What the Peanut Butter and Jelly Bullschitt is This?!


Ju-Par Universal Orchestra: Is Anyone Listening?
From: Moods & Grooves (Ju-Par, 1976)

Below find excerpts from AHH’s article where rapper Cam'ron explains his 60 Minutes interview and issues an apology for his comments:

"Where I come from, once word gets out that you've cooperated with the police that only makes you a bigger target of criminal violence," Cam'ron explained. "That is a dark reality in so many neighborhoods like mine across America. I'm not saying it’s right, but it’s reality. And it's not unfounded. There's a harsh reality around violence and criminal justice in our inner cities."
Despite this reality, Cam’ron is quick to say that "my experience in no way justifies what I said" on 60 Minutes.
"Looking back now, I can see how those comments could be viewed as offensive, especially to those who have suffered their own personal tragedies or to those who put their lives on the line to protect our citizens from crime," he stated. "Please understand that I was expressing my own personal frustration at my own personal circumstances. I in no way was intending to be malicious or harmful. I apologize deeply for this error in judgment."

From the heralding bowels of XXL Magazine:

Cam’Ron was white hot a few years ago in the ‘Hey Ma’ era and I honestly enjoyed listening to him more than Jigga, but since then Cam has become trash. It’s like he hasn’t pushed his style any further. If you rhyme the exact same way you did ten years ago it says to me that you haven’t grown as an artist.

Blending with Skin

The image “http://i65.photobucket.com/albums/h221/tbone999/fyocouchsmll.gif” cannot be displayed, because it contains errors.
Cold off the presses:

10 year old Chinese-English dictionary translation error blamed for “Ni&&er Brown” label describing shade of couch

Crayola’s efforts to dismantle racism

*Cold off the presses -
dilatory in reporting, as I've been bee-beaver-busy
*Does Bush eat Rice?


Complexion Protection

Richard Pryor: Black & Proud & White Folks
From: Craps (After Hours) (Laff, 1972)

The Last Poets: Black Woman
From: Right On! (Juggernaut, 1968)

Meet America, anew, not her masquerade:

U.S. Army Recruitment Command at Ft. Knox, Ky., Sergeant Marcia Ramode, assigned to the Brooklyn, N.Y., recruiting office, in an email to Corey Andrew, gay, seeking to enlist:

“…Go back to Africa and do your gay voodoo limbo tango and wango dance and jump around and jump around and prance and run all over the place half naked there...”

Writer and performer, Victor Varnado, Black albino:

"Race and racism is so arbitrary," he says. "Sometimes people see me and they think I'm 'acting black.' Once, I was in a secondhand clothing store with one of my friends and commenting on the fashion, joking: 'I need baggy pants and long T-shirts what rappers might wear.' And this white woman came up to me and said: 'I really find what you're saying offensive.' And then I said, 'I'm black,' and she was like, 'OK. It's fine.' Then she walked away."
"Recently, somebody told me this horrible stereotype, that all Chinese people know kung fu," started a joke he told on Comedy Central's Premium Blend. "And I disempower stereotypes whenever I get the chance, so for the past six weeks I've been fighting the Chinese. And what I've found is that not all Chinese people know kung fu. But most of them will hit you anyway, because, let's face it, Chinese people are very irritable. Irritable people!
"Some people hear that joke and say, 'Victor, I'm disappointed in you, because you said you hate stereotypes, but you made this horrible stereotype.' That's what people have said, but most of those people are Haitians, so whatever! C'mon. Who listens to Haitians, right?"
And then he puts his hand to his forehead and raises two fingers, forming demonic horns, and laughs like Satan.
Commenting on Varnado’s Satanic satire Mike McGowan, president of NOAH, says that since 1960 there have been at least 68 films depicting albino characters as supernatural or evil. McGowan further comments: “To give the devil his due if you're looking to make a character visually stimulating, giving a character albinism is a quick and easy way to do it," he says. "But I think it is an overused literary device, by lazy writers. Research shows that if you look at the '80s, '90s, and first years of 2000, the use of this hackneyed device increases exponentially.”

Lastly, I wish to formally introduce you to the Mandingos

*I've had the fortune of having Abiodun Oyewole, of The Last Poets, as a family friend. He was a frequent visitor to my home when I was a child.



