April 2009


One of the illist that ever did it. You know it and I done said it. Sade’s music has produced a lot of babies. HAAAAA! Nah, the music is like no other. You can listen to some songs and it will automatically take you into another world. I always felt like I was in another country when listening to their music. The lyrics are crazy too. I mean their writing skillz has definitely  inspired me to write better. It’s amazing  how much emotions can be aroused with just a small amount of words. That shit is FLY!!!!! Also, They don’t only do songs about love(meaning relationships) all the time. That is also FLY!!!! Well, I’m not gonna rant too much. I just wanted to express my opinion about this artistic group. Peep the bio and enjoy the videos. BLAMMMMMMM!!!


Bio(From www.sadeusa.com):

Helen Folasade Adu is a woman who has never had anything to hide. Born in Ibadan, Nigeria and raised in Colchester, Essex, where she moved at 4 after her English mother separated from her Nigerian father, she’s spent her life trying to do what feels right, honest and true. Because by comparison nothing else has seemed as important. When she was growing up, Sade would listen to soul artists like Curtis Mayfield, Donny Hathaway and Marvin Gaye. Singers uniquely attuned to the complex sensibilities of heartache and hope, who were skilled enough to create from those feelings, something lasting and transcendent. Still she didn’t think about singing herself. Rather, she studied fashion at St Martin’s art college, only signing on as vocalist when a couple of old school friends started a band “until they found a proper singer”. From there to singing with early Eighties Latin funk collective Pride, she discovered a rare delight in songwriting. It was while she was with that group, Sade co-wrote ‘Smooth Operator’ with Ray St. John, and it was from there that Sade abandoned diffidence and finally stepped centre stage to form her own group with fellow Pride members Stuart Matthewman, Andrew Hale and Paul Spencer Denman. (More Info at Wikipedia).


(From Wikipedia):

Amos ‘n’ Andy is a situation comedy based on stereotypes of African-Americans and popular in the United States from the 1920s through the 1950s. The show began as one of the first radio comedy serials, written and voiced by Freeman Gosden and Charles Correll and originating from station WMAQ in Chicago, Illinois. After the series was first broadcast in 1928, it grew in popularity and became a huge influence on the radio serials that followed. The program ran on radio as a nightly serial from 1928 until 1943, as a weekly situation comedy from 1943 until 1955, and as a nightly disc-jockey program from 1954 until 1960. A television adaptation ran on CBS-TV from 1951 until 1953, and continued in syndicated reruns from 1954 until 1966.


Amos ‘n’ Andy creators Gosden and Correll were white actors familiar with minstrel traditions. They met in Durham, North Carolina, in 1920, and by the fall of 1925, they were performing nightly song-and-patter routines on the Chicago Tribunes station WGN. Since the Tribune syndicated Sidney Smith’s popular comic strip The Gumps, which had successfully introduced the concept of daily continuity, WGN executive Ben McCanna thought the notion of a serialized drama could also work on radio. He suggested to Gosden and Correll that they adapt The Gumps to radio. They instead proposed a series about “a couple of colored characters” and borrowed certain elements of The Gumps. Their new series, Sam ‘n’ Henry, began January 12, 1926, fascinating radio listeners throughout the Midwest. That series became popular enough that in late 1927 Gosden and Correll requested that it be distributed to other stations on phonograph records in a “chainless chain” concept that would have been the first use of radio syndication as we know it today. When WGN rejected the idea, Gosden and Correll quit the show and the station that December. Contractually, their characters belonged to WGN, so when Gosden and Correll left WGN, they performed in personal appearances but could not use the character names from the radio show.

When WMAQ, the Chicago Daily News station, hired the team and their WGN announcer, Bill Hay, to create a series similar to Sam ‘n’ Henry, they offered higher salaries than WGN and the rights to pursue the “chainless chain” syndication concept. The creators later told an anecdote that they named the new characters Amos and Andy after hearing two elderly African-Americans greet each other by those names in a Chicago elevator. Amos ‘n’ Andy began March 19, 1928, on WMAQ, and prior to airing each program they recorded their show on 78 rpm disks at Marsh Laboratories, operated by electrical recording pioneer Orlando R. Marsh.

For the program’s entire run as a nightly serial, Gosden and Correll portrayed all the male roles, performing over 170 distinct voice characterizations in the show’s first decade. With the episodic drama and suspense heightened by cliffhanger endings, Amos ‘n’ Andy reached an ever-expanding radio audience. It was the first radio program to be distributed by syndication in the United States, and by the end of the syndicated run in August 1929, at least 70 stations besides WMAQ carried the program by means of recordings.

