January 2009

That’s right peoples, it’s going off this Saturday Jan. 31st. Put together  by your people over at “Staybattlin.com” and “Heart Of The Hood”. Check the festivities and how it is all going to play out. FISKKKKK!!!!


Saturday January 31st 2009



380 14TH STREET N.W ATLANTA , GA 30318.

Honoring the most influential females in the Atlanta indie Hip-Hop scene. There will be forums from 3pm-5pm, workshops from 5pm-7pm, B-Girls Breaking from 7pm-9pm, and performances from 9pm-12pm . DJ GHOST is on the 1 and 2’s …

” The Status of Women in Hip-Hop”  is the primary topic for the forum section of the day and this is a free ALL AGES open discussion.

The Panel:


Moderated by Angie (The Hip-Hop Angel)



Just a reminder, my homie Kermin Midddleton is having  solo Art Show this tonight at the City Of Ink! If you have been to the City Of Ink for their Art Shows… you know what to expect! FIREEEEEEEEEEE!!! FANGGG!!!. Plus, if you have seen my Kermin’s artwork before you also know what to expect…. BLAMMMM!!! So don’t forget , Friday peoples. Here is the flyer. FISKKKKKK!!!


See what I’m saying. If the barrels of oil cost more to purchase, shouldn’t you still just be making normal profits. Not shattering records. These bastards are getting over and a lot of us just miss the scheme. CHUMPS!!!!!!

Exxon Mobil shatters US record for annual profit

HOUSTON — Exxon Mobil Corp. on Friday reported a profit of $45.2 billion for 2008, breaking its own record for a U.S. company, even as its fourth-quarter earnings fell 33 percent from a year ago.

The previous record for annual profit was $40.6 billion, which the world’s largest publicly traded oil company set in 2007.

The extraordinary full-year profit wasn’t a surprise given crude’s triple-digit price for much of 2008, peaking near an unheard of $150 a barrel in July. Since then, however, prices have fallen roughly 70 percent amid a deepening global economic crisis.

In the fourth quarter alone crude tumbled 60 percent, prompting spending and job cuts in an industry that was reporting robust, often record, profits as recently as last summer.

With piles of cash and diversified operations, the majors like Exxon Mobil have fared better than many smaller oil and gas companies, but Friday’s results show no one is completely insulated from the ongoing malaise.

Irving, Texas-based Exxon said net income slid sharply to $7.8 billion, or $1.55 a share, in the October-December period. That compared with $11.7 billion, or $2.13 a share, in the same period a year ago, when Exxon set a U.S. record for quarterly profit. It has since topped that mark twice, first in last year’s second quarter and then with earnings of $14.83 billion in the third quarter.

Revenue in the most-recent quarter fell 27 percent to $84.7 billion.

Both the per-share and revenue results topped Wall Street forecasts. On average, analysts expected the company to earn $1.45 a share in the latest quarter on revenue of $69.1 billion, according to Thomson Reuters.

Shares rose $1.52, or 2 percent, to $78.52 in early trading.

The nation’s second largest oil company, Chevron Corp., reported profits of $4.9 billion for the fourth quarter, though revenues slid 26 percent with oil prices in sharp decline.

It earned $2.44 per share in the three months ended Dec. 31. Like Exxon, Chevron easily beat expectations of analysts, who were looking for profits of $1.81 per share.

The industry went into retrenchment toward the end of the year with demand falling.

As expected, Exxon Mobil’s bottom line took a beating from its exploration and production, or upstream, arm, where net income fell 31 percent to $5.6 billion. The culprit: lower crude prices, which the company said decreased earnings by $3.2 billion in the fourth quarter alone.

The company, which produces about 3 percent of the world’s oil, said overall output fell 3 percent in the most-recent period, a troubling trend in previous quarters. Exxon, which generates more than two-thirds of its earnings from oil and gas production, said production-sharing contracts and OPEC quotas contributed to its lower output.

Results were better at its refining and marketing unit, where earnings rose 6 percent to $2.4 billion as higher margins overcame costs related to last summer’s hurricanes and other factors.

The company’s chemical division also took a hit, posting net income of $155 million versus $1.1 billion a year ago. Results were hurt by lower volumes and margins and hurricane-repair costs.

Exxon Mobil said it bought 119 million shares of its common stock in the quarter at a cost of $8.8 billion. Roughly $8 billion of that amount was dedicated to reducing the number of shares outstanding; the balance was used to offset shares issued as part of the company’s benefit plans.

