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Kanye, MTV Address Iraq War
MTV’s
“Choose or Lose ‘08” campaign has tapped Kanye West as the latest ally to aid in its efforts to bring awareness
to the issues faced by young veterans of the ongoing conflicts in Iraq and Afghanistan.
In a new special set
to air Monday (Jul 28) at 10pm, West will join MTV personality Sway Calloway to bring the stories of three returning vets
as they adjust to life back home.
“Choose or Lose & Kanye West Present: Homecoming” brings viewers
along as Sway and Kanye surprise Tirann Laws, Shameeka Gray and Lorenzo Zarate by visiting their homes to thank them for their
service in the war in Iraq.
“I know my music inspires and helps a lot of people but you can always do more,”
said West. “I teamed up with MTV and took the opportunity to share the spotlight with these veterans and hear their
stories. I went to their homes to listen and get their first hand experiences. I wanted to hear their stories.
“There
are hundreds of veterans out there who are falling through the cracks,” adds the multi-platinum Grammy Award-winning
rapper and producer. “They make the ultimate sacrifices for us by laying down their lives, but it seems like a lot of
them just get forgotten about.”
During the hour-long “Homecoming” special, Sway and Kanye will
present the three spotlighted vets with a very special gift on behalf of MTV and the Dr. Donda West Foundation, paying off
debts and taking care of rents and tuitions.
Laws, Gray and Zarate were chosen to represent a diverse cross-section
of the more than 1.7 million young people who have fought in Iraq and Afghanistan to date.
In addition to sharing
their struggles, “Homecoming” aims to encourage viewers to get involved, highlighting the many resources available
at Chooseorlose.com and through the Donda West Foundation.
The Chooseorlose.com is also a portal for viewers
to interact directly with the “Homecoming” special.
“The stories of the veterans from the wars
in Iraq and Afghanistan are important and worth telling.” said MTV News and Production Executive VP Dave Sirulnick.
“In conversations with veterans over the last year, it became clear that Kanye’s music is used by soldiers in
Iraq as a way of connecting to home. Once these veterans return home, their stories are so moving that you can't help
but want to do the right thing and help them out."
Since 1992, the Emmy-Award winning Choose or Lose campaign
has worked to not only inform young people on the political issues that matter to them most, but also to support and encourage
young voters to take action.
In 2004, the campaign inspired nearly 22 million 18-30 year olds to register and
vote.
Nas Joins MOVEON.org for Fox Protest
With over 600,000 petition
signatures in hand, Hip-Hop star Nas will accompany members of MoveOn..org and ColorOfChange.org as they demand FOX News “ends
its pattern of racist attacks against Black Americans including presidential candidate Barack Obama and his wife Michelle.”
The protest is scheduled for 2pm tomorrow (July 23) at FOX headquarters in Manhattan.
The demonstration
has been triggered by what many perceive as thinly veiled racial attacks by the network and its panelists against the Democrat
White House hopefuls.
The groups cite a list of recent questionable occurrences: an on-screen message referenced
Michelle Obama as “Obama’s baby mama,” a commentator confusing “Obama” with “Osama”
and joking about both being assassinated, and the Barack-Michelle fist bump being referred to as a “terrorist fist jab.”
In February, the network drew additional criticism after Bill O’Reilly debated on calling a “lynching
party” for Michelle Obama.
The signatures were collected online last month by ColorOfChange.org, a grassroots
organization the focuses on issues pertinent to the Black community.
Last year, the organization successfully
stopped the Congressional Black Caucus Institute from hosting a presidential debate on FOX, which was cancelled after the
major presidential candidates failed to attend.
Nas drew the ire of Bill O’Reilly last year after the Queensbridge
MC was selected by students to perform at a free Virginia Tech concert.
On air, O’Reilly denounced Nas
as a violent artist, citing the songs “Made You Look,” “Got Yourself a Gun,” and “Shoot Em Up”
as proof.
Nas responded officially on his new album Untitled with the track “Sly Fox,” which attacks
the network’s political integrity and coverage of race.
Due to the attention garnered by the song and the
accompanying underground video, MoveOn.org and ColorOfChange.org felt the prominent lyricist would be a strong public figure
for the demonstration.
James Rucker, the director of ColorOfChange.org, feels FOX’s treatment of the Obama's
points to a far bigger issue.
