship to "revolutionary" music a generation prior to the "conscious" Hip Hop age.

In his book, "There's a Riot Going On," Peter Doggett writes of a meeting of advertising agencies and entertainment conglomerates that was held in October of 1968 called "Selling the American Youth Market," which was followed two months later by a Columbia Records marketing campaign called "The Revolutionaries are on Columbia." Thus, the revolutionary energy of the Vietnam Era was quickly co-opted and transformed into a Capitalist marketing scheme. The music that was once radical became politically ambiguous, at best.

If we juxtapose this with progressive Hip Hop music, we see that with the commercialization of the politically charged rap it began to loose it's militancy , attempting to attract the coveted crossover market. This was also exacerbated by an American political structure that has always seen intelligent African Americans as threats to national security. Not to mention a corporate America that has grabbed every opportunity to "dumb down" the youth in an effort to make them more vulnerable to marketing schemes and corporate exploitation.

While many of the causes have been external, they have been internal, as well.

Although, members of the era of conscious Hip Hop waxed poetic about the conspiracy to dumb down black youth, they were ill prepared to do anything about it. So why should we be surprised in the 21st century that the fruits of this labor have come to fruition? Also, we must admit that too many in that era gave VIP (Very Ignorant People) passes to the early gangsta rappers in the name of Hip Hop unity. This has produced the dilemma in which we find ourselves, today.

While Kwame Ture' spoke about "making the unconscious, conscious" until his dying day, what has developed is an "anti-conscious" movement. Biblically speaking, they are those who are destroyed not for their lack of Knowledge but for their rejection of it.

This is the target audience of today's representatives of what is passing for a black consciousness movement, many of whom were either in elementary school or not even born at the height of the political rap era, 20 years ago.

The problem with the new school Hip Hop intelligentsia is that they have so much dumbed down their messages that they have become the antithesis of the mission to uplift black people. Many of them have become less disciples of Rakim and more so followers of Nas, whose lyrical contradictions oft times outweigh their potentially, powerful impact. Also, because of the misuse of social networking sites such as youtube and Twitter, they have tried to out-gangsta the gangsta rappers , often bitterly attacking those who should be their comrades in the struggle.

Perhaps the biggest fault lies at the door of those who Du Bois would have referred to as his talented tenth; the college educated, as many of the music moguls with higher education are the main purveyors of the worst examples of anti-intellectualism; Sean Combs, Dame Dash, Suge Night, David Banner, etc.

While the call for 5,000 black leaders in the 80's was admirable, what we need now is a call for 5,000 black poor righteous teachers who realize that ,despite all the rheatoric, the greatest threat to global white supremacy (misnomered racism) is not a gun but a book.

The battle for the minds must start in our own communities as we must dedicate our lives to raising the consciousness of those around us.

Because, as Du Bois wrote in 1903 in "The Negro Problem," "if you do not lift them up, they will pull you down."



Paul Scott writes for No Warning Shots Fired.com. He can be reached at info@nowarningshotsfired.com or (919) 451-8283 To learn more about The Intelligence Over Ignorance Campaign visit http://www.ioimovement.com/

Crisis of the Nigga Intellectual

Crisis of the Nigga Intellectual:

How Conscious Hip Hop Failed Us

Min. Paul Scott

Here comes MC Revolutionary X, dressed down in his military gear with a Malcolm X t shirt, raising his black fist, vowing to strike down capitalist swine and anyone who benefits from this fascist system. (except his lawyer and accountant.) Yeah, Brotha spits a lot of game about fightin' the powers that be. But at the end of the day, he is the first dude in line trying to get a record deal from the same powers that he is supposed to be fightin'...

Back in 1967, Harold Cruse wrote a groundbreaking book called "The Crisis of the Negro Intellectual," in which he dissed (critiqued) everyone from the Civil Rights people, the Black Nationalists to the Black Arts Movement. Today, the issues that Cruse raised are still as relevant as they were 40 years ago, only with a Hip Hop soundtrack.