Left most image courtesy of Monkeys For Helping

Ultramagnetic MC's: When I Burn (Prod. by Ced-Gee)
From: Critical Beatdown (Next Plateau, 1988)

Brother Soul: Cookie
From: Disco-Funk (RCA, 1975)

Today, I have an artlessly guileless pining: I want to listen to my favorite Hip-Hop album: Ultramagnetic MC’s Critical Beatdown (Next Plateau, 1988). However, this urge is dimly indistinct relative current events where:

I have no plans of meeting anyone who would nominate Ultramagnetic MC’s Critical Beatdown (CB) as their treasured Hip-Hop album as I presuppose they do not exist.
My other supposition is: Black barber shops are the litmus test for popular “Black” opinions (give or take a mofo(s) with a Planet of the Apes lobotomy or as phraseologist Ghostface Killah labels: “smart-dumb-ni&&as”).
I treated the 8th Avenue “Blend Kings” barber shop between 125 and 126 Streets in Harlem New York City, between the years 2000 and 2002, as my remote home. It was there that almost weekly I saw Ced-Gee producer (and emcee) of the entire CB album except “Give the Drummer Some” which is produced by the late Paul C. (born Paul C. McKasty) (Paul C. taught the Large Professor formerly of Main Source how to use the Akai MPC sampling drum machine). Thereupon, seeing Ced-Gee without restraint and without regard to frequency I yelled “Critical Beatdown!!! (which I sometimes closed with “the greatest Hip-Hop album ever!!!”)” which always drew obtusely angled brow raises from Ced-Gee.
In a sentence, Ced-Gee’s production on CB exceeds genius. CB and the Beastie Boys Paul Boutique (Jul. 25, 1989, Capitol) produced by the Dust Brothers are two albums that venture to use virgin samples that became Hip-Hop mainstays without compromising content and thus intent.
In a word CB and Ced-Gee for his production is historically, “unfuckwithable”.
Have a cookie (have one for Brother Soul he deserves it).

In other unrelated news:

Jon B speaks earnestly with EURweb:

"This is kind of racist, very racist," Jon said with pause: "it's even harder for black musicians to cut through in the game being that this is their music-R&B-black music-and it's hard for a black person to cut through in black music now than it is for a white person, which is absolutely ridiculous. That's kind of why I've fallen back from the game in a sense."

46 Blunts & Madlib's Motown Mix

Peanut Butter Wolf & House Shoes discussing the meeting between Dilla & Madlib in Detroit, 2001

Stones Throw Podcast #20
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Detroit's finest from another era



Selling for the same price as the original CD, Champion Sound is being re-issued with a second disc of new Madlib remixes, Instrumentals, and b-sides.
Track list

The Iron Pipeline: Walther .22 & Glock 7mm

Below find excerpts from: The Accomplices: Sundance George and Butch Reid and the Virginia Tech Massacre

Virginia Tech was just a concentrated node of a larger, nationwide killing spree that goes on day after day in the USA. Eighty-thousand Americans take a bullet from a hand gun in any year. Thirty-thousand die. That's one thousand shooting deaths off-camera for each victim at Virginia Tech.

In every state in America, a bar owner is liable to lawsuit if a bartender serves too many drinks and a customer dies in an auto accident. Hand a chainsaw to a child, you're in legal trouble. Until Bush signed the 2005 protect-the-gun-makers law, the same common law against negligent distribution applied to firearms.
Bush was aiming at Stephen Fox. Steven can describe feeling pieces of his brain fly from his skull after a mugger shot him. He's permanently paralyzed. A jury charged the makers of .25-caliber hand guns with negligent distribution - and Bush went wild.

On July 29, 2005, the US Senate passed, then Bush signed, a grant of immunity from lawsuits for Walther, Glock and other gun manufacturers.

*Cartoons courtesy of Daryl Cagle's professional cartoonists index


J-J-J-J-J-Jew Unit


According to 50 Cent, "When it comes to civil, you don’t have to worry about G-Unit. You have to worry about the J-J-J-J-J-Jew Unit. When the lawyers come out, we gonna see what it is.”