“When FOX talks about lynching the woman who may soon be our First Lady and
then refers to this wife and mother as a ‘baby mama,’ they are maligning not only the Obamas, but Black women
and Black people across this country,” Rucker explains. “We have over 600,000 signatures-more than half a million
people, saying we won’t stand for FOX’s racism and hate-mongering.”
When asked to comment further
on his reasons for joining the protest, Nas was brief. “FOX poisons the country with racist propaganda and tries to
calls it news,” he stated.
Nas new album Untitled was released on July 15.
In three
days, the album sold over 113, 000 copies and is expected to debut at #1 on Billboard’s Top 200.
SEE THE NAS "UNTITLED" ALBUM REVIEW. CLICK HERE!
Killer Mike & Ice Cube Drop Controversial Song On Holiday
This year’s Fourth of July celebration will include a bit of revolution, courtesy of a new video from Atlanta rapper
Killer Mike. The clip, titled “Pressure,“ debuts today (July 4) and features West Coast rap icon
Ice Cube. The video for the politically-charged track will offer an honest and discouraging view on the current
state of affairs in America. For Killer Mike, "Pressure" provided a way for the rapper to tap into
"a frustration that’s bubbling in all parts of this country." "You can only get upset for
so long before you stop holding back. So I let loose and said some s**t that no other rapper has the balls to say," Killer
Mike told AllHipHop.com in a statement. “We as black people should not be just blaming whites, but making black politicians,
social and religious leaders take responsibility and accountability for selling out their community." Killer
Mike touches on topics ranging from "the police department being the state sanctioned killers of blacks" to "the
Sean Bell aftermath," to "the police killing of a 92-year old grandmother in Atlanta," on "Pressure."
Produced by The Bizness, "Pressure" is one of the songs featured on Killer Mike’s forthcoming
album I Pledge Allegiance To The Grind II. The album, which features appearances from Shawty Lo, 8ball
and MJG and Chamillionnaire, is set to hit stores on Tuesday (July 8). The following is a tracklisting for
I Pledge Allegiance To The Grind II:
1. Intro
2. 10 G's
3. Can You Hear Me
4. 2 Sides
feat. Shawty Lo
5. Pressure feat Ice Cube
6. Big Money, Big Cars feat. Chamillionaire & Messy Marv
7. God in The Building
8. Super Clean/ Super Hard
feat. 8Ball & MJG
9. Woke Up This Mornin'
10. Bang! TO HEAR "PRESSURE"
CLICK SONG LINK. IT IS A GEM!
| CLASSIC FEMALE EMPOWERMENT ALBUM OF MY LIFETIME |
|
This one is my top empowerment album of all
time. Every Ghetto, Every City is the song I started my day with each morning until at least 2003. No other artist period,
mastered the art of mixing rap and r&b like Lauren. Music has changed too much away from this. I can't believe it's
been a decade. I miss you Lauren. It's like "Nothing really matters" as far as substance goes in the industry
anymore. Your style of music hasn't and probably will not be duplicated. -LTBrown aka Black Coffee.
On August 28th, Lauryn Hill’s solo debut masterpiece, The Miseducation of Lauryn Hill will officially become
a decade young. There’s no “old” in this equation (minus the soul of its creator), as Miseducation
has manifested itself in a number of artists who were so greatly touched by the experience Lauryn Hill created for them and
the rest of the world.
The Miseducation of Lauryn Hill wasn’t just a run of the mill work from
an already established musical genius. It was the effortless fusion of Hip-Hop and Soul in a way that never happened before
and never will again.
Perhaps the album was intensified because Lauryn was with child throughout the birthing
of this project. Her rich vocals held such emotion that the entire experience became intimate. Like she cooed in the past,
she was singing our lives with her words.
Everyone related to The Miseducation of Lauryn Hill in some
way, shape, or form the way everyone related to Lauryn Hill. Ten years later, the album holds just as much value as it did
on the day that it was released.
Thematically, Miseducation represented a heightened awareness, personally
for Lauryn Hill. Having lost love and found it once again, Ms. Hill set her life to music – releasing every note of
anger, mistrust, love, and happiness. It was a matter of education – Lauryn was schooling us, but most of all, schooling
herself. From the school themed album art to the classroom discussion interludes, Lauryn Hill taught a course on life with
this album.
