JumpinJack AJ

I think racism is one of the stupidest things the human race has ever created. The amount of racism we see in the news/media/music these days is astounding. At the same time, I like the exposure it's getting for people to check themselves. I actually reminds me of the racial tension of the early 90's and how they lead to some walls being torn down. Hopefully all this nonsense leads to love. Any way, I though this article was really good. I haven't watched the video yet, but I'm going to watch it shortly... ---------------------------------------------------------------- Macklemore Participates in an Honest Conversation About Race and White Privilege in Hip-Hop By Jesse David Fox Earlier this month, Azealia Banks was on Hot 97's “Ebro in the Morning.” There, she discussed her issues with Iggy Azalea and the appropriation of hip-hop. It has since resulted in a heated exchange between Banks and Azalea, and a dialogue about race in rap music. To continue the conversation, “Ebro in the Morning” had Macklemore on the program earlier this week. The conversation is both candid and enlightening. Macklemore speaks as one of a select group: white rappers who have achieved mainstream success. When asked if he felt his race contributed to his being embraced by white radio and fans, he says, “Yes, absolutely.” He elaborates with a stirring string of questions (around the 12-minute mark): Why am I safe? Why can I cuss on a record, have a parental advisory sticker on the cover of my album, yet parents are still like, ‘You are the only rap I let my kids listen to? ... Why can I wear a hoodie and not be labeled a thug? Why can I sag my pants and not be a gang banger? Why am I on Ellen’s couch? Why am I on Good Morning America? If I was black, what would my drug addiction look like? He summarizes his point by saying, “The privilege that exists in the music industry is just a symptom of the privilege exists in America.” The entire conversation is a must-listen: passionate, thoughtful, frank. Macklemore goes as far as to literally break down how his music was promoted to radio, admitting that he went to alternative radio first as opposed to hip-hop stations. Though he refrains from discussing the beef between Azalea and Banks specifically, Macklemore does weigh in on what is at the root of Banks’s problem with Azalea (around the 35-minute mark), saying, “To me what it comes down is you need to know your place in your culture. Are you contributing or are you taking? Are you using it for your own advantage or are you contributing to the culture?” Watch below and try to ignore Macklemore’s hat. Check the video here: http://www.vulture.com/2014/12/macklemore-discusses-white-privilege-in-hip-hop.html?mid=facebook_vulture

Thank you! Voting ends tomorrow. If anyone else willing to do it, I appreciate it. It's frustrating, because as I see my play approaching the number one spot, someone from the other theater gets the competition pushed up higher. I saw the show, it was good, by mine was much better. It sucks when the art goes out the door for voting games.

I don't care if J. Cole or Dayne Jordan are newer to the game; their albums are by far superior to the GOAT 2 stuff. It all boils down to the music, and right now, LL is NOT holding up his end of the bargain as an artist.

Rap-Up TV: LL Cool J Reveals Eminem Collaboration on ‘G.O.A.T. 2’ The G.O.A.T. and Slim Shady are joining forces for one epic collaboration. LL Cool J has revealed that Eminem will be featured on his upcoming album G.O.A.T. 2. In an exclusive interview with Rap-Up TV, LL made the big announcement. “Me and Em have a song. He just recently let me hear his verse and it’s crazy. He’s chainsawing ****,” he said. “I think people are gonna be pleasantly surprised when they hear me and him on a record together.” Em, who has been vocal about LL’s influence on his career, performed a tribute to the Queens icon at 2009’s “VH1 Hip Hop Honors,” but this marks their first collaboration. “It’s our first time we ever did something together,” said LL. “This is a record that I think people are gonna be excited [about]. To miss out on this G.O.A.T. 2 album would be a travesty for hip-hop. You can’t miss this ****.” G.O.A.T. 2, which arrives 15 years after the original G.O.A.T., will also include collaborations with OGs like Raekwon (“I’m Nice”) and T.I. “We just got together, talkin’ and vibin’,” he said of working with Tip. “He had an idea that he wanted to send me and I thought it was a crazy idea, and we collaborated and put something together that I think people are gonna bug out on. It’s gonna be trippy.” The 46-year-old rapper has kept his ear to the streets and tapped some fresh talent including Fred the Godson and Troy Ave (“You Already”). “I got a lot of young gunners on this album. People that are hungry and wanna make the best music,” he said. “It’s about the beat and the bars and the rhymes. It’s about it being current and fresh and riveting, not a bunch of old, tired ’95 nugget ring bull****. It’s newness. It’s fresh.”