In other litigation related news:
Max Bigavell, born Charly Wingate, while holding a prison mess hall tray raps a taste about his:

  • ghostwriting for Cam'ron, Jim Jones ("Ballin'"), Brydgang, etcetera,
  • sanguinity which allows him to lampoon himself - rhyming about farina and waffles/chicken and rice and
  • nine month pregnant wife who has not received any financial support albeit a stroller from industry cronies with AHH.

*Raps a taste" - to talk candidly

Memorably Theirs: Bernard McGuirk & Sal Rosenberg

As I mentioned in my eLibrary post I am a playahata hataboard member, thusly:

Don Imus, Duke Lacrosse, and the Imaginary Double Standard

by Gumby Dammitt

Okay, so I've been thinking on this whole situation involving Imus and the "unfortunate" remarks he uttered on his radio program that fateful day over a week ago. The wake turbulence that followed leading up to the Thursday, April 12th firing of the ancient shock jock was relentless. The aftershocks will be felt for a good while. White people, whether in minority or majority numbers, seem to be very offended that Imus' remarks drew such a 'heavy-handed' response. Many are shouting from their computers and telephones and book clubs that freedom of speech is under assault. Just check the comments on this AOL News website http://newsbloggers.aol.com/2007/04/12/imus-snaps-at-sharpton/ that has followed the story. They go on for pages and pages.
Many of them blame Al Sharp ton or Jesse Jackson for Imus' fall. Imus himself, on the final broadcast before being canned by sponsors (yes, the SPONSORS fired him), wondered when Sharpton was going to apologize to the players from the Duke LaCrosse team. I'll go deeper into that later, but for now I'll identify it as a classic red herring used to further deflect blame for his situation away from himself. See, that's basically the bottom rung on the ladder from which Imus has fallen. He has yet to take ownership of the remarks that he uttered on his program. He has tossed blame everywhere he thought it would stick in order to somehow justify himself and cool the heat that was intensifying on his back. You all know what I'm talking about. It's primarily been the rising din about rappers' use of such language to defile women of color. It's been about how Hip-Hop is the true culprit here. Former ESPN Page 2 contributor Jason Whitlock has hollered it from his column at The Kansas City Star, saying that this is just another opportunity for "victimhood" that we need to resist. I've been observing this situation since it broke and no one has painted themselves as a bigger victim than Don Imus himself. And his minions have followed suit.
Check the comments section at the link I listed above or any other story like it. The White martyr mentality is in tremendous effect. Now THERE is a victim mentality that needs to be resisted. Like Spike Lee said earlier today on Steven A. Smith's show, 'don't go slitting your wrists just yet white males, you're still in control.' The quote is hilarious, but only because of its truth. Don Imus makes sexist and racist comments and people decide that they're not going to accept that from him anymore. Sponsors pull out forcing his termination from MSNBC as well as CBS radio. Somehow, Imus has become the victim in the minds of so many white Americans, himself included. An apology was offered, after initial indignation at the notion of such a thing, but never a moment of self-accountability, never a second of contrition. Why? The answer is simple. Don Imus and others of his mindset believe that he really did nothing wrong. That's because when they're enjoying one another's company away from radio microphones and the prying eyes of television cameras this is how they speak. This is how they see people of color. Then when they catch heat they blame hip-hop music like they know it, when the truth of the matter is that their cronies in the music industry promote only one style of rap music and their children gobble up in large numbers. Maybe some white youths taste is more diverse, but to many of their parents, it all sounds the same.
"30. I'm not a fan of Imus, but the double standard for Sharpton, Jackson, rappers and femanists etc. are getting out of hand. When will white males start saying enough is enough?"
You see, that's disturbing and this strikes at the heart of my commentary. So many people, primarily white males, rail against what has been termed 'political correctness' and that's a very telling thing. When you really break it down the outcry is about the right to offend and to be offensive. It's about being able to say whatever comes to your mind without censoring yourself or thinking that you may offend someone with your words. It's about rolling back the clock to the 'good old days' when a white male could voice just how little he thought of you either through media or to your face without fear of repercussion.
