WildWildWillennium

That waz cool. I didn't expect her 2 be in the studio when she came in 4 some reason! But that's cool, always good 2 hear she's recording and working on the new album.

Glad 2 hear it worked out well 4 u man. :rock:

Busta Rhymes feat. Mariah Carey - I Know What You Want BLACKstreet + Janet Jackson - Girlfriend Boyfriend The Roots - You Got Me Lenny Kravitz feat. Jay-Z - Storm Outkast - Prototype Wyclef Jean - Take Me As I Am LL Cool J - Luv U Better LL Cool J - Hush LL Cool J - Paradise LL Cool J - Can't Explain It and many more LL trax...haha

Highest October box-office pull in history!!! Yeah! :rock:

Very nice :happysad:

Ha yes!! Thanx 4 this GOOD newz!! Finally! :switch:

I think a sequel would ruin the authenticity of the whole thing. It's not really needed, they should leave it alone.

Here's some info about the show which will air tonight until the 8th. "And You Don't Stop: 30 Years of Hip-Hop." A documentary about the history of rap music. Airs October 4-8 on VH-1 at 10 p.m. "Hip-hop would never have been invented if everybody around it was rich," says Newark-born rapper Ice T in the opening installment of "And You Don't Stop: 30 Years of Hip-Hop," a five-part documentary airing this week on VH1. The music channel only sent out the first couple of episodes of the series for review, but it seems clear that his words amount to a kind of mission statement. "And You Don't Stop" is a rare pop music documentary that goes beyond a chronological list of names, dates and song titles, and suggests the social forces that made the music happen. The story begins 30 years ago in the South Bronx, an urban landscape so decayed and depressed that even its residents likened it to a war zone. The area's overwhelmingly poor and minority youth wanted to express themselves artistically just like anybody else, but lacked the money and formal musical training that might have allowed them to do it in a socially acceptable way. Instead they spray-painted elaborate graffiti on subway cars, invented breakdancing and embraced the then-heretical idea that turntables, vinyl records and microphones could be used as musical instruments. Says rapper Chuck D of Public Enemy, "People started to look at turntables and say, 'Hey, maybe we can actually make music out of the records that happen to be laying around.' And they made something out of nothing." They made a lot more than just something. Three decades down the road, hip-hop is the driving force of modern youth culture, a renegade phenomenon that has become the establishment. It seems incredible now, but for the first few years of hip-hop's life, the music was mainly a social phenomenon -- something you heard at parties, or maybe on cassette tapes sold or traded by schoolmates. It wasn't until the massive success of The Sugarhill Gang's 1980 single "Rapper's Delight" that the world realized you could actually make money from hip-hop. From that point on, hip-hop seesawed between being an escapist medium and a means of social commentary. That the same pop music could spawn the genre-busting raps of Run-DMC, the clownish experimentation of the Beastie Boys, the hardcore political commentary of Public Enemy and NWA and who knows how many lame Hollywood movie soundtrack tie-ins is a testament to hip-hop's inexhaustible potential. Whether you already know the outlines of this story or are coming into it with fresh ears, "And You Don't Stop" is still a fun ride. VH1 and sister network MTV must have dug into the nooks and crannies of their archives in search of revealing footage. The documentary's first hour can be appreciated simply for its images of New York City in the 1970s and early '80s -- a gritty jumble of breakdancers, paint-spattered el trains and Kangol hats. But the series doesn't make the fatal mistake of pretending that a beloved art form just happens in a vacuum. In recounting hip-hop's first 15 years, Monday's and Tuesday's episodes point out the music's roots in 1960s funk and R&B and its somewhat prickly relationship with the vastly more popular disco. The documentary also explores the spiritual kinship with punk rock -- an equally rebellious, original form that sprang from the muck of 1970s-era English youth culture. Hip-hop's sense of frustration and anger, which stayed buried under party beats throughout the '70s, bubbled up to the surface with the release of Grandmaster Flash and the Furious Five's hit single, "The Message," which warned listeners, "Don't push me 'cause I'm close to the edge." TV producer and cultural critic Nelson George says that starting in the late '70s and early '80s, the mostly white East Village rock scene, which adored English punk, started opening itself to black rappers and DJs. Blondie lead singer Deborah Harry -- who became the first white rocker to rap on vinyl with her early '80s single "Rapture" -- describes the sound of hip-hop as "the underdog barking loudly." "And You Don't Stop" moves along at a brisk pace. Yet it somehow manages to include almost every significant milestone in the music's evolution, from promoter Russell Simmons and producer Rick Rubin starting Def Jam records out of Rubin's dorm room to Run-DMC attaining crossover success by emulating the street-tough leather look favored by white rockers like the Ramones. Interestingly, VH1 allows the documentary to critique MTV for failing to embrace rap until 1984, when Run-DMC featured a monstrous electric guitar sound in its single "Rock Box." (A clip from the video for that single shows a closeup of a sneakered foot stepping on a sequined white glove -- a jab at Michael Jackson, who at the time was the only other African-American musician given regular exposure on MTV.) The most powerful parts of the first two episode focus on Afrika Bambaataa and Public Enemy, musicians who saw hip-hop's potential for social commentary and political change and embraced it with uncompromising passion. The 1980s footage of Public Enemy's arrival on the music scene is electrifying; with their grim demeanors and cartoonishly surreal presentation, they came on like the first rap superheroes: the Justice League of Hip-Hop. Ironically, the series will prove most instructive for the audience that's least likely to watch it: music fans who grew up on rock-and-roll, and who still think rap is just a bunch of noise, profanity and shouting. As DJ Jazzy Jeff and the Fresh Prince put it in their same-titled hit single, "Parents Just Don't Understand." "And You Don't Stop" doesn't water down rap's excesses, compromises and missteps; hip-hop's sexist, racist and materialist tendencies get full play throughout. But at the same time, the documentary persuasively argues that the music deserves to be taken seriously. And it does this in the simplest, most effective way imaginable: by playing the music, interviewing the participants and letting the facts speak for themselves.