Early storylines and characters:

Amos Jones and Andy Brown worked on a farm near Atlanta, Georgia, and during the episodes of the first week, they made plans to find a better life in Chicago, despite warnings from a friend. With four ham and cheese sandwiches and $24, they bought train tickets and headed for Chicago, where they lived in a State Street rooming house and experienced some rough times before launching their own business, the Fresh Air Taxi Company. With the listening audience increasing in the spring and summer of 1928, the show’s success prompted the Pepsodent Company to bring it to the NBC Blue Network on August 19, 1929. At this time the Blue Network was not heard on stations in the West. Western listeners complained to NBC that they wanted to hear the show. Under special arrangements Amos ‘n’ Andy debuted coast-to-coast November 28, 1929, on NBC’s Pacific Orange Network and continued on the Blue. At the same time, the serial’s central characters — Amos, Andy and George “The Kingfish” Stevens — relocated from Chicago to New York City’s Harlem.

Amos was naïve but honest, hard-working and (after his 1935 marriage to Ruby Taylor) a dedicated family man. Andy was more blustering, with overinflated self-confidence. Andy, being a dreamer, tended to let Amos do most of the work. TheirMystic Knights of the Seas lodge leader, George “the Kingfish” Stevens, was always trying to lure the two into get-rich-quick schemes, especially the gullible Andy. Other characters included John Augustus “Brother” Crawford, an industrious but long-suffering family man; Henry Van Porter, a social-climbing real estate and insurance salesman; Frederick Montgomery Gwindell, a hard-charging newspaperman; William Lewis Taylor, the well-spoken, college-educated father of Amos’s fiancee; and “Lightning”, a slow-moving Stepin Fetchit-type character. The Kingfish’s catch phrase “Holy mackerel!” soon entered the American lexicon.

Of the three central characters, Correll voiced Andy Brown while Gosden voiced both Amos and the Kingfish. The majority of the scenes were dialogues between either Andy and Amos or Andy and Kingfish. Amos and Kingfish, both voiced by Gosden, only rarely appeared together. Since Correll and Gosden voiced virtually all of the parts, the female characters, such as Ruby Taylor, Kingfish’s wife Sapphire, and Andy’s various girlfriends, did not appear as voiced characters in the original serial, but entered the plots only as discussed by the male characters. When the series switched to a weekly situation comedy in 1943, actresses began voicing the female characters and other actors were recruited for some of the male supporting parts. However, Correll and Gosden continued to voice the three central characters on radio until the series ended in 1960.

The story arc of Andy’s romance (and subsequent problems) with the Harlem beautician Madame Queen entranced some 40,000,000 listeners during 1930 and 1931, becoming a national phenomenon. Many of the program’s plotlines in this period leaned far more to straight drama than comedy, including the near-death of Amos’s fiancee Ruby from pneumonia in the spring of 1931, and Amos’s brutal interrogation by police following the murder of the cheap hoodlum Jack Dixon that December. Following official protests by the National Association of Chiefs of Police, Correll and Gosden were forced to abandon that storyline — turning the entire sequence into a bad dream, from which Amos gratefully awoke on Christmas Eve.

The innovations introduced by Gosden and Correll made their creation a turning point for radio drama, as noted by broadcast historian Elizabeth McLeod: (more here).


STYMIE(from Wikipedia):

Matthew Beard, Jr. (January 11925 – January 81981) was an American child actor, most famous for portraying the character of Stymie in the Our Gang short films from 1930 to 1935

Our Gang Years:

In contrast to the character he replaced, Farina, Stymie was a slick-tongued con-artist who was always self-assured, nonchalant, and ready with a sly comment as well as clever ideas to solve the problems he faced. The character’s trademark was a bald head crowned by an oversize derby hat, a gift to Beard from comedian Stan Laurel, who had also worked under Our Gang creator Hal Roach. Stymie is the only Our Ganger to both replace one of the original gang members (Allen “Farina” Hoskins) and be replaced by one that would stay on until the series disbanded (Billie “Buckwheat” Thomas).

The name “Stymie” was provided by Our Gang director Robert McGowan, who was always frustrated (“stymied”) by little Matthew’s curious wanderings around the studio; the character was originally to be named “Hercules“. McGowan would later recall that Stymie was his favorite of all the Our Gang kids. The then five-year-old Stymie came to the series a year after the transition from the silent/early talkie era Our Gang. He had the exclusive distinction of being with the gang from Miss Crabtree” talkies of the early 1930s, through the mid-thirties transitional period, up until the era of the more familiar group ofSpankyAlfalfa, and Billie “Buckwheat” Thomas, who would ultimately replace Stymie in 1935.