Even the cover – with wood designs inspired by Bob Marley and the Wailers’ Burnin’
reflected an etched image of Lauryn Hill on a desk top…complete with a pencil. Whether this album created some Biblical
experience or merely was just a collection favorite, there isn’t one person on this Earth who has listened to this album
and hasn’t made at least one song their own.
Intro
Class was in session.
The school bell was ringing, but Lauryn Hill was absent. She had her own class to teach. These interludes conducted by Ras
Baraka echoed throughout the work, reminding us that listening was learning.
Lost Ones
The rumor mill concluded that “Lost Ones” was directed toward Lauryn’s former Fugee-mate Wyclef Jean.
From the ever so powerful opening “It’s funny how money change a situation” to the very end “You just
lost one,” the song hits hard with organic drums mixed with thorough basslines. The Toots and Maytals meets Sister Nancy
samples add a tinge of reggae to this track filled with biting wit and passion. Whoever Lauryn was referring to had their
hat handed to them by the close of this song. This is perhaps one of the most slept on "beef" tracks in Hip-Hop
history.
Ex-Factor
Lauryn Hill said once in an interview that
she intentionally tuned the instruments on Miseducation slightly off-key to create this sound that touched your soul.
“Ex-Factor” depicts that intent clearly. The song opens with a haunting bassline that introduces Lauryn’s
textured vocals about a love that she can’t simply bear to live with…or without. It’s amazing to think
that Lauryn originally wrote this song for Aretha Franklin, but Lauryn kept it because it felt all too personal to give away.
The chimes add this whimsical air to Lauryn’s deep pool of emotion. This song undoubtedly tugged at the world’s
heartstrings. Not to mention, who else but Lauryn could sing the word “reciprocity” completely on-beat?
To Zion
Carlos Santana’s guitar licks on “To Zion” were nothing short
of a religious experience. Once the snares kicked in, the result was this heartfelt marching music that was thought provoking
even before Lauryn entered on the track. Many love and respect this song for the powerful vocals and instrumentation, but
the lyrics held a ring of social commentary.
Lauryn was pregnant, at the prime of her career…and people
wanted her to get an abortion. Zion was single-handedly the muse for this great masterpiece of a song, and he almost didn’t
have a chance to be. But Lauryn didn’t listen. “Look at your career they said. Lauryn, baby, use your head. But
instead I chose to use my heart.” In preparing for the birth of Zion, Lauryn mothered this beautiful song.
Doo Wop (That Thing)
When New York’s Hot 97 first aired this song, it was during
Funkmaster Flex’s show, and Lauryn was at the station with him. She explained that the keys on “Doo Wop (That
Thing)” literally came from a tiny old school kiddie piano. These were the subtleties that made Miseducation
so phenomenal. Lauryn did everything in her power to produce this body of work where every chord and lyric really meant something.
The keys and horns on “Doo Wop” were like a musical time machine that even the song's video accurately
captured. Lauryn spoke of proceeding with caution in love, because both men and women can be silly heartbreakers. She should
know, she had been there before. After all, “Lauryn is only human.”
Superstar
Lauryn
Hill credited both Jose Feliciano and Jim Morrison for their individual versions of “Light My Fire” which was
sampled at the beginning of “Superstar.” As Lauryn slid through the track harmoniously, there was this air of
snarkiness and wit as she addressed all of the quasi-artists. It was almost like Lauryn was saying, “Really?”
to the world in a way that was so far from arrogant but so close to the truth. The rap in the middle is comical and classic.
“I used to work at Foot Locker, they fired me and fronted. Or I quitted, now I spit it…however do you want it.”
Her Foot Locker referee uniform should be hanging on their wall like Jordan’s jersey at the Chicago Bulls Stadium.
Final Hour
Pure fire. Guitars, flutes, and a backbeat:
that was all Lauryn needed to remind the world that she hadn’t gone soft. She was one of the greatest MCs of all time
and had no problem admitting that. But even in the midst of claiming her braggin’ rites, she still informed that nothing
you managed to have in wealth would matter once the 11th hour rolled around.
Further, it was message to all of
the nay-sayers. She was gonna do her...years before Rocko coined the phrase. There was no stopping L-Boogie, and whether singing
or rhyming, she was going to push on. “…and even if there are leaks you can’t capsize this ship, ‘cause
I baptize my lips every time I take sips.”
