“Everyone’s got to be different. You can’t copy anybody and end up with anything. If you copy, it means you’re working without any real feeling. Whatever you do amounts to nothing. No two people are alike, and it’s got to be that way in music or it isn’t music…You can’t even be like you once were yourself, let alone someone else. I can’t afford to sing the same song the same way two nights in succession, let alone 2 years or 10 years. If you can, then it ain’t music, it’s close-order drill or exercise or yodeling or something, not music.” -From, “Lady Sings The Blues,” By: Billie Holiday
“Carli, one of the leading rap record executives, and George, now the Black music editor for Billboard magazine, decided to make an all-star rap record and donate the profits to charity. They called their project the ‘Stop the Violence Movement,’ after a Boogie Down Productions’ song. Carli asked Boogie Down Productions’ youngest member, Derrick ‘D-Nice’ Jones, to produce the track. Both she and George enlisted the help of the most popular rappers in the genre: Chuck D and Flavor Flav from Public Enemy, KRS-One and Kool Moe Dee, Heavy D, the members of Stetsasonic. The young prince of rap, LL Cool J, still smarting from his battle with Kool Moe Dee, was the lone holdout; but he helped a female rapper named MC Lyte write her verse. Ann Carli’s own artists, DJ Jazzy Jeff & the Fresh Prince begged to be included, but Carli felt that their image was too ‘soft’ for the project, and might detract from the record’s credibility with the ‘hard rocks’ they were trying to reach.
Recruiting the rappers for the project turned out to be easier than securing a record deal, even with the star-studded cast. Russell Simmon’s Def Jam and Andre Harrell’s Uptown Records passed on the project, because the executives didn’t think they could make any money on it. Tom Silverman very much wanted the record for Tommy Boy, but Carli was turned off when Silverman explained to her how they could donate all the artist royalties to charity, while keeping the profits from the record’s distribution for themselves- just like EMI had done with another charity record called ‘Sun City.’
In the end, Carli came home to Barry Weiss and Clive Calder at Jive, who agreed to donate everything but the cost of the project to the National Urban League, for programs combating Black-on-Black violence.
The video for the song, ‘Self Destruction,’ was the largest-ever gathering of rappers on one record, uniting the biggest names in hip-hop for the common good. In the video, KRS-One rapped to his colleagues from a podium at Harlem’s Schomburg Center for Research in Black Culture, blaming the ‘one or two suckas, ignorant brothers’ for the violence, not the rap audience. While Kool Moe Dee contributed one of the most memorable phrases (‘I never ever ran from the Ku Klux Klan,/and I shouldn’t have to run from a Black man’), the video featured other extraordinary moments, including the sight of former adversaries Red Alert and Marley Marl standing beside each other in a cemetery, over a plot that few but insiders knew was the final resting place of DJ Scott La Rock.
The video, released in the late winner of 1989, was carried to televisions across the country by Yo! MTV Raps, and sold enough records to raise $500,000 for the National Urban League.
The Stop the Violence Movement was largely New York’s response to a local incident. Tone-Loc was the only out-of-towner to make a cameo in the video. But Tone-Loc participated in California’s answer to ‘Self Destruction’ the following year, when he, Young MC, Ice-T, MC Hammer, Digital Underground, NWA, and others joined forces to create the West Coast All Stars, and their antiviolence song, ‘We’re All in the Same Gang.’” -From, “The Big Payback” By: Dan Charnas
“This relationship between melanin and musicians recalled to mind an experience I had at Howard University twenty-five years ago. In the summer of 1971, I enrolled in a class entitled “The History of Jazz,” which was taught by Donald Byrd, the jazz trumpeter. Occasionally Mr. Byrd would invite other musicians to give the lecture. One evening, jazz guitarist George Benson met with our group and discussed his experiences in the music industry. He shared a story with the class which explained the concept of the blue note.
Most jazz aficionados are familiar with Blue Note Records, one of the most popular recording labels. R&B fans associate the word with the Philadelphia-based singing group, Harold Melvin and the Blue Notes. Blue Note was a term popularized by African American musicians, but most people outside their circle were unfamiliar with its meaning.
Benson told the story of a discussion which took place between several African American jazz musicians during a gig in France. One of the musicians said he was approached by an aspiring French musician after the completion of a set. The Frenchman confided to the brother that he had listened to his performance over several evenings and took copious notes of the music that he heard.
The Frenchman stated that when he returned home to play the music he had jotted down on pieces of paper, the music sounded strangely different. The jazz musician let out a hardy laugh and told the Frenchman, ‘the problem, my brother, is that you can’t hear the blue note.’ Benson went on to explain that during the 1930s and 1940s, African American jazz musicians referred to the blue note as a range of musical notes that only African people were capable of hearing and feeling.
The various forms of musical expressions created by Africans in America (Spirituals, Blues, Jazz, Rhythm and Blues, Rock ‘n Roll, Rap, and Hip Hop) have sustained the recording industry. The music of African Americans has given America a sense of soul music and dance that has influenced musical traditions throughout the world. This represents just one aspect of how melanin systems function in the bodies of African people.
Similar achievements have been made by African American football, baseball, and basketball players. The very nature of professional sports was transformed when teams became integrated in the 1940s, 1950s, and 1960s. Historically, African Americans were excluded from sports because of the racist, white supremacist feelings exhibited by team owners, players, and fans alike. Jackie Robinson transformed the soul of baseball and opened the door for the giants who followed. Muhammad Ali brought a flair to boxing which had not existed since the days of Jack Johnson. His talent and outspokenness made him the most recognized human being on earth. Throughout the entire history of the game of basketball, there has never been a player like Michael Jordan.
The historical record will show that African American athletes have added an element of excitement to their games which has revolutionized professional athletics throughout the world. However, one should not think that exceptional performances by Africans is limited to the stage and the sports arena. When given an opportunity to compete on a level-playing field, Africans generally excel. In light of this fact, one has to be truthful and admit that there is something unique about African people. Melanin can help explain that uniqueness.” -From, “Survival Strategies for Africans In America” By: Anthony T. Browder