The fact is, if a group of people are offended by how you choose to depict them, and they tell you so, then you have some work to do on yourself, because at the end of the day it's got to be about personal growth. The friction appears when the offender resents the group they offended for voicing their displeasure with him (usually a him, but 'hers' have also been culpable). This is the problem that you have with not only Don Imus, but with especially his fan-base. He speaks to a very particular group of white males. The ones who feel somehow that they are under assault and are losing their treading in this society. Of course, these feelings are not based in reality. They are based in perception. Anyone who has observed the happenings of the world through the lens of history up to the present can clearly understand that perception tends to outweigh reality. As a result, this view dictates the avenue that any action takes, i.e.: anger at African Americans, Sharpton and Jesse Jackson, as well as the deflection of blame from Imus to the hip-hop community as a whole.
"38. When are Jesse Jackson and Al Sharpton going to North Carolina to help the wrongly accused lacrosse players in getting their reputations back? - Paul
Franco" "75. Ok Rev Jackson and the almighty Al Sharpton, now apologize to the Duke Lacross players that you accused! How is that college fund coming that you initiated for the poor black woman who was raped?? - Colleen"
So here we come back to the Duke Lacrosse tie-in. How odd that the above comments and sentiments so eloquently make my previous point. Why, it's so convenient that were I the diabolical and unscrupulous type, I might have made them up just to suit my thesis, but they are very real sentiments snatched from an AOL News comments section. Here, both a white male and female cry the same foul, but why would Sharpton or Jackson need to apologize to any of the Duke players? This is ridiculous and disingenuous, as district attorney Mike Nifong is the man behind the Duke players' ordeal (along with a mentally unstable young woman). It was his ambition and desire to be re-elected to his position that spurred him to post a case without evidence due to it's powerfully sensational nature. Sharpton and Jackson called for justice in the Duke rape case. With all charges dropped against the players, I would say that justice was rescued from peril and served in due course. I would go further to wonder if these same individuals would begrudge the exonerated players who have declined to press charges against their accuser. In all actuality, Nifong manipulated both Sharpton and Jackson, so maybe he should apologize to them.
"232. This fake outrage by the few black hypocrates who have the ear of there religious sheep use there voice to chant and spual crap agaist basicly a good man. Yet They don't seem to get that this 66 yr old man didn't get these words from a dictionary. These words came from the same race that they were used against... That don't make it right, but this outrages is so fake and blown out of proportion by these few hypocrates…"
The beat goes on and on for many pages. The above comment was lifted from page seventeen. They mostly sing the same tune in varying degrees about how Sharpton and Jackson are the devil, Imus is a good man who said a bad thing, he's not a racist, etcetera. People make these sorts of statements all the time as if that's the long and short of it. No one ever stops to think about the sexist or the misogynist with a wife or a girlfriend (or both). There are plenty. Because it isn't confirmed that Imus goes about spewing racist, sexist commentary every waking moment of his life doesn't mean he's not a racist or capable of racism. The truth is that he caters to a large faceless population that harbor very real and very strong racist sentiments. And they love and value him because he feeds them a steady diet of targets to aim their perceptions at.
He allows them to continue to live outside the lines of reality. And so now, the people who feel like they are good natured American citizens, but have that unmentionable something hiding in their belly, can rally to his defense and get off all the "black shit" that they have been trying to push down. And what's better is that they can do it anonymously via the internet without suffering any recourse. See, the truth is that while so many people decry political correctness and wail about black folks' or the hip-hop community's responsibility in all of this, they have forgotten about Imus' (nor should they forget about his producer, Bernard McGuirk or his other sidekick Sal Rosenberg). And while so many bemoan that the first amendment is under assault, they should realize that just as Imus has the right to free speech, his employers have the right to say that they will not stand by his words when they attack, and demean without provocation. It happened to Tim Hardaway and there wasn't any outcry. The N.B.A. told him that they couldn't have him as a representative of their league after the things he said about gay people. That is their right. Imus got the same treatment on April twelfth.
It was 30 years in the making, but don't you dare cry for him. That man became a millionaire jockeying what he and his legions call shock. But the question remains: is it shocking because it's hateful and mean-spirited or the other way around? Either way, exactly when did the willful offending of entire classes of people at a time become funny?
So somebody finally stood up to a man (and a mentality) that abused and offended the collective American psyche for some thirty years. Should he have been allowed to continue on his path? No, it just took three decades worth of rope for him to hang himself.
Feel free to holla at me, gumbyd[at]playahata.com

The views and opinions expressed herein by the author do not necessarily represent the opinions or position of Playahata.com.