Nah I'm not sure who can do it...:dunno:

Can we just have that logo on a black t-shirt?

6 minute video interview here...talkin about Shark Tale... [url="http://msnbc.msn.com/id/6123516/"]http://msnbc.msn.com/id/6123516/[/url]

Lyrically, Outkast's older stuff is incredible and their more recent stuff doesn't show half their skill on the mic. I'd like 2 see Andre show us more of his skillz on the newer trax cuz right now only Big Boi is really shown as an emcee. Of course a song like "Hey Ya" is dope, but that's not old skool Outkast at all...they gotta have a single like a few years back with "Da Art of Storytellin'" with Slick Rick!

SEEK!!! :lookhehe:

Instead he gets a label that only wants ta sack him? He could go on and sell it himself

House? More like a castle!

Oh cool Tim I'll check 4 details.

[quote=JumpinJack AJ,Sep 30 2004, 11:49 AM]I guess the 1st thing 2 do would be 2 design what's on the front and back, see what people think, and then go from there.[/quote] I don't know how I want it 2 look but if it catches my eye I'll definitely get one and even wear it. I like your idea Tim. Sounds good 2 have the JJ+FP code red logo right in the middle on the front. Another idea would be 2 put a small logo on the front. (on either left or right side of the shirt)

Opening Weekend: 85 million Total US: 190 million Overseas: 270 million Worldwide: 550 million

I'd probably get one. Like AJ said tho', it would depend on how it looks.

Happy Birthday!!!!

Haha thanx man!! Didn't know some of the things there! Captain Correction

Outkast's Aquemini...good album.

Toronto, Canada

Ha! Thanx!!

Did u know she has her own mini official site just 4 her now? [url="http://www.wickedwisdom.net/jada/"]http://www.wickedwisdom.net/jada/[/url] Thanx alot 4 the heads up about the chat, this should be very cool. :switch: