Where are they now....UPDATE

It came as a surprise to me...People actually DO read this blog. It just so happens that one of the very readers of this blog is G5, member of Suspect Establishment, one of the artists that was featured in my post “Where are they now?” It turns out that they never stopped putting out dope hip hop and have a new album. I chopped it up with G, about what he and the rest of the crew have been up to.

Q: How did you first get into music and what motivated you?

A: Well I started doing music really late compared to others I was staying in the house more after my first child was born so I needed a new hobby. My brother gave me his Casio keyboard and I started making melodies, baselines & beats. I bought a little Boss drum machine & later a 4 track recorder started recording my own original songs. I always loved hip hop & music in general but I never though I could create it until then.

Q: Who were some of your favorite Detroit artists coming up?

A: A.W.O.L. Kaos & Mystro, Smiley, Detroit B.O.X, Detroit ’s Most Wanted & Awesome Dre. We ended up playing some songs for Sole-man from AWOL & C-Nile & I did a couple songs with him later. I’ve got to dig that stuff up some day.

Q: How did the original #1 Suspects come about?

A: We all grew up in the same hood on the west side 6 mile & Livernois area. In our late teens/early 20’s I heard C-Nile was rapping and his step brother “DJ Tech 12” was doing his beats. When I heard their trax I started kick-in it to him that while their music was dope with these melodies and beats I’ve got, he also could have his own original songs, not just break beats & samples. So we hooked up musically and we really vibed, & the music was good… really good and we decided to be a duo something like Guru & Premier.

Q: In the 10+ years you have been in the game, how do you feel about how hip-hop has changed?

A: G- it’s a lot more commercial now a lot less about skill & really saying something in the music. I’ve watched the game evolve from east coast to west coast and then the south & now I think our time has come for the Midwest to put a strangle hold on the game for a while. We just have to have strong artist with a fresh new sound.

Q: As you know, Detroit is known for not being very supportive of Detroit artists over the years. What do you feel needs to be done to change this?

A: Good question, wish I had a better answer for you but it’s always been our experience that we got more love outside of the D than when were here. I just think in some folks minds, no matter how good you are, when you’re from here you’re viewed as a hood star but not on the same level as the out of town artist. It’s like you have to leave here, get validated by someone else like Dre, or JayZ and then comeback and The D will support you like we do for all of the other major label artist. That’s just kinda my observation on it I really don’t know how we can change things & why we don’t support more…

Q: In 1997 you had a single that outlined the problems of the city and the mayor at that time. What are your thoughts about the current mayor and city council?

A: Well I’m a city resident & I just don’t believe our city’s best & brightest minds are on the job of running our city. I think a lot of the people in place are there because they’re “electable” or popular but we need to get some of the really smart, morally sound, uncorrupted people in the D to run the city and the schools and maybe things will get better.

Q: Some say that hip hop has become stagnant. Others say that the market is over saturated. What are your thoughts on the current state of music in general?

A: Well Labels are trying stick with a cookie cuter like formula they believe works. Execs and A&R’s don’t want to get fired for trying something unconventional. So not many are trying to think outside the box and because of that yeah, I believe the market is over saturated with a ton of the same kind of artist that are all talking about the same things. Some just better than others…

Q: Your music has always had a message to it, but without coming off as self-righteous or condescending. How important do you think it is that music not only should entertain but speak to the listener?

A: Well I think it’s important for our music to have a message because that’s who we are. In this game “you’ve got to do you” so I have no problem with artist like Soulja Boy & Hurricane Chris that don’t really have a profound message just fun. Or like The Clipse or Gucci Mane and Juiceman that rap about moving weight. I just think there needs to be more balance with acts like us or The Roots, Talib Kweli, & Common.

Q: Before I end this, is there any other projects you have in the works, that you want to plug?

A: Well after a long layoff we are releasing a new CD in the summer 2009, “Keep Grinding”. Our music video “Dollar Bill” is getting a lot of air play on the “The Video Shop” on Comcast Detroit CH 68 so check that out. We are getting some spins on “What’s next on the Menu on FM98 WJLB check for that on Saturdays @ 9:00pm. Some of our music is going to be being featured in a upcoming film & on the sound track….That I can’t give the details on yet but stay tuned for that. We are also getting into doing production for other artist, that’s something we really didn't’t do much of in the past because we had so many in the camp we kept everything in house. We’re forming the company now and we will see where that goes… That’s about it Hit us on

www.reverbnation.com/suspectestablishment or

www.myspace.com/suspectestablishment or email us direct at suspectestablishment@yahoo.com

Interview with Tamika Gaines.

Detroit has issues. There’s no way to sugar coat it. The economy is in shambles. The city’s population is in decline, and the city is being picked apart and sold piece by piece. Once a proud city that was a major hub of the US economy, is now reduced to being the laughing stock of the country. Every morning, afternoon, evening and night, we are constantly embarrassed by our so-called “leaders”. For the last 4 years we have had our own soap opera. Sex, lies, corruption and all of the other things that make a good movie but bad politics. Life long Detroiter Tamika Gaines is running for Detroit city council and hopes to change all that. I recently spoke with Ms. Gaines over the weekend about her and the race for city council.

Q: For those who have never heard of you, please give us a background of who Tamika Gaines is.

A: A native of Detroit, someone who has passion, care, and concern for the geographic location in which I live, which is Detroit. I believe in the impossible being done, all it takes is: a plan of action, an execution of that plan, an elimination of excuses, extra work, and prayer.

Q: What made you decide to run for city council?

A: In addition to my love for wanting to see distressed areas succeed, I want to see the city of Detroit prospering once more. I have vision that I believe will help to move the city in a new direction. Also, I believe everyone was created to solve problems, and I want to solve as many problems for Detroit that I can.

Q: What do you think that you can bring to the city council that the others cannot?

A: A freshness, newness,and relentless second to none commitment to see this city national image restored; so it can be one of the most sought after places to live.

Q: City business is at a standstill due to the corruption of the city government. What are your thoughts of this, and what steps do you think are necessary make those involved accountable for their actions?

A: New policies and procedures will need to be put into place. With an understanding that our environment is constantly changing; therefore, we must have policies and procedures that remain relevant with the current times. We must always have strategies and plans in place that deal with any issue that would arise with those in leadership positions.



Q: Neighborhoods all over the city are being stripped piece by piece and sold as scrap. What do you think needs to help combat the epidemic of thefts from property?
A: An Increase of police patrols, with faster response times along and Community involvement would change the minds of thieves. Furthermore, those who commit robbery and theft need something constructive to do. More jobs opportunities must be made available to the under-employed and unemployed.

Q: With a short staffed police department, what do you think needs to be done to combat our notoriously high crime rate, and what would you suggest be done to prevent crime?

A: Hire more police who live in the city !!!! I believe that if you have a vested- interest in a city you will fight hard for that city! Many who commit crime are already previous offender; however, that is a nationwide issue that must be dealt with. A reformation within in a jails and prisons must take place, so those who have been socially deviant can return to their communities changed.

Q: On your website, you say that the city's financial dysfunction is one of your main concerns. What would be some of your proposals to handle this problem?

A: In my experience with the City of Detroit, a lot of money has been wasted due to poor stewardship and lack of financial oversight. So, like I do with clients, I would do a Financial Needs Analysis which would trouble-shoot the areas within the city that need immediate financial resolve. Then, My co-workers and I would come up with strategies that would move the city forward financially.

Q: If elected, would you be willing to make certain sacrifices, for the greater good for the city?

A: Absolutely, It is about going above and beyond the extra miles to see this city not just survive but thrive again.

Tamika L. Gaines

P.O.Box10716

Detroit , MI 48210

www.gainesfordetroit.com

(888)543-3185

For the ladies....

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Unbought and unbiased music review #1

Here is a first in a series of reviews of underground hip hop from around the world. But what makes these reviews different from any that you would see in a magazine is that they are from the perspective of a hip hop consumer and music lover. Unlike most reviewers, record labels, producers and/or artists do not have me in their pockets so my opinions are unbiased. If it’s good, it gets the peace sign, and if it’s not, it gets the finger. With that said. On with the show.



Small Professor - Slowbus.