DAVE HOLLISTER - Spend The Night (Teddy Riley Remix) Chicago Winds...The Saga Continues (2014) https://www.youtube.com/watch?v=LOcIZ4DaOjE Man, this sounds like old school BLACKstreet. This album is soooooo good.

LL is one of my favorite emcees and always has been, but there's no reason NOT to harshly criticize this material. While he's kept a nice presence vocally, SOME of the subject matter is weak and unnecessary. The real issue though, is the production. It's wack on most of these songs. It's borderline un-listenable. Sure, it might be better than what on the radio, but real Hip-Hop isn't played on the radio at all. Unless he scraps most of these songs like he did with Authentic Hip-Hop, this album is going to be very disappointing. The kids aren't going to be checking for this because he's not Kanye, but the Hip-Hop heads aren't going to check it either because the sound is so weak. LL should be ashamed. Period. It looks like these J. Cole and Dayne Jordan albums are going to have to hold me over for awhile.

Horrible production. I like his delivery, but none of that matters when the production is this terrible. Only two of the songs we've heard so far are worthy of being an album titled GOAT 2.

LOL I was WAITING for it!

I kind of hope they pull this off. Raz-B has been an over-angered idiot over the years. Omarion has gotten more musically sloppy/common. Other than Omarion, none of them have had any real solo success. The reality show they did years ago (that you can find on YouTube) never made it to television. Truth is, these guys had a lot of good R-N-B song in their time. Immature and Chris Stokes made a lot of their stuff great, so it'll be interesting to see what they come up with without them. With Omarion messing with idiots like Rick Ross and the two rappers thugging out some of their individual stuff, and Raz B acting crazy, it'll be interesting to see if they can achieve a legit sound that isn't trying to separate them from the stuff they did when they are younger. For those of you who frown upon B2K because of how annoying their fans were on the Sony boards, they actually did have some good songs...lol --------------------------------------------------- CentricTV.com | B2K Staging A Reunion in 2015? B2K Staging A Reunion in 2015? Could Omarion, Fizz, J Boog and Raz B be gearing up for a reunion album in the new year? Justin Dwayne Joseph Posted: 12/25/2014 01:15 PM EST B2K is reuniting?! Last week, when group members Omarion, Fizz and J Boog posted a picture of their mini reunion at a Los Angeles-area restaurant, rumors of the group's comeback began to churn in the mill. But it seems those rumors have been confirmed by a very unlikely source: Raz B. The group's estranged member re-posted the photo accompanied by the caption: " I Got The Call. We'll see what's in God's will...I've been pushing this for years..." NEW MUSIC: OMARION FT. RICK ROSS - BOSS Things between Raz B and his bandmates became strained after he stepped forward with sexual assault allegations against their manager and label chief Chris Stokes in 2007. Disbanded since 2004, each member has gone on to focus on solo pursuits, the most successful of them being Omarion who has charted a string of successful hits and is currently is the star of VH1's hit reality show Love and Hip Hop: Hollywood. During their run, the R&B quartet released two albums, the last being 2002's gold-certified Pandemonium!

Thank you in advance!

Thank you, my dude! Truly appreciated.

I don't know if any of you voted, but there's four days left for voting. We are second in many categories, so if you haven't voted, and are wiling to take five minutes to do so, it can push us to the number one spot in many of these categories. Personally, I just want to see my show, Barefoot In The Park, win for best play. I'd also like to find myself hitting closer numbers in the best actor in a musical. Please consider voting in a next day or two. Thanks to everyone who votes!

I just wanted to wish everyone a Merry Christmas! Let's celebrate hope, peace, family, acts of kindness, and for those that believe, the birth of Jesus. And yes, I'm replying to an old thread rather than starting new one.