When It Hurts So Bad
Hypnotic
harps opened this song. Then Lauryn proceeded to sing the first part of her rap verse on “Manifest” off The
Score. The recurring theme of “when it hurts so bad, why’s it feel so good,” was present all throughout
Miseducation, but this song encapsulated it. Lauryn softened the truth of people's tendencies to be masochists
in love. It was a personal story for Lauryn to tell; a purging of emotions. If by now you didn’t realize she was bruised
but never broken, then you missed the point of the album.
I Used to Love Him
If
there was anyone on the planet at the time that Lauryn should have teamed up with to discuss being women scorned, it was Mary
J Blige. Mary held a perfect role in the song as a co-sign. She was that best girlfriend who openly admitted, “Yeah
girl, I’ve been there before.” When they sing in dialogue toward the middle of the song, it’s so fluid,
but their vocals are so beautifully distinguishable. Having Mary beside her for support, Lauryn was slightly more vulnerable
on this song. And Mary, well, she is the purveyor of songs about pain, so she knew what she was doing.
Forgive Them Father
Lauryn collaborated with Reggae badass Shelly Thunder on this “Concrete
Jungle”-sampled track. The church organs and religious undertones send warning shots once again to those who make a
career out of wronging others. It became very obvious by this song that the Miseducation had a very specific tracklist.
Lauryn was through with discussing her pain and on the road to forgiveness, but she’d never forget, and through both
singing and rhyming, she’d found her strength to move on. But like she cryptically cooed, “A friend once said
– and I’ve found to be true – that every day people, they lie to God too. So what makes you think that they
won’t lie to you?” She was a Hip-Hop confessional!
Every Ghetto, Every City
New Jersey, stand up! This ode to the New Jerusalem was a little piece of nostalgia that anyone
from anywhere could relate to like it was their block Lauryn was singing about. For the Jersey folks (like myself), “Every
Ghetto, Every City” was very personal with specific points in the life of New York City’s close neighbor. It felt
good to hear Lauryn sing about her stomping grounds, while at the same time make poignant remarks about the timeline of her
people – not just her Jersey people, but Black people.
Nothing Even Matters
This song was so romantic, it’s a surprise that people didn’t think L-Boogie and
D’Angelo had a secret love affair going on. "Nothing Even Matters" marks the turning point for Miseducation
– not only was Lauryn no longer sad, but she had found love again. It was almost cinematic, like the star of your favorite
film finally getting what she wanted all along. Cue the applause.
Everything Is Everything
This song was perhaps the most uplifting on the entire album. Lauryn channeled
Stevie as she expressed her ability to accept the things she couldn’t change, the courage to change the things she could,
and the wisdom to know the difference. It was musical serenity at its best, and the award-winning video was the icing on the
cake. The city as a turntable served as a reminder that even in the midst of mixing song with rap, this was Hip-Hop music.
Lauryn urged us to demand more from the universe and to abide by the classic metaphor "develop a negative into a positive
picture."
The Miseducation of Lauryn Hill
The title track embodied Lauryn’s realization that every answer
she needed to find was found within herself. This was Lauryn’s “ah-ha!” moment, and she shared it with all
of us. We’ve all had one, so it was completely relatable and kept within the theme of the album.
Can't Take My Eyes Off of You
Lauryn’s take on this Frank Valli classic was
so light and sweet with its airy horns and flavorful beatboxing, that despite it being a cover, it was nice to hear Lauryn
so cheerful. The only track with lyrics that weren’t Lauryn’s, she made them her own and in doing so created another
classic cover like she had with “Killing Me Softly.”
Tell Him
This
song was arguably everyone’s favorite album cut. Intended to be a bonus track, “Tell Him” was so much more.
Lauryn was singing hymns for the real “man” in her life: God. “Tell Him” was so classic Lauryn at
the time – God-loving without being preachy, mellow without being weak, and spiritual without being overbearing. This
song concluded the Miseducation and sealed it. It was the final cut that rounded off the perfect album.
When Lauryn would perform this song live, there was never a dry eye in the building. We had taken this emotional journey with
her – laughed with her and cried with her – up until the very end.
Ten years later, The Miseducation
of Lauryn Hill has stood the test of time. Lauryn crafted a classic, and even if we are never blessed with another note
again, this work has left an irreplaceable mark on music history. Often imitated, never duplicated, Lauryn Hill we miss you
and hope to share another journey with you again. Until then, thank you for this gift.