Many people say that hip hop has become over saturated and stagnant while simultaneously ignoring the underground. Enter Small Professor from Philadelphia. Just like a lot of music from Detroit, I have also been a big supporter of the music from Philly. From The old school Philly soul of Teddy P, the O’Jays and Jean Carne, to the Neo-Soul of Jill Scott to the organic hip hop of the Roots and everything in between. Small Pro is poised to become another chapter in those history books. Influenced by the late J Dilla (and by influenced, I don’t mean a blatant rip off) and Large Professor (hence the name), Slowbus goes hard with 13 tracks of straight heat. No corny synth riffs, no dumb ass dance moves and no incessant “yeahs”, “whats”, grunts or any other hip hop cliches. Just dope ass beats. The main head nodders are “John Henry”, “Winter Leaves pt. 0" and “December 6"...but those are just my favorites. I strongly recommend you cop this album as there is something you will dig. So it gets an emphatic peace sign from me.

Small Professor - Slowbus is available at:

Amazon.com
Beatsource.com
junodownload.com
and iTunes

and you can visit his myspace page : http://www.myspace.com/smallprofessor

Motor City Blues

I grew up in a family full of auto workers. My grandfather was among the thousands who migrated up north for a job with Ford. I also had 2 uncles that worked for Ford, another uncle that worked for Chrysler, and I myself worked for GM. So the financial crisis with the big 3 hits home. But the big 3 only have themselves to blame. Being that I am from an automotive family...Suggesting that I drive a foreign car is analogouss of disrespecting your parents. You just don’t do it and not expect an ass whoopin’. I am somewhat loyal to the big 3, as is a lot of the old school auto workers that came up in my parents and grandparents’ generations as well as a lot of good old fashioned Detroit muscle. And before I drive a Nissan, Toyota, Mitsubishi or Honda, I’d rather not have a car at all. With that being said, The big 3 hasn’t been very loyal to us over the last few years. They didn’t understand that everyone does not want an SUV with gas prices as unpredictable as they are. They don’t understand that not everyone can afford a decent GM vehicle unless you are a rapper signed with a major label, a pimp or a drug dealer. Ford makes shitty cars, and no one wants to keep taking their Ford whatever to the shop because of another recall, and Chrysler products are just butt ugly to begin with in addition to being prone to recalls. So what happens? People stop buying them. And before you UAW members start with your amens and hallelujahs, you all have a lot to do with the automotive crisis as well. You already make a decent living and have decent benefits but your wanting more has placed a tremendous burden on the industry by way of astronomical labor costs and simultaneously cock-blocking those who are willing to work for half. And because of it, the entire US economy which largely depends on the auto industry will be fucked (and guess what city will be hit the hardest). In a way I hope that the government bails out the big 3 but in another way I hope they don’t. I saw first hand how an economy that depends on the auto industry can be devastated when Chrysler left Highland Park back in the early 90s, and it wasn’t pretty. I don’t even WANT to think about if it were to happen to the entire state or the entire country. But on the other hand if they do get the bailout money, will they really get their shit together? Or will they be back a year later trying to hit us taxpayers up for more money to pay for their fuck-ups.

Where’s the outrage (pt. 2)

I’m back and I have to get on the hip hop bashers (read: hypocrites) once again. I mean the ones who claim that hip hop is a 21st century minstrel show, playing on negative stereotypes. Again I have to ask the question: Why are rappers condemned to be minstrels or “coons” but black comedians get a pass. Now I will admit part of this rant is because with the exception of the late George Carlin, I’m not a fan comedians of any race, but I especially loathe black comedians. Why? Well first of all there’s nothing funny about racism. It wasn’t funny when the guy from Seinfeld made jokes about black people, or the fat Italian woman (whose name escapes me at this moment) who makes jokes about black men and it’s not funny when Chris Rock or any other black comedian makes jokes about white people. But my main beef is how these Step and fetchit wanna-bes get on T.V. and set us back to the Amos and Andy era. What’s worse is people are so caught up in bashing hip hop that they don’t see it. Everyone and their mother wants to denounce hip hop and yet are literally splitting their sides laughing at black comedians who perpetuate worse stereotypes than any rapper (gangsta or otherwise) would ever do. No, hip hop is not perfect by a longshot. However like I said last time, if you are going to get on one, then get on the other too.