Maybe I missed this news, or maybe I just forgot about it. I think we all know The Fresh Prince of Bel-Air is based off of Benny Medina's life, and I know he worked with FP, but I don't remember the exact terms. I was on Madame Noir's website and came across this. It's interesting... Before Benny Medina outed himself, Will Smith caught wind that Benny was about to get himself caught up in a scandal involving accusations of sex with an under-aged boy. Will supposedly didn’t want his name in that mess so he fired Benny quick, fast and in a hurry. But in the end, things turned out pretty well for Mr. Medina. This is what an industry insider had to say about the situation: “Will fired Benny abruptly because a rumor was pointing to Benny as a man about to catch an case for sex with an underage boy. Allegedly the case remained under wraps because Benny handled it outside of the legal system. Benny was going to get exposed so he decided to come out the closet. Benny wasn’t happy when he dated Beverly Johnson, Beverly was his beard. Benny appeared relieved when he came out the closet, dude had a huge coming out party. It was like a gay parade, men dressed in dresses and Isht, Benny was wearing a wig that night and red lipstick. Jacky, when these guys come out the closet, they’re the happiness people you’ve ever seen.”

DIANA KRALL - What Are You Doing New Year's Eve Christmas Songs (2005) ...nobody on this board appreciates Christmas music...lol

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I was JUST gonna share this! LL Cool J And Canibus Squash Beef, Perform “4, 3, 2, 1″ At Barclays Dec 21st, '14by C. Vernon Coleman This year seemed to be the year of the squashed beef and with only days left in 2014 another deaded rift can be added to the ledger. LL Cool J and Canibus ended their long-time feud. Cool James performed at Hot 97′s XMAS Show Friday (Dec. 19) night, and brought out his one-time nemesis to perform the song “4,3,2,1,” which is ironically the track that sparked the genesis of their beef in the late ’90s. As legend has it, in 1997 Canibus penned a verse for the song that started with the line “Yo L, Is that a mic on your arm? Let me borrow that.” LL took offense and jabbed at the young upstart in his verse which lead to the beef that produced two of the dopest diss records in hip-hop history, “Second Round K.O.” and “The Ripper Strikes Back.” Now, all is well.

Well, when I first read about this, I thought Fabolous was giving props to FP, but it's actually just a standard freestyle that doesn't say too much. It opens with FP's lines from Pursuit of Happyness and ends with a really weak metaphor. BUT, for those who care... http://www.xxlmag.com/rap-music/new-music/2014/12/fabolous-will-smith-freestyle/

KELLY CLARKSON - Just For Now Wrapped In Red (2013) Not traditional at all...I love it.

When I first started reading this, I was like "why is he laying it all out like this in an interview?" Then I realized it was taken from his book. I have mixed feelings about it. I liked reading about Hip-Hop back then and the Fugees climb to the top. He satisfies the curiosity of what was going as they fell apart; though there's so much not answered. I imagine that it was therapeutic to get it all out. At the same time, my main concern is how writing that for everyone to see might impact his marriage. It looks like his bond with his wife is so strong that the truly got through the mess. At the same time, doesn't Lauryn have a say about the business you are putting out there? Writing this isn't helping the fact that forgiveness and healing is needed in the Fugees. And I wouldn't say he doesn't want people to judge him. He mostly puts the blame on himself. This makes me wonder what the Fugees reunion was like around 2005.