Stymie’s paycheck was used to help support his East Los Angeles family, including thirteen brothers and sisters. After Stymie renamed his younger brother Bobbie “Cotton” (which was also used as Bobbie’s Our Gang character name), his parents allowed him to name all of the rest of his siblings as they were born. He named one “Dickie” after his best friend, child actor and Our Gang kid Dickie Moore. Four other members of the Beard family would appear in the Our Gang comedies:

His younger sister Betty Jane Beard preceded Stymie in the gang, playing Farina’s little brother Hector in Moan & Groan, Inc. and When the Wind Blows (even though she was a girl).

His younger sister Carlena Beard appeared as Stymie’s younger sister in Shiver My TimbersFor Pete’s Sake! and The First Round-Up. In The First Round-Up, her character was called “Buckwheat”, a role which would eventually be converted to a male character and given to Billie Thomas.

His younger brother Robert “Bobbie” Beard appeared in six Our Gang shorts from 1932 to 1934 as Stymie’s younger brother, “Cotton.”

His mother, Johnnie Mae Beard, has a cameo as Stymie’s mother in Big Ears (1931) and Free Wheeling (1932). She was the only other Beard family member besides Stymie to have a speaking part in the Our Gang series.

Stymie’s younger brother Renee Beard would appear in Hal Roach‘s Our Gang-derived featurettes of the 1940s: Curley and Who Killed Doc Robbin.

After Our Gang:

After Stymie left the series in 1935 at the age of ten, he went on to score some minor roles in feature films (1935 Captain Blood with Errol Flynn). By the time he was in high school, he had retired from acting. Falling into drug use and street life, Stymie became addicted to heroin, and spent most of his early adult life in and out of jail because of it. In the 1960s, he checked himself into Synanon, a drug rehabilitation facility in Los Angeles, and successfully ended his heroin use. After leaving Synanon, he made a small comeback, appearing in small roles in feature films and episodes of television shows such as Sanford and Son and Good Times; he had a recurring role as “Monty” on the latter series. In 1978, he appeared in the movieThe Buddy Holly Story as a member of the backstage crew at the Apollo Theatre. He wears his trademark bowler hat in the film.

Beard also traveled around the country, giving lectures on drug-abuse awareness. He suffered a stroke two days after his fifty-sixth birthday in 1981, and died of pneumonia on January 81981 in Los Angeles, California.


Y’all know what it is, Watermelon and Chicken Wednesday’s!!! FAng, FANGGGGGGGGG!!!!  Make sure your watermelon has seeds in them because these days… you don’t know what the flux you are eating. Seedless watermelon? That means it ends right there. No more melon to plant people and that also means that  you don’t know what they are doing to our food supply in order for us to have seedless fruit. Not just fruit either. We are talking about vegetables, meat, so called vitamins, Juice, cereal… all that shit. Can you figure out what’s natural? It’s hard these days to eat well with the price of organics(natural foods) going up and that is the shit that suppose to be good for you. So imagine what they are feeding us in non-organic foods. Yeah the game is fucked up! HAAAA! I’m not saying worry yourself to death but be aware. the consistent theme in business is More and More profit and Less and Less Expenses. So what ever they got to do to lower  their expenses they will do. Back in the day they didn’t want to spend money on importing sugar so they created some fake ass sugar and called it High Fructose Corn Syrup. And that shit ain’t good for you because it’s artificial!  Here That? Well, that’s my rant for today. Word up peoples, stay good with your eyes on the truth. Enjoy your days and better yourselves. We can all get better! FISKKKKKKKKKKKKKKK!!

Just got this info from my homie Goldi Gold, Artist Ernie Barnes passes away at age 70 last night. Most known from his Sugar Shack Painting featured on Marvin Gaye’s “I want you” Album cover and as the closing credits of the sitcom “Good Times”. Here is the Artists Bio from www.ERNIEBARNES.com.



A former professional football player, artist Ernie Barnes is best known for his unique figurative style of painting and is widely recognized as the foremost African American living artist today.

Born Ernest Barnes, Jr. on July 15, 1938 to Ernest Sr. and Fannie Mae Geer Barnes during the Jim Crow era in Durham, North Carolina, his mother worked as a domestic for a prominent attorney. As a child, young Ernest would accompany her to work and was allowed to peruse the extensive collection of art books. One day in junior high school, a teacher found the self-admitted fat, introverted young Barnes drawing in a notebook while hiding from the bullies who taunted him daily. This teacher put him on a weightlifting program and when Barnes graduated from high school, he had excelled in football and track and field.