Where are they now? Detroit hip hop edition.

As I sit here, musically reminiscing about the good old days, there are some artists that stick out in my mind, and I wonder what they are up to these days. Their cassette tapes and CDs are long out of print and stubbornly hard to find. Some had their careers cut short by the legal system, while the majority of the others have just seemed to drop off the face of the earth. While some of these names may be unfamiliar to some and others are just not checking for them, personally I still wonder where are they now.

• Suspect Establishment: They made one of my all time favorite hip hop joints “Through the cracks of my blindfold” back in 1997, when they called then mayor Dennis Archer on his bullshit and ripped him a new asshole on his corruption and neglect of the city’s neighborhoods.

• Schoolyard Bully: He had a dope cut about his hood “12000 Block of Roselawn” that was pure dopeness.

• Snake Pletzkins: In 1993 he debuted with his first tape “We got a bone to pick 666" Featuring Bitches off 6 (6 mile) was produced by Detroit hip hop pioneer Doc Chill. While every track was fish grease, my personal favorite was the title track which in my opinion is the quintessential posse cut up there with “the symphony”(yeah, I said it) . Damn shame people slept on it though. To paraphrase biggie: “I let the tape rock til the tape popped”: Literally. And ain’t been able to find another one since.

• Rap Mafia: One of the first Detroit hip hop artists to get play on the radio, their single “The underworld” as well as “Assassination of a Kingpin” were fixtures on video jukebox (channel 41, back when Comcast cable was then known as Barden cablevision) in the early 90s. These boys were poised to put Detroit on the hip hop map until their career was cut short by federal charges of money laundering and they haven’t been heard from since 1991. Ironically this only generated more buzz about the group.

• Detroit Boxx: Affiliated with Detroit’s Most Wanted and their clique APB, Boxx and his lead-off single “Spin to the Grooveline” as well as his follow up single “R U with it?” Made big noise throughout the D in 1990 and ‘91 respectively. Then like so many others, just dropped off.

Needless to say I’m also looking for these artists’ music also, so if you have a copy get at me at mista.ecks@gmail.com

the 313 throwback

Videos courtesy of Funkmassa VIP



J to the D - Sackchaser (1990)



Detroit Box - Spin to the Grooveline (1990)



Rap Mafia - The Underworld (1990)



Kaos and Mystro - Mystro on the flex (1989)



All rights reserved by respective copyright holders

What happened to Detroit radio?

As a child of the 80s, I can remember when listening to the radio in Detroit was the shit. In the early to mid 80's there was the electrifyin’ Mojo. He appreciated music and it showed. He wasn’t some talkative asshole, there was no teenage girls giving long winded shout-outs to everybody in the city, there was no playlists, there was no bullshit. It was a nightly education in music. It was through him that I learned that good music transcended race. There was no “black” music and there was no “white” music, just good music that made you dance. Especially if you were a fan of funk music. Artists like Prince (in his prime circa 1981-1986) and Parliament Funkadelic were mainstays on his show, but traditionally white artists like the B52's (before they got all corny with that “Love shack” bullshit) and the Talking Heads also got a lot of love on the predominantly black radio stations he worked for. And us black folks gigged off of songs like “Rock Lobster”, “Private Idaho” and “Once in a lifetime” just as hard as we did to “Flashlight”, “One nation under a groove”, “Lady Cab Driver” and “Partyup”. He even played a lot of hip hop when it was still in his infancy. I don’t remember where I was the first time I heard “The roof is on fire” as I was only like about 9 years old, but I do remember I was listening to Mojo. Same with the slept on classic “Fly Girl”. I miss that shit!

Then in the mid to late 80s there was Jeff Mills A.K.A. The Wizard. The Wizard was Detroit’s answer to DJ Red Alert. He had the dopest mix show, and no matter what you were doing, it stopped every night at 9.If you were not near a radio, you rushed home or to your whip so you could hear his latest mix of hip hop, electro funk, house and of course techno, and is named by some of the hottest DJ’s in Detroit as their biggest influence. And rightfully so. If you are from Detroit, and was born before the Reagan administration more likely than not, you’ve heard his show at least twice, and if not, you need to have your “Detroit” pass revoked.