Most serious Hip Hop historians mark 1988 as the official start of the "conscious" Hip Hop movement with the release of Public Enemy's "It Takes a Nation to Hold us Back" followed by Boogie Down Production's "By Any Means Necessary." To jack a lyric from KRS, "these two albums started consciousness in rap."

For a four year period, it seemed that the prophesied "revolution" was just around the corner and the dreams of "Huey P" were about to be realized at any moment. However, 20 years later, we see that the promised revolution never came, replaced by a devolution of not only Hip Hop but black culture, in general.

In our never ending quest to get back to rap's "golden era" we have neglected to ask the fundamental question.

"What went wrong?"

Although, many look back at this period as "the good ol' days, as it is said, "the good ol' days weren't always good," as the failures of that period set a precedent for the Hip Hop of today. So, it is important that we study this period because if you don't understand the years 1988-1992, then you don't understand Hip Hop.

One of the flaws of this period was the failure of the conscious Hip Hop community to stick with the political black nationalist principals on which it was founded. It can be argued that, although celebrated, the Native Tongue and other successive movements actually were a well marketed deviation from the more political messages of Public Enemy; creating a movement of hippies rather than freedom fighters. Also with the rising popularity of MTV Raps and its crossover appeal, conscious Hip Hop became more Hip Hop-centric than Afrocentric.

Also, even the most militant political Hip Hop artists refused to take a stand against the West Coast "gangsta invasion" with their visions of joint tours and collaborations under the universal banner of "Hip Hop" clouding their judgement. That is why "gangsta rap" spread like a plague because the conscious Hip Hop physicians refused to provide a cure. So we allowed the African "kings and queens" concept to spiral downward into a culture of niggas and bitches.

As scholars such as Harold Cruse and Kwame Ture have pointed out, the capitalist state has a way of absorbing all opposition by coercion or force, when necessary. So the force of "the system" was too strong for young black artists, many of whom just wanted to make music and move out of "the ghetto."

This is not to say, by any means, that this applies to all of them. There have always been those who have used culture as a means to an end and not an end to a means. Many of them found out the hard way the limits of "Hip Hop Nationalism" as a socio-political force.

Despite what power the conscious movement professed to have, it was unable to organize a defense for its casualties of war such as Professor Griff and, later, Sister Souljah. Also, although the Arsenio Hall show gave national exposure to many in the Hip Hop community, there was no mass movement of these same artists to defend him after his show was cancelled for having Min. Louis Farrakhan on the program. This is despite the fact that many artists were either quoting Min. Farrakhan in their lyrics or using his voice for samples.

As it was during the Harlem Renaissance, according to Cruse, there was still an over dependency on elements that were hostile to anything with Black Nationalist overtones. However, the roles of white leftist and Euro-Jewish influence (and in the early to mid 1900's Communist) influence on black culture is too often a taboo subject where Hip Hop angels fear to tread. Some have even argued that the whole Harlem Renaissance was just a well financed ploy to divert attention from the Black Nationalist Movement of Marcus Garvey and the Universal Negro Improvement Association.

While some of the blame for the failure of conscious Hip Hop must be put on the shoulders of the artists, some of, if not most of the blame must be put in the hands of the Afrocentric scholars and lecturers. Many of the scholars did not see the long term value of Hip Hop in the context of the "movement."

Also, as the case is today, many are more concerned with selling overpriced books and DVD's and getting honorariums from college kids instead of organizing "the hood." While it was understandable before the popularity of the internet for them to claim that that was the only way to get their messages out, with the 'net and and the various PDF files, youtube, podcasts, etc, there can only be one reason why these resources are not used to give critical information to the struggling masses of Afrikan people. The scholars and the rappers are both caught up in the tangled web of capitalism.

This brings us to where we are today where the "movement" for some has become just a marketing tool to pimp a record deal from a multi national corporation.

The main and possibly the most destructive difference between the conscious movement of 1988- 1992 and today is the "dumbing down" of black culture in an attempt to capture the "gangsta market." Therefore, the over reliance on gangsta themes and the glorification of the "thug/nigga" concept has made the current direction of Hip Hop more European than African. The fact is often ignored that anyone who chooses to conceptualize himself as a "nigga" can never pose a serious threat to the power structure because embedded in the "nigga" concept is a psychological dog collar that prevents the wearer from ever biting his master, despite how loud he may bark.