Here are some loving
words from artists who are also fans of Lauryn Hill:
Lauryn Hill is one of the most inspiring artists
that I'm lucky enough to hear. Her words and melodies are well worth every ounce of one’s attention. –
Joss Stone
I remember the day Miseducation came out. It seemed like people of all ages had a
copy of the album! She managed to be an incredible MC, yet make one of the most successful soul albums of the ‘90s.
– Von Pea, Tanya Morgan
Ten years since Lauryn changed the game and no female has
done it since! No wonder I'm still riding to the album to this day! She was such an inspiration to me...I was in high
school when it came out, and I have so many memories around her songs! – Keri Hilson
Lauryn Hill is a genius, and it's a shame people overlook the impact she had on music. The Miseducation of Lauryn Hill
exceeded all expectations and was a shining example of Hip-Hop on another level. Instead of gossiping about her personal life,
we should hope she blesses us with another album of that caliber, because her music was/is positive!
–
Cormega
Making an album is a privilege. An opportunity to make a statement and create a legacy
that can transcend any -ism of the time in which it was created. By doing just that Lauryn solidified her place in history
as not only a musician, but an icon. If she never releases another formal studio LP, this album will be enough to hold me
over. – Donwill, Tanya Morgan
I just thought it was great music. I thought [Lauryn]
was bringing a different soul to music that had been missing from music for a minute. It really was exciting to me more than
anything else. – Jill Scott
Lauryn Hill is probably my favorite singer of the past 20 or
30 years. The album was really great, and it was cool that it had such tremendous public success.
–
D.A. Wallach, Chester French
Miseducation demonstrated to me for the 1st time how the limits
of Hip-Hop could be pushed and seamlessly fuse with other styles of music. And the song "Everything is Everything"
helped me get through something I was going through at the time. Spring does come after Winter...Thanks, Lauryn –
Ilyas, Tanya Morgan
SoulDiggaz love the Miseducation album because that album inspired our generation,
and the guys that produced her album were good friends of ours and Lauryn as well - we're all from Brick City! –
K-Mack of SoulDiggaz
The name Lauryn Hill is synonymous with beauty, dignity, class, power, and raw uncut
talent. The Miseducation of Lauryn Hill changed my life. It was as if she read the pages of my diary. Songs like “Ex-Factor”
were uncanny in its unique ability to tell the unspoken story of not only my relationship, but everyone's relationships.
It’s like she was a fly on the wall. "And when I try to walk away you'll hurt yourself to make me stay.”
What a writer. She then melts every girl's heart when she "Marches to Zion. Beautiful, beautiful Zion.” The
son everyone told her to abort. I love you, Lauryn. Hip-Hop needs you. Muah!"
– Nicki
Minaj
To this very day, no matter what R&B artist I work with or any A&R exec I talk to, one thing
remains the same. They all say, “I wish I could make a Miseducation of Lauryn Hill album.” –
Kwame
Where is Lauryn?? I've been waiting on some new music from her for a minute. A very talented
lady who represents with pure talent.
– C-Murder
Honestly it’s one of my favorite albums. I think there are a lot of records on there that mean a lot. The “Lost
Ones” record, the “Doo Wop” record; a lot of the records on there are crazy. Lyrically in my opinion Lauryn
Hill was ahead of her time. She’s a female MC for one, she sings and she can spit about issues that really affect us.
So you got to give it up. I think that’s definitely one of those flawless albums that will never go away. –
Mims
When I heard Lost Ones for the first time, I related so hard I felt like she took the words
right from my heart. I like to pretend I wrote it. The whole album is stellar; not a misplaced note on the thing - it really
is a masterpiece. It was the kind of record that was so instantly familiar, like you already grew up listening to it, so knowing
it by heart just sort of comes naturally. – Esthero
I remember the first time I
heard “To Zion” one of my favorite songs off of The Miseducation of Lauryn Hill. I was sleeping over a friend's
house, and I snuck and borrowed their walkman to listen to some music while I went to sleep. "To Zion" came on and
I was immediately thrilled. I must have pressed rewind 100 times that night.
– Emily King
One of the best albums in the last ten years...and one of the dopest songwriter/producer/artists in the last 20 years...it
is my pleasure to say congratulations to an artist who transcended the realm of the classic Hip-Hop artistry to become a staple
in the world of music itself...