Wyclef Jean: I loved Lauryn Hill and my wife Fugees fans want to blame my affair with Lauryn Hill for destroying the band and harming her career. It isn't true Excerpted from "Purpose: An Immigrant's Story" I feel like an old man every time I tell a young gun what the music business was like in my day, when my group’s biggest record came out. I’m not even talking about how it was back in the days of Grandmaster Flash or even Public Enemy and A Tribe Called Quest. I’m talking about my day, which was only fifteen years ago — but that’s how much the world of music has changed. That’s a blink of an eye in the history of the business, but back then the things considered impossible today were still possible. Back then, in the nineties, a record could come out and sell 15 million copies if it struck a chord with the world at the time. Back then, radio could still make a somebody out of a nobody, and you couldn’t get recorded music for free unless you taped it live off the radio. People would line up to buy an artist’s new CD the day it came out, because to hear it, you had to own a piece of plastic with that song recorded on it. A record that talked about what was going on at the time was something that everyone had to have back then because it was more than a record: it was a moment. Dr. Dre’s “The Chronic” was one of those records. Biggie Smalls’s “Ready to Die” was one of those records. Tupac’s “Me Against the World” was one of those records. Jay-Z’s “Reasonable Doubt” was one of those records. And the Fugees’ “The Score” was one of those records. Everybody who loves hip-hop has a memory from the summer of ’96 involving one of the singles off “The Score.” Don’t even try to tell me y’all don’t. And unlike a lot of those other records, songs like “Ready or Not,” and “Killing Me Softly,” crossed over to pop fans, too. Our second album was one of those records responsible for bringing hip-hop into the mainstream, and making it the driving force in music for the second half of the nineties into today. In 1996, there was so much great music out that for us to sell 15 million records worldwide really meant something. Hip-hop and R&B were at their best that year: Biggie and Tupac had just released their masterpieces, Jay-Z was heating up, TLC was at the top of the charts with “CrazySexyCool,” and Wu-Tang had us all in check. D’Angelo’s “Brown Sugar” was out, and Michael and Janet Jackson had just dropped “Scream.” We had to have skills to take those charts by storm the way we did. The Fugees were raw talent and passion, and it shone through. The musicality was there because we had lived side by side with each other since we started rehearsing in front of that mirror back in Jersey so many years before. There was love in that music, too, the love between Lauryn and me. We had become a real couple, even though I was with someone else at the time. It didn’t matter; she and I had our own musical and romantic language, and you can hear that in the music we made together. That’s why it touched people; that’s why it’s so real. You can hear the tension in the music, all of that impossible love. It was like we knew it wasn’t going to work from the start, but we couldn’t shy away. It’s not that it was wrong; it’s just that it was too good to be true. The way we related we couldn’t sustain because it was this whirlwind of creativity, this success, this performance. It was a fantasy that we engaged in because it was almost as if the music and the group and what we were doing drew us in. It was like all of that depended on this love we shared. But it wasn’t real-life love. And we found that out—boy, did we. “The Score” is raw storytelling: it’s a candid picture of who we were and the times we were living in. We didn’t make it in a slick upscale studio; we made it in a basement in the ’hood in New Jersey. Our recordings were pure — no tricks in sight — and it connected with music fans around the world. We had built our fan base one country and one city at a time, so when we came at everyone with “The Score,” they were ready. I remember after we did the remix for “Nappy Heads” with Salaam Remi, we went out on the road to Germany to do a gig with Das EFX. It was weird. They were some big hip-hop group in a very traditional style, and we were opening up doing our thing, with all our instruments and all that. We were always about having a band and a DJ because we were so much more than just rappers: we were a group. The live instrumentation sparked our performance, because we were musicians in every way. Our drummer at the time was a cool cat named Johnny Wise, who is known for how well he plays break beats. That was his main thing; overall his drum skills were pretty unique and not exactly technically perfect. But that was all good to me, because having a nontraditional drummer was important to me. It didn’t matter if he couldn’t play rock or jazz as well as what he did with us: the point was, no one played the breaks in our songs better. When Johnny got on the set and started laying it out, L, Pras, and I lit up and we did our thing. I had to feel that shuffle beat he laid down, because I was the Cab Calloway of the Fugees, leading everyone, showing them which way we were going to move. Those German shows were unusual because no one was expecting us. We’d smash them usually, but there was one night that we were in some area overrun by skinheads. I don’t know who booked a hip-hop group in that bar, but we walked in and the word “nigger” was spray painted real big on the wall. That was an interesting welcome. Honestly, I had no idea why or how that **** got there. Coming from the States, it made no sense to me. I didn’t think racism like that existed outside of the United States, because why would it? Racism here, and that word specifically, is a product of slavery