It must be noted that most of those who are most impressed with the gangsterism of conscious Hip Hop are the left wing and anarchist white college kids who are a cash cow, often financing their college tours and Hip Hop summits.

Also, the cloud of capitalism prevents the Hip Hop audience from seeing that, for the conscious artist, it is the record company, itself that is "ground zero" for the battle for the minds of African people. But they rap about an external enemy when the internal, major enemy of Black Liberation is sitting in the boardroom two doors down from their recording studio.

In order for conscious Hip Hop and Hip Hop in general to survive, it must become what the system never really allowed it to be; a way to educate, inform and inspire Afrikan people to become involved in the betterment of their global communities.

To borrow from Kwame Ture, at the end of the day white people (even the most liberal) are fighting for power but black people are fighting for survival.

And we "gonna survive America!"

Paul Scott, the TRUTH Minista, writes for No Warning Shots Fired.com

Nas and the Nigger Outfit

Grandma always told me that there was a time and a place for ev'ry thang...
But was the 50th Anniversary Grammy Awards Show smack dab in the middle of Black History Month the best time and place for Nas to wear a t-shirt with NIGGER written on it ?

Now, I am a big fan of "shock value with a purpose." But there ain't a darn thing that you can say in a 10 second red carpet interview that would make wearing something like that worth the effort...

Maybe, there is a method to Nas's madness..But I missed it this time.

Wouldn't a t-shirt with "Black Power" or "Free Jamil Al Amin" (H. Rap Brown) have been just as much of a show stopper, only the message would have been crystal clear ? Would the Grammy's even have shown an overtly political t-shirt without blacking it out ?

More disappointing than the t-shirt was Nas' CNN interview when he tried to de-racialize the word...

An even bigger question would be, shouldn't CNN and the other networks that aired the segment be taken to task? If CBS can be fined for showing Janet Jackson's breast at the Super Bowl, shouldn't CNN be fined for showing that t-shirt? What' s worst a nipple or nigger ?


So Nas, no matter what it means to you, for the descendents of the slave owners the N-word means the same thing it has always meant...the descendents of slaves....

Unfortunately, Nas is supposed to be one of the more "conscious" rappers..

Like Pops used to say, sometimes a little knowledge is a dangerous thing...

Min. Paul Scott's blog is http://www.nowarningshotsfired.com/ He can be reached at (919) 451-8283

Scared Spit-less

Scared "Spit" less:
Why Hip Hop Fears the Powers that Be
Min. Paul Scott


The date is September 11, 2007. The conference room of
the Hyatt Hotel is packed as 50 Cent and Kanye West
engage in a debate over who’s CD will out sell the
other. Although, Kanye West has been known to kick a
serious rhyme or two, it’s not about that this go
round. It’s about who is going to get it poppin’ at
the club next weekend and which CD is going to shake
up the world. Half the crowd is screaming G-Unit,
while the other half is throwin’ up the Rock-a-fella
diamond. But in the end who wins the competition for
Hip Hop world supremacy? The Conservative Think Tank
meeting across the street devising ways to silence
black voices....

For the last few months, there has been a buildup
surrounding the same day release of the Kanye West and
Curtis "50 Cent" Jackson CD’s to rivale that of the
Ali/Frazier fight. I am expecting any moment to see
Don King on TV talking about how "magnanimous" the
event will be.

The obvious question is that with Hip Hop being under
the gun since the Don Imus "nappy headed ho" thing
last April, why isn’t Hip Hop more interested in
devising a counter attack?

Am I missing something?

In Atlanta, right now, the powers that be are pushing
for laws banning saggin’ pants at the same time the
talking heads are trying to blame Michael Vick’s dog
fighting rap on DMX.

So why do Hip Hop artists choose to major in the minor
instead of tackling the hard questions ?

The answer is simple. It’s called fear.