Exxon said it spent $26.1 billion on capital and exploration projects last year, up 25 percent from 2007. Its earnings release provided no information about its planned spending for 2009.

For the full year, Exxon Mobil’s massive profit amounted to $8.69 a share, versus $7.28 a share a year ago.


What up peoples? Today for R&B/Soul Thursday’s, I’m presenting “The Meters”! Legendary Jazz band from the 60’s all the way to the present. These brothers made some FUNKY FLY shit if you don’t know. Some of your favorite Hip-H0p songs were sampled from this group. From Public Enemy’s “TimeBomb” to The Juggaknots “Clear Blue Skies”, you can recognize the stanky! PWEEEEEE!!!! So here’s to one of the Funkiest… The Meters! Check out the Bio I’m posting from their Official site “www.themetersonline.com“. Also check out the vids. PINGGGGGGGG!!!!!!!


In their 25-year history, The Meters have grooved their way around the globe. They have toured with such talents as The Rolling Stones, and have been the rhythm for such diverse artists as Dr. John, Paul McCartney, Robert Palmer and Patti Labelle.

Considered by many to be the founding fathers of funk, The Meters created a unique sound that lasted through the sixties and seventies and was reborn in the late eighties. Their trademark sound blends funk, blues, and dance grooves with a New Orleans vibe.

The history of this native New Orleans band dates back to 1967, when keyboardist Art Neville recruited George Porter, Jr., Joseph (Zigaboo) Modeliste and Leo Nocentelli to form The Meters. When Neville formed the band, he had already been a prominent member of the New Orleans music community for 15 years. He was still in high school when, leading The Hawkettes, he cut the 1954 hit single “Mardi Gras Mambo”, which is still pressed every year at Carnival time.

After working with Allen Toussaint on some Lee Dorsey tracks, The Meters were told to lay down some tracks of their own. Between 1967 and 1969, they recorded four consecutive hit singles: “Sophisticated Cissy,” “Cissy Strut,” “Ease Back,” and “Look a Py Py,” which all reached the Top 10 on the R&B charts. Neville created a band that would rule the New Orleans music community for decades to come.

From 1971 to 1978 The Meters recorded five albums on the Warner/Reprise label. Cyril Neville, Art Neville’s brother, joined the band in 1975 as a percussionist and vocalist for three of those albums, also recording the critically acclaimed The Wild Tchoupitoulas, which was recorded with Neville’s uncle, Big Chief Jolly, the most celebrated member of the Mardi Gras Indians. Simultaneously, the band was widely heard playing on albums by Dr. John ,Robert Palmer, King Biscuit Boy ,Lee Dorsey ,Allen Toussaint and a Mardi Gras single released by Paul McCartney and Wings.

In 1975, the Meters performed at a party for Paul and Linda McCartney aboard the Queen Mary in California. Shortly thereafter, The Rolling Stones requested that The Meters join them as an opening act on their (1975) American Tour and (1976) European tours-over 75 dates were played between both tours.

After twelve years and ten studio albums, The Meters disbanded in 1979 due to business problems. The Meters have maintained an avid following of fans and other artists, and their music has been sampled by musicians around the world, including rap artists Heavy D, LL Cool J and Queen Latifah. The Red Hot Chili Peppers pay homage to them in one of their hit songs, and bands such as the Grateful Dead, KVHW, Steve Kimock Band, Widespread Panic, Rebirth Brass Band, Galactic and String Cheese Incident often played their music.

Musically, the next decade took the band members in different directions. Art Neville and Cyril Neville pioneered the internationally successful Neville Brothers , while Zigaboo Modeliste drummed for Keith Richards and Ron Wood on the New Barbarians Tour. George Porter, Jr. founded his first band, Joy Ride and in 1990 recorded his first solo CD, Runnin’ Pardners, for Rounder Records. George worked in the studio and toured with David Byrne, recorded with Robbie Robertson , and played on Harry Connick Jr. ‘s first funk/soul CD “She” In addition, George performed on three back-to-back Platinum CD’s with Tori Amos. He has also released four CD’s with his own with Runnin’ Pardners.