– Adonis Shropshire
The Miseducation of Lauryn Hill
is a timeless trendsetter. We can listen today and still be inspired. That album was like therapy for the innercity, yet it
became a permanent fixture in pop culture. We were all willing to go wherever lauryn took us musically. Lauryn Hill is a musical
prophet. – Ezekiel "Zeke" Lewis of the Clutch
I think Lauryn Hill is fantastic. I think she is an incredible artist and no one could ever be Lauryn Hill. There’s
just no way. I loved the whole entire [Miseducation] album, I can’t just listen to one song. It’s an experience.
– Janelle Monae
Lauryn's Miseducation spoke for so many women across class, age, gender,
music genre etc. That's why it's a true classic. It was not only timeless but all inclusive. It takes an extraordinary
individual to make something of that magnitude and that is something that can never be taken away from her (not even by a
judge). – Amanda Diva
When I first ripped open the packaging off the CD,
I was amazed by the lyrics, melody, and production from start to finish. I can’t even name a favorite song because the
whole album was like a movie based off a true story. It wasn’t missing one element. It had love, hurt, pain, heal the
world music, gospel, fun, hard Hip-Hop...man! She will never be touched nor will any album come close to the hard work and
efforts that Lauryn put into this classic record. This is definitely one of the top albums in the soundtrack to Don Cannon’s
life. – DJ Don Cannon
| I Can't believe it's been a decade already! |
|
|
| I REALLY MISS YOU, LAUREN! |
Declaration of Independence: Olivia (formerly of G-Unit)
 Olivia is misunderstood. The former G-Unit vixen mistakenly started out as balladeer-turned-rapper once she became Clive Davis’
first signee to J Records (contrary to popular belief, it wasn’t Alicia Keys). That was the origin of the misunderstanding,
so the classically trained artist lost her top spot to the girl with the piano and moved on to hopeful brighter pastures at
Interscope.
There, an incredibly short meeting with Jimmy Iovine led to her second major label deal and a seat
at the G-Unit table. All was almost right in the world, as Olivia was featured on several hits, including “Candy Shop”
and “Best Friend.” Her fanbase swelled as did her notoriety and rumors that her Interscope debut would never see
the light of day.
Well, it didn’t, and Olivia amicably parted ways with her second recording home. Olivia
speaks from a peaceful place in retrospect though, as she has big plans to release another album (finally) without a label.
She discusses her past, 50 Cent, and her future. As an independent artist, Olivia has no qualms about admitting to another
possible major label deal in the future and even hints at other majors bidding for her talents. However, this time, she will
call the shots.
AllHipHop.com Alternatives: First things first – what happened with you, G-Unit, and Interscope?
Olivia: Well it was basically a whole miscommunication. You know Fif [50 Cent] and I had the same manager –
which was Chris Lighty at Violator – and having to do things with the same company…it was kind of a conflict
because Fif would want me to do one thing and Chris would want me to do another.
Then Fif wouldn’t know
exactly what I was doing, and we were just used to calling each other (me and Fif) understanding what needed to be done. So
when you have to go through the company, sometimes it gets confusing. It just got to be too much because there was no R&B
help at G-Unit.
It was basically all rap, so there was nobody there to help Fif as to what direction should he
put Olivia in so… He always knew I was hot, he loved my music, but he didn’t know how to market it. It came off
as him trying to market me as a rap artist, and that’s not what we were trying to do. We both talked about it before
like this isn’t something new.
I asked him for about two years that I wanted to be let go, because it was
too much on him, it was too much on m. We split amicably, but you know how the press always changes stuff anyways. We roll
with it, and I’ll just agree to whatever comes out because we don’t really need to tell the full story you know
‘cause we had already talked about what we’d wanted to do.
AHHA: Right, right. Now I remember when
you first got signed to Interscope you had a meeting with Jimmy Iovine he was just like, “Sign her.”
Olivia: Yeah, uh huh.
AHHA: Why didn’t he step in at all? I remember he was in charge of your project.
Olivia: It was the whole management thing. They left it up to Violator to do everything, and also I was just used
to calling Fif like I said. Like I never had to call Jimmy for anything, I could always just call Fif and be like okay I wanna
do this or I need to do this.
Or he’d call and say can you record this or can you do this and he’d
always take care of it as if he was my manager. So like I said, it was just too much on him as one artist to take care of
all of us. Remember it was like what eight, nine artists signed at the same time so it was a lot for him trying to do it all
himself.