and American history. What did Germans know about “nigger”? But ****, there it was, on that wall for all to see, in the depths of this country. We were far from home but that same hate was all around us. We opened up and the show went alright, and then these German hip-hop groups played, who were dope and cool, but nothing could really offset that racism vibe that we felt the minute we walked in and saw that word on the wall. So it was a weird night. I didn’t feel like I was in danger, but I didn’t feel welcome or comfortable either, and there were all these German groups performing music that was invented by black people from the Bronx and the Caribbean. Still, I’ve got to hand it to those German rappers. I remember thinking how no one at home was going to believe me when I told them that I saw German hip-hop acts who knew what they were doing. I could hardly believe it myself. Our European travels took us to France, Iceland, England — just about every festival going on at the time — and that is how we built our name from the ground up. The funny thing was that when we landed back in New York with Das EFX, who we’d been supporting, all of us heard our song on the radio in the car on the ride home. “Yo, yo, this is the Fugees with ‘Nappy Heads,’ on Hot 97, where hip-hop lives!” We had been opening up for these guys and there was our song coming out of the radio. Apparently it had become one of the most played tracks in the few weeks we were gone and nobody had told us. Our stock had gone up from being in tenth place, playing support slots on European tours, to being the headliner right there in our hometown. That summer we played Jones Beach and I was about ready to lose my mind. It felt like we’d spent years rehearsing for that very moment, and this was something I couldn’t deny. No one could take that moment from us, standing there on that stage with the ocean behind us, playing our hearts out to a hometown crowd. All that rejection, all of that choreography learned in front of that mirror, all of it to go from a room in Germany with racist remarks on the wall to a sold-out crowd at Jones Beach. The minute I opened my mouth and sang, “Mona Lisa …” the entire audience sang the rest with me. They knew every single word. Our success didn’t come overnight, but when it came, it came faster than the blink of an eye and it was overwhelming, like the top of a roller coaster. The whole time, Lauryn and I were falling into a daring kind of love, while I was already in love with my future wife, Claudinette, across town. I need to rewind the tape a bit to explain all this. I met Claudinette when I was about nineteen, and she is a few years older than me. She was fly, she was established, she was modeling in New York, and just so she wouldn’t pass me by, I tricked her and lied about my age. I said I was twenty-two or something, so she’d go out with me. Her family is very religious and traditional, so I brought her to my dad’s church and courted her the proper way and we started dating. This was about the time when I started rehearsing with the Fugees and moved into the Booga and started spending time with Lauryn. I spent all my time with either one or the other of them, you know what I mean? Lauryn and I were pursuing a dream together, and that goal, as well as our mutual love of music, was the language that brought us together. And there was an attraction there; I’m not going to lie and act as if it was just because we spent time together that we ended up together. Lauryn’s beautiful, and because of her looks and her talent and everything we shared with each other — from songs to books to lyrics — love was bound to grow. I was with both of these incredible women at the same time, which isn’t something to be proud of but it was definitely unavoidable. I couldn’t say no to either of them. I mean it when I say I loved them both, because I did. I knew this situation couldn’t last, but I didn’t care; I was going to try to work it for as long as I could. And I think most men in my position would have done the same. I now know it ended up causing more trouble than anything — for all of us — but at the time that was the last thing on my mind. By that time Lauryn was driving and she had a Jeep, and after we worked in the studio creating, we’d take her Jeep up to Eagle Rock Mountain, which is a state park that borders Montclair and West Orange and has a view of Manhattan in certain parts. It was like Lover’s Lane where I grew up: you’d drive up there and make out and look at the stars. If you had a Jeep you could take it off the beaten path and feel like you were in nature, so we’d do that, just look at the stars and talk about our hopes and dreams. It was romantic, but my main attraction to Lauryn wasn’t just her beauty: it was her mind. Her age and what was in her head did not match up, and that’s what people always said about me. I’ve always been called an old soul, because the way I think and talk about life is the way an eighty-year-old who has seen everything would. Lauryn is like that, too, so we connected in every way all those nights under the stars. It was inevitable that we’d fall in love. Claudinette to me was like Wonder Woman: she was modeling and making money and I didn’t have a penny. When I lied to her and told her I was nineteen, she didn’t believe me. Not for a second. She knew I was a kid but she didn’t care. She was smart and going to school and I had barely graduated high school. And she believed in me; that made me feel like a million bucks. Actually I used to borrow money from her to go to the clubs because she wanted me to hear what was going on so that I could be better at what I wanted to do. She was mature and supportive — beautiful, driven, and independent. She came from a good family and she loved me as much as I loved