Segregation prevented him from considering nearby UNC or Duke University, so he attended North Carolina College on a football scholarship and majored in art. He was drafted by the then-World Champion Baltimore Colts football team. He then spent the next five seasons as an offensive lineman for the San Diego Chargers and Denver Broncos. In 1965, New York Jets owner Sonny Werblin recognized Barnes’ artistic potential and replaced his football salary for one season so he could devote himself “to just paint.” One year later, Barnes made his debut in a critically acclaimed solo exhibition at Grand Central Art Galleries in Manhattan and retired from football. His autobiography “From Pads to Palette” chronicles his transition from athlete to artist.

Barnes’ ability to capture the powerful energy and movement of sports has earned him “America’s Best Painter of Sports” by the American Sports Art Museum. In 1984, he was appointed official sports artist for the XXIII Olympiad in Los Angeles.  His sports commissions include “The Dream Unfolds,” for the NBA to commemorate their 50th anniversary; “Fastbreak” for Los Angeles Lakers owner Dr. Jerry Buss; and paintings for the owners of the Carolina Panthers, New Orleans Saints, Oakland Raiders and Boston Patriots football teams.

For over 40 years, his neo-mannerism style of art has been admired and collected internationally. His national traveling “Beauty of the Ghetto” exhibition in the 1970s featured some of his timeless works as “Storyteller,” “High Aspirations” and “The Graduate.”  His famous 1971 “Sugar Shack” dance scene appeared on the “Good Times” television show and on the Marvin Gaye album “I Want You.”  This image has been widely imitated and Barnes’ expressive style has influenced countless aspiring artists.

Barnes’ art has been used as an educational tool to empower youth. The power, grace, intensity and fluidity of his work – combined with his celebrated variation of genre and sports themes – has given him an unequaled place in the history of modern art, despite the domination of abstract art throughout his career.

He is currently at work for his upcoming exhibition “Liberating Humanity from Within.


I Don’t Care!!! That was one of my favorite joint! Milk D truely didn’t give a fuck and you can tell straight from the delivery. HAAAAA! ” I say all the Rhymes you Mcees HATE! ” HAAAA! Word up. Small tribute to Audio Two right now. “Top Billing” is one of the greatest Hip hop songs to date. It’s neck and neck with “La Di Da Di”. Everybody knows the joint and it still rocks shit. Some artists have hits from  like a year or 2 back that you wouldn’t play now and this joint is over 20 years old. Think About It! So, let me just get into it y’all. Ol’ School and Cacklin Tuesday’s People… Keep your cheeseburger grill clean! FISKKKKKKKKKKK!!!

Bio(from Wikipedia.com):

Audio Two were the Brooklyn, New York hip hop duo of emcee Kirk “Milk Dee” Robinson and DJ Nat “Gizmo” Robinson, most famous for their first hit, the classic “Top Billin’“. They are also the older brothers of female hip-hop star MC Lyte. The duo’s debut single, “Make It Funky,” was released in 1987, but it was the b-side “Top Billin'” that hit, making not only the group instant stars but a deep cultural impact on hip hop. The beat by Daddy-O of Stetsasonic and Milk Dee’s lyrics would be sampled and referenced time and time again, even by the group themselves: both their full-length debut, 1988’s What More Can I Say? and it’s 1990 follow-up, I Don’t Care: The Album, were titled after lines from the song. However the duo would never recapture their initial success. The singles for their second album, “I Get the Papers” and “On the Road Again”, were only moderate hits. It was a time of rapid change in the hip hop market; gangsta rap was rising in popularity, and Audio Two found themselves unsuccessfully struggling to maintain recording contracts and a fanbase. A third album, First Dead Indian, due for release in 1992, was canceled before it was released even though it had an assigned catalog number.

Audio Two did, however, pave the way for their younger sister MC Lyte, who would launch her career with the hit single “I Cram To Understand You (Sam),” which went to #1 on the Billboard Hip-Hop chart in 1989. Lyte’s 1998 album Seven & Seven would feature a remake of “Top Billin'”—with the original instrumental—this time a duet between her and her older brother. In 1994, Milk released a solo EP titled Never Dated on Rick Rubin‘s American Recordings. While the EP was notable for its single “Spam,” a duet with the Beastie Boys‘ Adrock with drum programming by Mike D, aside from the devoted Beastie Boys fanbase the album generated little interest. Milk would eventually rediscover success by producing singer Eamon, who recorded the Spring 2004 hit “Fuck It (I Don’t Want You Back).” In 2007, Milk Dee recorded a verse for a remix to I Get Money by 50 Cent, thanking all the music artists that have sampled Top Billin’ and earnt him royalties. (www.myspace.com/mcmilkdee), (Milk Dee Interview).

Unfortunately, I can’t post the ” I don’t Care ” Video, so here is a link. SHiT!!!


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