And of course, if you have been a supporter of Detroit hip hop since the early days there should be a name that should be at the top of your list of Detroit hip hop icons along with the late Proof and the late J Dilla: And that name is Billy T. From 1988 to 1996, Every weekend he played the dopest Detroit shit, you know the shit that didn’t (and still does not to this day) a second look by any other radio personality. A lot of Detroit MC’s, DJ’s and producers got their start through him. He even made that bullshit station WJLB worth listening to on Saturdays along with his partner TJ (back in the day known as the troublesome juvenile).

And finally there was the late Phil Blak. From 1996-1998, Big fella came with the fire from the D, every night. But what I respected about this brother was he kicked serious knowledge, but didnt come off as self-righteous or preachy...He came with the real. There were a few times when I personally called his show, just to request a song, and not only would he play the song I requested, but we would kick it like we had been homies for years but didn’t know each other from Adam. I always thought that was some real shit that he would be approachable to his listeners.


Jumping the shark

The beginning of the end of the glory days of Detroit urban radio came around 1994. Yes deregulation had a lot to do with it, but it also had a lot to do with the overuse of live remote broadcasting, and format changes. When Lisa Lisa (no not the extremely hot latina singer) signed off for the last time to make way for 96.3 changing from a hip hop and dance music format to lame ass alternative rock station, as well as 105.9 changing from a traditional jazz/AC station to mainstream hip hop (read: hip pop garbage) station, as well as format driven radio shows such as “old school sundays” and “the rap blast”(originated by Billy T, but continued in name after he left) being broadcasted from club pretentious asshole and the 1st-of-the-month-check-day-baller bar, while other shows like the hip hop explosion on WHYT and the B-Love show on WGPR being discontinued altogether. The last straw for me was when WHPR switched to basically an all talk/religious station some time in 1998. I havent listened to Detroit radio since.

Say that shit, bruh!!!!

Detroit is so fake! We will never be able to make it in this music industry if we dont realize how to do good buisness. Producers will no platinum records wanting to charge u for tracks that u might not be able to use anyway and then when they want to do a compilation they dont want to pay the mc's! Thats BULLSHIT!...either we all get paid or no one gets paid until we all do work worthy of payment for everyone. The KEY HOLDERS...ur next. these cats have connects and dont want to come off of them...everybody talks this Detroit unity shit but all of their mouths are closed. Im here to tell u , wont none of us be shit unless we work as a unit...every little hole of a city in america will get on before us because we are so fucking stupid! Look at us, EM got on and didnt do shit! He could at least pointed cats in the right direction but guess what? It's still not his fault because the Detroit hip hop community at large wont look out for eachother as a whole so why should he. All the cats that had deals are without them now...karma is a bitch! Lets get it together people. We know we make the best hip hop on the planet and yet we are last in line for everything...keep it up and see where it's going to get us...nowhere! PEACE OUT !

- THYMEZILLA

I'm inclined to agree. Until we get our collective asses off of our shoulders and stop being so arrogant towards each other, we will never get anywhere. And it's fucked up. I admit that it's partially because I am biased, but facts are facts. Detroit has talent up the ass, and frankly I'm tired of the bullshit from Atlanta being inflicted on me. You know why they are on top right now? They support each other. As much as I detest the music scene down there, I have to give them their props: they function as a cohesive unit. Same as the west in the 90s. I want to see my Detroit people some shine, we got the talent. But we are our own worst enemies. I understand that at the end of the day that this is a business, so therefore some of us are not on that "hook a brotha up" mentality, I'm more than happy to pay you for your services, but on the other hand you got some of these cats out here wanting to charge astronomical fees for a 16. I may be a fan of some of y'all, but I ain't even about to pay you 1000 dollars or more for one damn verse when you aint that damn famous. And then there are the people who think that they are the shit and can't be bothered to even listen to anyone else's shit...There is a certain well known DJ, a certain member of an otherwise dope hip hop jazz band as well as others who shall remain nameless (they know who they are) who has made this abundantly clear. How is that unity? How is that supporting each other when you want someone to support you but you can't be bothered to reciprocate? Am I salty? Perhaps. But does Thymezilla as well as myself have a point? Whether you want to admit it or not, you know we do.