her. She fell in love with the real me: the comedian, the character, the silly, witty kid. Before I moved into the Booga full-time, when I was still trying to live in my dad’s house, Claudinette’s family would take me in when my dad and I fought and he kicked me out. She’d hook me up with some blankets and I could sleep in their basement as many nights as I needed to. In return I got her hooked up in my dad’s church, where she began to sing and became an important member of the congregation. Our relationship was natural and it was comfortable. But on the other side of town, something else was going on. With Lauryn, just being in the studio so much together, working on our music as a team gave us an attraction toward each other. Being part of something bigger than you can do that, and sometimes there’s nothing more to the relationship. It’s like a romance on a film set that ends at the wrap party. But that wasn’t what we had. It was more than that. Spending all our time together brought us together. It started in the studio, working on those routines and our rhymes. I mean there was one time when I was around Lauryn twenty out of the twenty-four hours in a day. The thing I have to say about my wife, Claudinette, is that she supported all that hard work I was putting in. She trusted me and loved that I had a purpose, a goal, and a team to pursue that with. During that time, Lauryn and I ate, slept, woke up, ate, slept, and did music; that was our world. And when we began to tour together, every night was like a fairytale world and we were living in our dream. We’d each have our rooms but we’d always end up in the same one. It felt like that relationship was real, and it was. It was love; it was lust. It was more intense than some teenage romance, because we knew ourselves. It was the type of pure love that burns bright but burns out fast. Our friendship began as a mentorship where I taught her to rhyme and brought her into rap culture. And like I said, she ate it up. She was a natural. Pretty soon she was better than me at memorizing my own rap sheet. And her delivery wasn’t something I could teach. She became my muse; she became this creative chariot that pulled me along and inspired me to be the best artist I could be. We lusted for each other. We were making the best songs we ever had — lyrics flowing out of us — and our love was all tied up in the music. I was a big-brother figure to Lauryn until it turned romantic, and the soundtrack of our relationship is “The Score.” That album came out the way it did because of our passion. You take us both and intertwine us and put it on a piece of vinyl and that’s what you get. The emotion is real, and I believe that is what connected with so many people. We made fans out of people who had never listened to hip-hop. None of them knew what was going on behind the scenes, but they felt that passion in the music. The music came with a kiss. Our physical relationship was an important part of what inspired the music. I’m not saying that we couldn’t have made an album like “The Score” without being together physically, but I think the tension and passion and emotion that you hear in the singing was there because it’s the sound of people experiencing something. If someone is in love or sad or angry—just experiencing something intense—you hear it in the intonation of their voice. You can’t fake that. If you’re really feeling it, the vocals will sound different. Listen to Billie Holiday: even if you know nothing about her life, you can tell without a doubt that her blues are real. She is singing from a broken heart. Lauryn has that quality to her voice naturally. Think of a song like “Me and Mrs. Jones,” by Billy Paul. That track takes you there. Lauryn does the same thing, every time. Lauryn and I had a “True Romance” kind of thing: it was like we were two outlaws in love. There was a daring kind of vibe to our relationship and we always felt like it was us two against the world, each and every day. There was no going back and no surrender; we were going to defeat the odds against us. It was all tied up with the group, because at the time, she, Pras, and I lived every victory and every defeat as a unit. When people said we were whack and we needed to get back on the banana boat, it affected all of us. The three of us had made a pledge not to quit years before and we weren’t going anywhere. When the critics wrote that the girl should go solo, Lauryn’s reaction was that they could go to hell because Pras and I were her brothers. “I ain’t going nowhere,” she’d say. “We make it together or we don’t make it at all.” That kind of commitment breeds natural attraction, as does natural talent. The more Lauryn evolved as a musician, the more I fell for her. I loved her voice and always thought she was beautiful, but as she became a great rhymer and performer, I couldn’t help myself: I fell in love with her again for her skills. It felt like we shared a mind, because we’d have long conversations, all day every day, and we got to know each other deeply. Lauryn is very intelligent and she taught me a lot about things I wasn’t familiar with creatively. We were two artists speaking the same language, which is a romantic and intimate thing to share. I remember the day things changed, and it was my fault. I slipped up. We were talking about some music stuff and I couldn’t hold back any longer. “You know, you kinda attractive,” I said. “You know, you a pretty smart girl.” “Stop it, my brother,” she said. “Nah, nah, I’m serious. You a hottie.” That was the moment. It sparked a different tone in the way we spoke to each other. From there we started getting closer and flirting with each other for the first time. Little by little, that innocent flirtation became obvious attraction, and the little gestures between “brother” and “sister” became flirtation between lovers. It all changed step-by-step, the tension between us growing, until one day, it just happened. I’m the guilty party. I’m the one to blame. I definitely went for it first; I ain’t going to lie. Lauryn tried her best to keep me in that brother place. Maybe she’d thought about what would happen, too. I don’t know. All I know is that I was the one who made the move to the other mode. I knew it was wrong, too, because I was with Claudinette. And I loved Claudinette. There was just no way I could avoid falling in love with the little world of music that Lauryn and I shared. Physically falling for her was easy: she is beautiful, but there was a lot more to it. Artistically, Lauryn gave me soul music, which is where her true gift lies. She shared that knowledge with me: the Jackson 5 — the deepest part of Michael Jackson’s career — Marvin Gaye, the Delfonics, Barry White, all of the soul music I had missed growing up was our thing. That music was too explicit to be played in my father’s house, because it certainly wasn’t Christian. She opened my eyes — and that was some romantic **** to be bonding over. I remember telling her, “Every time I sing, I sound too world-music. Teach me how to sing your kind of stuff.” She’d give me lessons: R&B singing lessons from Lauryn Hill, imagine that; I don’t care who you are. She taught me circle runs, which is when a singer delivers a line in a melodic circle rather than a straight line. Instead of holding a note, you bend it, the way an R&B singer does. That’s how they get to the pain in their soul, and that’s what Lauryn taught me to do. We fell in love with each other’s minds, and it was a no-holds-barred conversation between us always. We were always together and we talked about everything. Pras still blames me for wrecking the group by getting into a relationship with Lauryn, but the truthmis if he had the option to, he would have done the same thing. Believe me, any man would. Our group chemistry was like this: Pras was the little brother, I was the big brother, and Lauryn was my girl. And it was all good — on the road at least. “The Score” is a tragic Shakespearean romance because it was destructive and all consuming at the same time. As it was coming to life, I decided to marry Claudinette. I loved her, I knew it was right, but the timing was a reaction. It was the effect of a cause that caused further effects. And further drama came with that, do you dig? It’s hard to explain, but I was in love with both of them. I was torn between the impossible love affair, the whirlwind artist romance, and the solid, good woman who demanded respect. The solid woman had her passion, too. So my life became crazy, because I was in the middle and each of them was passionate about me in different ways. One side was all bound up with music and discovery and my own self-expression.The other side was all about intellect and wisdom and helping me to mature. I did not know what to do; I just knew I had to do something. It was one of the hardest decisions I’ve ever made in my life. It wasn’t clean and simple. It’s going to be easy for people to read this and say, “Why did he do that to Lauryn? How could he not go with her? He broke up the Fugees!” I wish it were that easy to explain away, but it’s not. Claudinette was with me when I had nothing, and she stood by me and helped me to be the man that I have become — the man I wouldn’t have been without her. That man is the one who created “The Score” and “The Carnival,” and I don’t think he would have been here if he had gone with Lauryn. We wouldn’t have been the same; we wouldn’t have evolved apart if we didn’t explode together. It’s easy to listen to the music and hear the romance and love in there and think of what could have been. But the music is the best expression of my relationship with Lauryn. The rest of it wasn’t smooth at all. We were either deeply in love or fighting; there was no middle ground. It was a passionate roller coaster ride, every single day. We had fights on planes. We had the police called to a hotel where we were staying in Germany because our arguing was keeping the neighbors awake. I know fans like to believe in things like that, but they have to remember that they’re basing what they think we could have been on the Lauryn and Clef they saw in the limelight and heard on the record. The real Lauryn is much more complicated than what comes through in her art. Same goes for me. In the face of that, I went with the woman who was down-to- earth, who had always and still tells me to believe in myself, and who believes in me and what I want to achieve—even after all I’ve done and all I’ve put her through to this day. She knows all the wrong I’ve done and she’s forgiven me and we are still together, because nothing can come between the love we have for each other. Claudinette is the woman who listens to the music I make and who tells me what she thinks of it, honestly. She’s the woman who gave me money to go out to the clubs when I was still a kid so that I could learn what the music industry was about. She’s the one I’d ride my sister’s BMX bicycle across town to see before I could afford a car. There was something enchanting about Claudinette, too, because she was what I consider my first experience with a woman. She was older, she was together, and she had it all figured out. She was untouchable, but I found a way to get to her, and when I did we fell in love. My father married Claudinette and me in his church and Lauryn was there at the ceremony, the reception, all of it — and that was definitely heavy. Lauryn respected the day so there was no confrontation because I’d told her that I’d made up my mind and that was it. Of course later, when we were on the road again, I fell back into indulging myself with