Interesting Quote of the Day
"Knowledge makes a man unfit to be a slave."
Frederick Douglass

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Pronunciation: 'ki[ng]k, So It Goes


In other unrelated news one of my favorite authors: Kurt Vonnegut, counterculture’s novelist, dies — below find article paraphrased excerpts:
The title character in his 1965 novel, “God Bless You, Mr. Rosewater, or Pearls Before Swine,” summed up his philosophy:
“Hello, babies. Welcome to Earth. It’s hot in the summer and cold in the winter. It’s round and wet and crowded. At the outside, babies, you’ve got about a hundred years here. There’s only one rule that I know of, babies — ‘God damn it, you’ve got to be kind.’ ”
Mr. Vonnegut eschewed traditional structure and punctuation. His books were a mixture of fiction and autobiography in a vernacular voice, prone to one-sentence paragraphs, exclamation points and italics. Graham Greene called him “one of the most able of living American writers.” Some critics said he had invented a new literary type, infusing the science-fiction form with humor and moral relevance and elevating it to serious literature.
He studied for a master’s degree in anthropology at the University of Chicago, writing a thesis on “The Fluctuations Between Good and Evil in Simple Tales.” It was rejected unanimously by the faculty. (The university finally awarded him a degree almost a quarter of a century later, allowing him to use his novel “Cat’s Cradle” as his thesis.)
He was also accused of repeating himself, of recycling themes and characters. Some readers found his work incoherent. His harshest critics called him no more than a comic book philosopher, a purveyor of empty aphorisms.
In defense of his “recycling,” Mr. Vonnegut says, “If I’d wasted my time creating characters, I would never have gotten around to calling attention to things that really matter.”
During the Depression, the elder Vonnegut went for long stretches without work, and Mrs. Vonnegut suffered from episodes of mental illness. “When my mother went off her rocker late at night, the hatred and contempt she sprayed on my father, as gentle and innocent a man as ever lived, was without limit and pure, untainted by ideas or information,” Mr. Vonnegut wrote. She committed suicide, an act that haunted her son for the rest of his life.
He had, he said, a lifelong difficulty with women. He remembered an aunt once telling him, “All Vonnegut men are scared to death of women.”
“My theory is that all women have hydrofluoric acid bottled up inside,” he wrote.
His last book, in 2005, was a collection of biographical essays, “A Man Without a Country.” It, too, was a best seller.
It concludes with a poem written by Mr. Vonnegut called “Requiem,” which has these closing lines:
When the last living thing
has died on account of us,
how poetical it would be
if Earth could say,
in a voice floating up
from the floor
of the Grand Canyon,
“It is done.”
People did not like it here.

*“So it goes” is one of many Zenlike words and phrases that run through Mr. Vonnegut’s books . "SIG" became a catchphrase for opponents of the Vietnam war



In a week embedded with hurt eff, “keeping real” I’m “keeping it ‘hurt”’ – word-up baby-par/straight-jacket daddy-o.

Candi Staton: Too Hurt To Cry (Comp. by G. Jackson/R. Moore)
From: 12”?(Fame, 1971)

Susan Cadogan: Nice and Easy (Comp. by Lee “Scratch” Perry)
From: Hurt So Good (Trojan, 1975)

Nancy Halloway: Hurt So Bad
From: Hello Dolly/Paris 70’s (Concert Hall/Melodie en Sous-Soul, 1969/2002)

Little Wille John: You Hurt Me (Comp. by Darlynn/Kertis)
From: Sure Things (King, 1961)


  • ”word-up” and
  • "straight-jacket”

verify veracity and gravity, while both:

  • “baby-par” and
  • “daddy-o”

are terms of endearment to emphasize familiarity with said audience – the reader(s) (you), yet in this case both conjunctions are used to stress the invectiveness of this “hurt” entry