Men ain’t supposed to be scared of nuthin’.So in the
larger than life, testosterone driven world of Hip
Hop, of course, this is over exaggerated,

This is not to say that black men don’t have the right
to be a little edgy. Just look back at our history.

It was not unusual for rebellious black men in the
19th and early 20th centuries to be hanged in front of
their wives and children. Not to mention the
COINTELPRO Program of the 60's in which those who
dared to speak out had their lives snatched.
It must be noted that those assassinations were not
for the victims but to plant a seed of fear in
generations to come so that if they even thought about
rebelling against authority, visions of black
mutilated bodies would flash before their eyes.

This is the historical source of our fears. No one
really wants to be a martyr, especially amongst a
people who don’t have such a good track record in
honoring their heros.

Or maybe the rappers are scared of "revolutionary
career suicide" to borrow from a phrase coined by Huey
P Newton.

America has shown very little tolerance for those who
have been blessed with the treasures of capitalism who
use their fame and influence to challenge the very
system under which they gained their wealth.

Do the rappers of today really want to suffer the same
fate as Paul Robeson who was blackballed for being a
"Commie", Billie Holiday who was banned for singing
about that "strange fruit" hanging from southern trees
or Craig Hodges of the Chicago Bulls who was
blacklisted for rockin’ a dashiki to the White House ?

Hip Hop has not been spared the wrath of the
establishment as rappers such as Professor Griff,
Sister Souljah, Ice T, Ice Cube experienced "Hip Hop
high tech lynchings" during the late 80's/early 90's.
Who wants to risk losing a fleet of sports cars and
houses in the Hamptons when it is much easier to bury
your head in a bag of weed and pretend that all is
right with the world?

Recently, it was revealed that the government has a
program called "Talon" that was keeping an eye on anti
-war activists including members of that peaceful,
turn the other cheek religious group, the Quakers.

Now if the Feds kept a file on that dude on the
oatmeal box, what kind of file do you think that they
have on the brotha on the cover of a CD burnin’ a
flag, raising his middle finger and yellin’ F**** the
Police?

Also, while Hip Hop headz were quick to wear T-Shirts
that said "Free Pimp C" and "Free Lil Kim", how many
are going to sport t-shirts that say "Free the Jena
6"?

Despite all the tough talk that rappers spit at each
other, when it comes to speaking truth to the powerful
decision shapers most have a fear of Bill O’Reilly
grabbin’ them by their collars in a back room and
saying:

"Listen, we can handle this like gentlemen or we can
get into some real street stuff...’

But that ain’t everybody. Some of us are not afraid to
speak truth to power in 2007. Durham NC rapper Big
Swagg, hook master Mr. Cox and yours truly, the TRUTH
Minista have teamed up for "Drums of War" a Hip Hop
diss track aimed at those who are dissin’ Hip Hop.
(You can download it at
http://www.hiphopstrikesback.com )

Let this be the "Fight the Power " of 2007! The new
anthem that is going to make Hip Hop stand up! The
song that is going to shake the very foundation of....

OK, I’ll be happy to just give Bill O’Reilly
nightmares about a group of "gangsta rappers" tying
him up and making him watch 48, uninterrupted hours of
BET.

TRUTH Minista Paul Scott’s blog is
http://www.nowarningshotsfired.com He can be reached
at (919) 451-8283 info@nowarningshotsfired.com

New Rap Disses Bill O'Reilly, Sean Hannity, Others

Rap has been getting a bad rap as of late. Since the Don Imus fiasco last April, much of America's attention has been focused on the violence and misogyny in some Hip Hop lyrics. Now a group out of NC is fighting back by releasing their own rap response.

Durham NC's "Hip Hop Stikes Back" (Big Swagg, Mr. Cox and TRUTH Minista Paul Scott) has recorded a diss track called "Drums of War" which takes shots at such opinion shapers such as Bill O'Reilly, Sean Hannity, Paula Zahan and even Ted Nugent.

Although, much of the Hip Hop coming out of the South is about dancing the group challenges southern rappers to be more politically conscious.

Also, the lack of black and latino faces on networks such as Fox News and MSNBC makes it important that rappers use their songs to give another perspective of world events. Hip Hop Strikes Back does just that as the group tackles subjects from Don Imus, to the Jena 6 to Michael Vick.