Now, After more that 25 years of separation, Art Neville, Zigaboo Modeliste, George Porter Jr., and Leo Nocentelli are returning to festival, concert and club stages as the supergroup that put New Orleans funk on the map and that continues to exert an unparalleled influence on American roots and popular music. The Meters’ unique place as a touchstone for countless jam bands and as one of the most sampled groups in all of hip hop and pop music has kept it relevant to contemporary audiences in a way that few, if any other 70’s groups can claim.

Art Neville, organ; Joseph “Zigaboo” Modeliste, drums; George Porter Jr., bass; and Leo Nocentelli, guitar.


Check out this site I found(authentichistory.com) which may explain the origin’s of such stereotypes as “Black People Love Chicken and Watermelon”! There is a lot of things to see so scan through as much as you can. Here’s a brief description. BLAMMMM!!

African American Stereotypes:

Chicken & Watermelon Themes

This section of the Authentic History Center’s “Teaching Diversity With Multimedia” collection focuses on stereotypes of people of African descent from the end of the American Civil War in images of blacks with themes of chicken and watermelon. Analysis of a large collection of artifacts with racist African American imagery reveals several common themes. One is the linking of Black people in a negative way to chicken and watermelon. The origins of these stereotypes are unclear. They may have begun as Southern stereotypes and then evolved into Black stereotypes. It’s also possible that these evolved out of American slavery. Numerous primary sources chronicle Black resistance to slavery through “silent sabotage,” or, day-to-day acts of resistance. Stealing from the master was one example. It seems logical that, given that food would be among the most desirable of items a slave would pilfer, and chickens and watermelons would have been commonly available. Solomon Northup, for example, tells of being put in charge of punishing slaves who got into the master’s watermelon patch. Rather than carry out the punishment, Northup had the slaves show him the way to the patch. The connecting of Blacks to chicken and watermelon was done in a way to dehumanize Blacks and subject them to ridicule. This process helped contribute to prejudice and discrimination. Surprisingly, many young people are unaware of the long history of these stereotypes, while some older Black people refuse to eat watermelon because of that history. And yet the stereotype still exists. In 1989, while stationed at a Marine Air Station in Yuma, Arizona, I was standing in line at the chow hall and noticed a particular theme in the day’s cuisine. The main offerings that day were fried chicken, black-eyed peas, and watermelon. I soon realized, to my horror, that it was Martin Luther King Jr.’s birthday. I do not know if this gesture was intended as a racist joke, or if the head cook really thought that offering such food was a way of honoring Dr. King.

This info was taken from scholastic.com. Good info though. Check it out peoples. BLAMMM!!!

Black Beauty: Millionaire C. J. Walker

By Sarah Blustain

America’s first self-made woman millionaire, Madame C. J. Walker, helped style the Harlem Renaissance.

When an opulent, 34-room mansion went up on the banks of the Hudson River in 1917, the neighbors were worried. They didn’t mind that the owner, Madame, C. J. Walker, was a successful businesswoman; they didn’t mind that she came from the South or that she had once been a washerwoman.

They minded that she was black. “One of the race,” a newspaper reported, “is invading the domains of New York’s aristocracy.” And according to “The New York Times,” one neighbor exclaimed, “No woman of her race could own such a place. Does she really intend to live there?”

Mme. Walker, who had made a fortune selling beauty products for black women, was unfazed. From her mansion just north of New York City, she planned to continue her mission to inspire black culture and business. With her backing, black writers, artists, and activists would go on to play a key role in the creative outpouring of the Harlem Renaissance. And with her support, thousands of working-class black women would become economically self-sufficient.

Mme. Walker was born Sarah Breedlove on a Louisiana cotton plantation in 1867, just two years after the abolition of slavery. As a child, she worked alongside her sharecropper parents; she was orphaned when she was seven. Determined to provide an easier life for her own daughter, she took in laundry, but always searched for a better way to make a living. One night, she later recounted, “God answered my prayer. In a dream, a big black man appeared to me and told me what to mix up for my hair. I made up my mind I would begin to sell it.”

Mme. Walker developed Vegetable Shampoo, Wonderful Hair Grower, Vanishing Cream, and other beauty products for black women. Like most beauty products of the time, which promoted white standards of beauty, Mme. Walker’s products and treatments promised fairer complexions and straighter hair. At the time, explains A’Lelia Bundles, Mme. Walker’s great-great granddaughter, “there was a tremendous amount of pressure [on black people] to be ‘acceptable.'”