AHHA: Now I know it’s not the same, but it sounds similar to the same thing that happened to you
at J [Records].
Olivia: Umm a little bit. The difference at J was it was a brand new company so [Clive Davis] had
just pulled everyone from all different labels nobody knew what their predictions would be when they got there. So it was
more of a chaotic situation because everyone was brand new; everyone had just started to work together. So they were trying
to figure out what direction should they make me go in. Being a first time artist, I didn’t really have that much say.
I just had to go with it.
But now I know, so I’m happy for all the experiences, because that’s how
most of my friends in the industry always tell me how it went for them and I never understood. Because me, I was just fresh
out of college and got the deal, so I had to learn that way which was great for me because now I know the industry now. I
have a story and now can explain everything that happened to me up until this point.
AHHA: And everyone knows you’re
really talented and have a really great voice and for you going through these kind of obstacles, was there any moment when
you were just kind of like discouraged or just feeling like you know, “the hell with this”?
Olivia:
Yeah, I was annoyed at times, and I don’t know…I just went through times where I was like, I’m just going
to take a three year vacation, forget all of this. Me and my friends would laugh you know, but I knew that this was something
that I always wanted to do. Every international Hip-Hop, R&B megastar has went through these tribulations, you know what
I’m saying, so it only makes me stronger and it’s another experience I can add to it. I just kinda gotta keep
moving with it.
AHHA: Well you’re actually in a really fortunate position right now being an independent
artist, because that seems to work out lately.
Olivia: And fortunately, I still have all the labels that want to
sign me and I’ve been through two labels already.
AHHA: Wow, so there’s still some bidding wars going
on for you even now?
Olivia: Yeah, oh yeah, mmhmm. The only reason I won’t sign right now is because I’d
rather start myself so they hear the single, we do everything ourselves, and then they come with a better deal. So they’re
all coming with good deals, but I don’t personally feel is good enough for me.
I want to do everything,
and I have my own artists. I want to put my own artists out –they’re all amazing so I want to make sure they get
a good shot also wherever I go.
AHHA: Wow, good for you, seriously.
Olivia: Thank you.
AHHA:
It’ll be a really good once your album finally comes together.
Olivia: Oh, yeah. I’m so excited about
it.
AHHA: Did you get to take any of the tracks that you were working on with G-Unit with you, or is it going
to be brand new?
Olivia: I took a few of Missy’s stuff but that’s about it. I think the Ne-Yo record
I did after leaving, but there’s a whole bunch of more stuff. I got new Missy stuff also, I got some more Mike City
tracks, oh my god there’s so many people…umm Bryan Cox, it’s just so many to name. Like I’m just
so fortunate and happy that I can still continue to do this and get great producers who always still wanna work with me.
AHHA: I know in your early career, you didn’t like way that J was putting a certain image to your music and
at Interscope it seems they were getting a little confused by your image versus the music that was coming out. Now that you’re
an independent artist and you have complete control…what is Olivia’s style, who is she?
Olivia: I
mean you’ll get to see the total R&B package, but with a little bit of edge. With G-Unit, it just made me too edgy
because again they’re all rappers. So I can’t come out and just do straight R&B singing ballads when I’ve
got five or four rappers behind me on stage. It looks kinda crazy, you know? I had to fit into the box and that’s what
I did. If that’s what I had to do in order to make it work, then I’m gonna do it.
AHHA: You also have
a love for experimental music and of course artists like Esthero.
Olivia: Oh yeah, oh yeah. I love pop music; I
love rock music. That has not changed.
AHHA: Will that element be in your music?
Olivia: Oh, definitely.
I can’t tell you what, but there will definitely be a few pop things in there. I’m doing a lot of different things,
you might even get a little bit of house. Expect a few differences…kind of like how Esthero is ‘cause you know
she’s R&B, but she always throws in something extra. Like I even have her on a track with me also, I forgot to say
that oh my god, my baby!
AHHA: What’s the name of that track?
Olivia: It’s called “Love
Can Make You Do Some Crazy Things.”
AHHA: Good title.
Olivia: Yeah, it’s one of my favorites
actually.
AHHA: Cool, and you’ve been working a lot with children. How’s that working with the community?