Although much of Hip Hop's attention is focused on the upcoming release of the Kanye West/50 Cent CD's, the group is hoping for a million downloads by September 11th to prove that people will support underground southern Hip Hop with a message.

The song can be heard and downloaded for free at http://www.hiphopstrikesback.com/

For more information contact (919) 451-8283 or info@nowarningshotsfired.com

Why the Right Be Hatin' on Hip Hop

Why the Right be Hatin’ on Hip Hop:
Race, Rap and Republicans
Min. Paul Scott

The crowd sat glued to their seats as Dr. Theodore R.
Poindexter, head of the Moral Maniacs conservative
group, stood before them banging his fist on the
podium. “They are the biggest threat to America since
the Cuban Missile Crisis; destroying America from the
inside out,” he yelled while sweat beads rolled down
his now crimson face. No , he wasn’t talking about
some terrorist cell of anti-American foreign
nationalists. He was referring to the new rap group,
“Hip Hop Strike Force....

Although Hip Hop has put billions of dollars into the
American economy over the last two decades, it is
perhaps the most “hated on” form of entertainment ever
created.

For the hood, Hip Hop at its best has served as the
voice of the voiceless or as rapper Chuck D said the
“the black CNN.” But for the Conservatives Hip Hop
has been the epitome of evil, proof that Armageddon
was near at hand.

Now, the fear of offensive lyrics can be understood.
Sen. Robert Wentworth’s worst fear is to be summoned
to his son’s principal’s office because Lil Bobby
threatened to bust a cap in his 3rd grade gym teacher
for “dissing” him in front of the class.

But “gangsta rap” is not Hip Hop in its totality. Like
most issues concerning black people, the Right takes
Hip Hop at face value without putting it in a
historical nor social context. So their “well
informed” talking heads give the American people an
overly simplistic analysis.

“Tonight on Fox News Hip Hop is bad...Now for our
next story....”

Quiet as it is kept...Conservative America’s fear of
“gangsta rap” is not because of the over abundance of
four letter words; but that these same words could be
used to incite a riot or at the least start young
people thinking critically about making fundamental
changes in society.

They understand that the only difference between the
radical militant Black Power leader of 1967 and the
gangsta rapper of 2007, is content and misdirection of
rage. In other words, the degrees of separation
between Malcolm X and 50 Cent are not as much as one
might think.

The threat of black voices of dissension has always
been a major concern for the “powers that be” in this
country. One of the first things that the slave
traders did to the enslaved Africans was to take the
drum. They found out the hard way that the drums of
war that they heard beatin’ in the distance weren’t
calling the Africans to dance but to rebel.

During the Civil Rights Era the power structure began
to turn its attention to “urban youth violence” and
FBI Chief J Edgar Hoover put his COINTELPRO Program in
overdrive with the purpose of preventing the rise of a
black messiah that could energize the youth.

During the early 70's, the fading Black Power
Movement left as its legacy militant music like the
Isley Brothers’ “Fight the Power” and the OJ’s “Give
the People What they Want” until it was replaced by
the mindless, apolitical Disco music. Despite the
militant overtone of the Tramp’s song “Disco Inferno”
and its challenge to “burn tha mother down” it was
simply a call for drugged up disco freaks to hit the
dance floor.

It was the Hip Hop music of the late 80's and early
90's that brought the content back to black music.
The music of groups like Public Enemy resurrected the
rebellious spirit of a generation.

But that rebirth was not without consequence. America
has always had a beef with those entertainers who have
dared to bite the hand that has allowed them to gain
wealth and popularity.

One can look at the careers of Paul Robeson, who was
blackballed for being a “Commie”, Billie Holiday who
was banned for singing about that “strange fruit”
hanging from southern trees or Chicago Bulls player
Craig Hodges who was blacklisted by the NBA for
wearing a dashiki to the White House.
Although, Hip Hop was still in its commercial infancy,

Professor Griff, Sister Souljah, Ice T, Tupac Shakur
and others felt the wrath of an America scorned at the
hand of the Conservatives and those who courted the
Conservative vote.