40 Years in the Radio Business


Below find excerpts from: Networks Condemn Remarks by Imus

This is hardly the first time Mr. Imus has made racially insensitive remarks during a broadcast. In a 1997 interview with “60 Minutes,” he said he chose one white staffer to tell racial jokes on his show. He once referred to the PBS anchor Gwen Ifill as “a cleaning lady.” And in 2001 he took a pledge, guided by the Chicago Tribune columnist Clarence Page, to refrain from making further racist comments on his program.
Mr. Imus’s defenders say that he is actually an equal-opportunity offender: Jews, gays and Roman Catholics are also his frequent targets. Yesterday’s show, on Good Friday, included a song couplet that managed to rhyme the words “resurrection” and “erection.”
Mr. McGuirk characterized the women’s collegiate basketball championship Tuesday night, between Rutgers and the University of Tennessee, as “the Jigaboos versus the Wannabes.”

Below find excerpts from: MSNBC Drops Don Imus Radio Simulcast

NBC News has decided that its cable news channel, MSNBC will no longer simulcast the Don Imus radio program, effective immediately.
General Motors, GlaxoSmithKline and Ditech.com joined the growing number of companies that have pulled their advertising from disc jockey Imus' broadcasts.
American Express
also cancelled its advertising with Imus, the Wall Street Journal reported. Late Tuesday, Proter & Gamble became the third advertiser publicly known to have pulled its ads, joining Staples and Bigelow Tea.
Imus' radio show originates from WFAN-AM in New York City and is syndicated nationally by Westwood One, both of which are managed by CBS Corp. MSNBC simulcasted the show on cable. MSNBC television and MSNBC.com are joint ventures of Microsoft and General Electric's NBC Universal News. General Electric is also the parent of CNBC.com.
Imus has apologized repeatedly for his comments. He said Tuesday he hadn't been thinking when making a joke that went "way too far." He also said that those who called for his firing without knowing him, his philanthropic work or what his show was about would be making an "ill-informed" choice.

*Cartoons courtesy of Daryl Cagle's professsional cartoon index

1st Down

Phat Kat: True Story Pt. 2
From: Carte Blanche (Look, Apr. 24, 2007) (Advance)

I was first introduced to Phat Kat through Jay Dee’s Welcome 2 Detroit (BBE, Feb. 27, 2001). My sister, Double N G Dukes, and I immediately became Phat Kat fans. Double N G Dukes spoke with Phat Kat at one of his performances. Her conversation abounded with accolades for Phat Kat.
His recent work at times has suffered from his acerbic tone whereby his battle rap gansterisms compromise his flow and word pairing. That said, I’m still a fan oscillating when his music is on.
His AllHipHop (AHH) feature interview: Phat Kat: The Upside of Anger by Omar Burgess is a Phat Kat Cliffs Notes biography which delineates his:

  • first group “1st Down” with Jay Dee,
  • first record deal with Pay Day via a chance-meeting with Gang Starr,
  • Okayplayer tour and his pending release: Carte Blanche on April 24, 2007.

This copy of True Story Pt. 2 is an advance with slight audio inconsistencies. My assumption is these sonic blemishes will encourage legitimate purchasing…

In other unrelated news Cam’ron’s rhyme book was found


Today's Comic

Ray Bryant: Stop, Look, Listen (To Your Heart)/You Are Everything (Comp. by Thom Bell & Linda Creed)
From: In The Cut (Cadet (Japan), 1974)

Rooming in off-campus housing while attending Howard University I lived with heterogeneously stratified house mates. One in particular was a parasite from South Carolina. He opened all of his retorts with, “Look, man….”
As usual the “rat” of ‘Pearls Before Swine’ and I are in accord.

Ray Bryant’s In The Cut album is very different from a lot of his other work, especially his late 60s sides for Cadet. This album features string and horn arrangements by Charles Stepney which at times are soulfully trippy yet periodically mellow. The songs are full of a majestically soulful approach that's always made Stepney a distinguished arranger. Ray also plays electric piano, dissimilar from the Fender Rhodes, on a number of songs. The collective tone is harder than his acoustic work, which provides a nice contrast to Stepney's orchestrations. Some of the songs appeal to soundtrack-esque sensibilities, in a style that makes one questions with what talent would Bryant have brought to film scores during this time.

*My review was a Dusty Groove interpolation
*Comp. - composed


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