Olivia: I love kids, period. I think that’s something that has always been big for me even since I was a
kid myself. Like I’ve loved to do anything with children, I want to have a big family whenever I get married, you know,
so anything that has to do with kids I’m all for it. I love being a role model for them, so they can have people to
look up to or when girls need somebody to look up to that works for me because I have a lot of godchildren. I have ten godchildren
so I have to be able to adjust and the majority of the godkids are all girls.
AHHA: Oh my goodness. Ten godchildren,
that’s a lot of presents to buy.
Olivia: Yeah, uh huh.
AHHA: So, if you could say one regret that
you’ve had over the past couple of years, what would you say it was?
Olivia: Maybe not keeping certain people
close enough during all the different changes with labels. You know how it gets when you have to switch over to something
and you have to change in order to keep certain people at the label happy?
Other than that I don’t regret
anything at all. I mean I think it happened the way it happened. That’s the way God intended it to, that’s why
it happened that way and he made me go through all the experiences for me to learn something personally.
AHHA:
Okay, what about one smart move that you made that you were glad you did in retrospect?
Olivia: I’m actually
glad that I signed to 50 Cent as much as some people say, “Why did you do that?” It was such a big difference,
it was a great move for me because after leaving J Records who can say that they went to 50 Cent from Clive Davis, you know
what I’m saying? And wherever I go next, who can say I went from Jimmy Iovine/50 Cent to the next level? So I think
it’s all been great experiences like I said.
And also just having my manager Paul around, he’s been
with me since before J Records. ‘Cause as everybody should know, he’s my first cousin and there’s been so
many people who tried to like tear us apart or have me not have him as management. While I was at Violator, he was still there
but it was so many conflictions.
But you know I’m loyal and I know who has my loyalty to me, so therefore
I never kick anybody out or do any wrong to somebody. I know who always had my best interest and people can get caught up
with that in the industry. I know lots of people who got rid of their managers who’ve been their managers for 20 years
or best friends just because of business.
AHHA: Smart move, it lets you know who cares about you, you know?
Olivia: Yeah I definitely do.
AHHA: Well you’ve had many fans wondering about your whereabouts.
Olivia: You know what’s even more amazing? I tell Paul everyday that it’s crazy that everybody still hits me
on the G-Unit page, and they know that I haven’t been signed to G-Unit since like mid-2007. They all still hit me there
and say how much they love me or what I’m doing, everything and it’s crazy. I’m like wow they really do
care.
AHHA: That’s really great. People were mad when your album never dropped.
Olivia: But see
that’s a good thing for me though, because maybe if it did come out it wouldn’t have been promoted the right way.
So I think that was also a plus, because now I don’t really have a backlash because my album didn’t come out.
So they can’t say I had a project that flopped because it didn’t come out!
AHHA: Despite the fact that
an R&B artist at G-Unit was really needed, you know?
Olivia: It worked for them. I mean you’ve seen
“Candy Shop,” you’ve seen “Best Friend” so it worked. But every horse has its time. It was my
time to get off and ride another way.
GOOD LUCK TO YOU, LIV. WE LOVE YOU!!!!
A
month after food riots and an outbreak of violence rocked Haiti and resulted in at least six deaths, island-born performer
Wyclef Jean is reaching out to help his homeland. According to Reuters, Jean launched a new
initiative "Together for Haiti" yesterday, with a goal to raise $48 million over the next six months that will create
jobs and assistance for farmers and help feed the impoverished country. "We have come together to launch this
new initiative because I believe we can do more and better for Haiti when we act together," Jean said at a Manhattan
news conference. "We are not only interested in feeding people in response to the current crisis, but we want to offer
them an alternative that can help them in a sustainable way."
The project is backed by the World Food Program,
the Pan American Development Foundation and Yele Haiti, Jean's charitable foundation for Haiti. The program aims
to provide jobs for 1,800 people everyday, distribute food to 1.5 million people and provide fertilizers to 55,000 farmers.
It also aims to offer 9,000 grants to families so start their own small businesses. "We want to give them the
opportunity to set up a small business which they can live on instead of assisting them every time there is a crisis,"
Jean told Reuters. As SOHH previously reported, Wyclef was appointed by Haitian President Rene Preval to serve as a
roving ambassador to improve the nation's image abroad. He recorded a radio spot last month pleading with Haitians to stop the violence. One of the poorest countries in the Americas, Haiti has battled a rash of kidnap-for-ransom crimes.
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