Now in 2007 we see a renewed attack on Hip Hop
from a post Michael Richards/Don Imus America aching
for a scapegoat upon which to blame all of this
nation’s problems.

So a few of the homies have gotten together and
recorded a “diss” record aimed at those Right Wing
talking heads who have been guilty of “dissing” Hip
Hop. (And frankly, a few were thrown in just cuz we
don’t like ‘em.) The track, “Drums of War” featuring
Big Swagg, Mr. Cox and yours truly can be found at
http://www.hiphopstrikesback.com

Let this be the song that sparks the revolution! The
Left’s new anthem that makes the Right shake in their
boots! The song that will bring about a wave of
social equality that....

OK, I’ll settle for making Bill O’Reilly have
nightmares about a bunch of “gangsta rappers” bum
rushin’ the No Spin Zone, tying him up and forcing him
to watch 48 uninterrupted hours of Black
Entertainment Television...

Min. Paul Scott is a “gangsta journalist” based in
Durham NC. His blog is
http://www.nowarningshotsfired.com He can be reached
at (919) 451-8283
info@nowarningshotsfired.com

NWSF Bullet: Bill O'Reilly vs Nas

Bill O’Reilly of the infamous Hip Hophobic , No "Spine" Zone has a new target, the rapper Nas.
According to news reports over the past few weeks, Nas is scheduled to perform at Virginia Tech on Sept 6 in a concert for the victims of last semester’s massacre,; a decision that is being opposed by some of the family members of the victims.

Last night, O’Reilly started a campaign to put pressure on not only the president of VA Tech , Charles Steger but the governor of Virginia, Tim Kaine ,as well , to remove Nas from the line up that includes the Dave Mathews Band and John Mayer.
http://www.foxnews.com/oreilly/

Yep, old Billy Boy is pullin’ out the big guns for this one.

O’Reilly even pulled out an editorial from the Va Tech student newspaper that he claimed represented the feelings of "all" of the students at VA Tech, as exhibit A.

Now Bill, you know that any editorial really only represents the views of the person who wrote it.

Also, according to the retraction at the beginning of the same editorial over which O’Reilly gloated, the writer originally accused the Black Student Alliance for selecting Nas, when it was actually the Dave Matthews Band.
http://www.collegiatetimes.com/news/2/ARTICLE/9228/2007-08-09.html

But why confuse the matter with facts, right.

Now, I ain’t gonna defend Nas because he does have the habit of flippin’ from intellectual to thug at the drop of a hat. You never know if Nas is gonna be naughty or nice. Also, I feel the pain of the families...I wouldn’t want to hear Nas’s diss track about "gettin’ yourself a gun" either if my son or daughter had been killed.

However, this is clearly, just another O’Reilly power play. Ever since he got Ludacris canned by Pepsi back in 2002 he has become Fox’s Hip Hop Cop.
http://www.foxnews.com/story/0,2933,61546,00.html

Does Nas have some violent lyrics?

No doubt...

But is he the "gangsta rapper with lyrics as violent as they come" as O’Reilly claimed?

Nope.

I can give Bill a whole list of lyrics by rappers that make Nas sound like Pat Boone.
And besides that period when he was a little miffed at Jay Z for sayin’ that he slept with Nas's baby's mama and left a condom on the car seat, (which would have made any man wanna pull out a can of whup...) Nas really isn’t known in Hip Hop circles for promoting violence but articulating what goes on in Queens, everyday.

The problem with "High and Mighty" O’Reilly and folks like him is they like to use their platforms to diss Hip Hop instead of having principled, informative discussions..

So, note to Wild Bill...

Listen Ringo O'Reilly...If you're really hankerin' for a good ole fashion, rootin tootin Hip Hop Showdown at the No Spin Zone Corral. ..

I'm your Huckleberry...

To borrow from a Nas lyric ...

To shut O’Reilly up about Hip Hop once and for all:

"All I need is one mic"


Min. Paul Scott http://www.nowarningshotsfired.com/ (919) 451-8283