But while Mme. Walker complied with style, she didn’t turn her back on her race. She funded scholarships for black students, helped support young writers, donated thousands of dollars to Booker T. Washington’s Tuskegee Institute in Alabama, gave money to Marcus Garvey’s Universal Negro Improvement Association, and lobbied politicians for civil rights. In 1917, she even led a group of women to Washington, D.C., to protest President Woodrow Wilson’s segregation of the military.


Mme. Walker also offered black women a rare opportunity to get ahead. Graduates of the Walker College of Hair Culture were trained to style hair, sell Walker products, even open their own beauty salons. “I am not satisfied in making money for myself,” she told a 1914 convention of the National Negro Business League. “I endeavor to provide employment for hundreds of the women of my race.”

By 1916, Walker employed 20,000 agents throughout the country. Women who had toiled for pennies at arduous jobs were earning more money than ever before. “You have opened up a trade for hundreds of colored women to make an honest and profitable living,” a Walker College graduate wrote Mme. Walker. “They make as much in one week as a month’s salary would bring from any other position they could secure.”

When Walker died in 1919, her daughter A’Lelia stepped into her shoes. Almost. Although A’Lelia continued to host black intellectuals at lavish parties, she withdrew her financial support. “A’Lelia Walker did not subsidize specific writers,” Ms. Bundles says, “but she provided a place for all kinds of people to gather. She was one of the few blacks who had the money to allow her to entertain in the large scale.” When A’Lelia died, more than 10,000 mourners paid their respects. The Reverend Adam Clayton Powell Sr. delivered a sermon. A mourner read, “To A’Lelia,” written by Langston Hughes. The tribute was not only a farewell for A’Lelia, but a celebration of two mythic women who had styled the creative and economic accomplishments of the Harlem Renaissance.

If you have never heard of these Classic Reggae/Dub Compilations, you better get up on them. They have all your favorite Reggae classics. Some you may know and some you may not know but all BANGIN’! FISKKKK!!

We stumbled upon this joint one time the Binkis Crew went record shoppin and the store was playing it over the loud speaker. We all were like “What the …”, and just like that we coped it. We have been hooked ever since. I just found out that they go up to 600% Dynamite. I’m going to get them all. BLAMMMMM!! Check out the Track list and review from “Souljazzrecords.co.uk“(which released them).


BACK IN PRINT! Jam-packed with Reggae tunes that have crossed-over and become cult dancefloor hits in clubland such as “Ring The Alarm” and “Funky Kingston”, 200% Dynamite explores the links between Reggae, Jazz, Funk and Soul. 200% Dynamite is the second compilation in the series of records released on Soul Jazz Records that focus on the history of Jamaican music. Carrying on perfectly from 100% Dynamite, this new compilation simply features more funk – soul – rocksteady – jazz – dub and ska tracks tracing the history of Jamaican Reggae and the influence of American styles such as Funk and Jazz had on this music. 200% Dynamite features some serious Funk and Rocksteady from the likes of The Upsetters and Toots and The Maytals throught to long out-of-print cult club classics such as Tenor Saw’s mighty “Ring The Alarm” and the Skatalites much in demand funk classic “Candlelight”, through to Jamaican Jazz from masters such as Tommy McCook and Byron Lee as well as some serious dub from the likes of Augustus Pablo and Jackie Mittoo. Whereas 100% Dynamite took tracks mainly from Studio One, 200% Dynamite delves further into Jamaica’s classic labels such as Treasure Isle, Techniques and the Upsetter label. Taking music primarily from the Sixties and Seventies, 200% Dynamite takes you further into Jamaica’s music such as Ska, Rocksteady, Dub etc, showing at the same time how the proximity to the USA meant that Jamaican musicians were still being influenced by US styles such as Funk, Jazz and Soul.


1. Rockers Rock – Pablo, Augustus

2. No, No, No

3. Ring the Alarm – Bright, Carl

4. Heatwave – McCook, Tommy

5. Tom Drunk – U Roy

6. Funky Kingston – Hibbert, Toots

7. Sit and Wonder

8. Earthquake – Mittoo, Jackie

9. Sounds & Pressure

10. Hot Reggae – Brown, James [1]

11. The One to Blame

12. Herb Man Dub – Brevett, Lloyd

13. Bewitched

14. Are You There

15. Mandela

16. Melting Pot

17. Live Injection – Perry, Lee [1]

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