her. My wedding was traditionally Haitian, which is to say that it was as big a party as the Greeks have, just with a whole different flavor. Entire families come. They eat, they talk, they laugh, they tell stories, and it goes on all day and night. My dad didn’t want any dancing in his church, though, so we all had to wait for him to leave to start partying. We even went so far as to have another secret reception in another room where there was a band and everyone was dancing. My dad, of course, heard about it and showed up there, too, and he suspended the musicians in the band, and all the women he caught celebrating, from coming to church for a month. As I’ve said before, the church band was a big deal in our neighborhood, and by then those musicians were getting paid to play, so getting banned for a month was real punishment. He was a serious dude, my dad. If Lauryn and I had a rocky relationship full of breakups and make-ups before, my getting married turned up the heat 100 percent. Like I said, when we got back on the road, she and I took up with each other again, and it was crazier than ever, fueled by the fact that I was married. I tried to keep from going there, but I’ve got to be honest: I didn’t want to end my romance with Lauryn. It didn’t feel natural to stop it. It was at the heart of our music; that love between us was the soul of what we were doing. It didn’t seem right to us to be on the road creating and living our musical life without that bond between us. It was impossible for us not to be drawn back into it; we were like pieces of metal, and that thing we had as two artists on a journey together was a magnet that pulled us together beyond our control. But one day it was love, and then the next day she would be chasing me down the street somewhere like Australia, beating me to the ground out of jealousy. Lauryn would keep it all inside and act like she was cool and we would be together the way we used to be and then, bam, she’d explode without warning. It was a constant cycle. I tried my best to keep my home life out of her face and separate, because that was sure to start a fight, but even if I had done that perfectly, those blowups would have happened. That’s just who she is: she’s a deep, soulful artist and she feels everything intensely. So she might have acted like it was cool, but she was thinking about it, and when she felt that jealousy or had enough with being cool, she’d let me know about it. Didn’t matter where we were or what we were doing; if she felt something strongly, I was going to know. I had a wife at home and a girlfriend on the road. That is not a new story in the music business, but this is one more case that proves that it will never be easy. We were touring: back to living together, eating together, performing together, sleeping together. Our relationship, our intimacy hadn’t changed within that bubble, but everything outside of it had. It was hard. Every time we were together, Lauryn would ask me, “How come you’re not with me?” I never knew what to say, because part of me was with her, and but more of me was with my wife. There was the part of me that understood her the way she understood me. But it didn’t change the fact that I’d made up my mind to go with the rock, not the feather. Lauryn and I always seemed to get into the most heated conversations about our relationship while we were traveling, usually on airplanes, and it never ended well. We had huge fights, and a few times when it went down she started swinging at me right there in the seats. People would scatter. We never got arrested, but we came close a few times in Europe. It’s a good thing this all happened before the iPhone. Airport security came on the plane in Germany once to make sure we were okay and weren’t going to hurt each other. That is the way it always was; we were emotion turned up to ten. Lauryn would go from extreme passion to extreme anger with little warning. The two of us were just crazy; that’s all. She is a Gemini, and anyone who has known one intimately can tell you that they can flip like a switch. She and I started out in a friendship that was beautiful, and over time it developed into a deep romance. And since it didn’t work out — and it tore her up emotionally — a lot of people have blamed me for Lauryn’s emotional instability and artistic inconsistency afterward. It’s sad but true that she’s not been herself as an artist in the years since “The Miseducation of Lauryn Hill.” No one is more upset about that than I am. I mean it; I am her biggest fan and I always will be. I’ve been told by many angry people who are also her fans that if I hadn’t messed with her she would not have gone so insane. My response to that is: you can talk as much as you want to talk, because talking is easy, because you’re not the one who was in my shoes. You’re not the one who had to be around that beautiful woman 24/7 sharing genius space with her. We shared a creation, one made of our passion, molded into music that went out into the world and became an album that seized the times. It’s the yin and the yang; there is a give and a take. We gave of ourselves, we put ourselves together to make something, and what happened was the price we had to pay. I wouldn’t take that back if it meant taking back what we did with the Fugees. I can’t speak for her, but I hope she feels the same. Excerpted from “Purpose: An Immigrant’s Story” by Wyclef Jean. Copyright 2012 Harper Collins. Reprinted with permission.

This is the last song he dropped about six years ago. I've always love his lyrics, and his unique mix of reggae, dance hall, R-N-B, and Hip-Hop. ...but everyone knows him from songs like "Girl, I've Been Hurt"

I just shared this song in the 'What Are You Listening To Now?' thread, but this song is too good to not put in its own post. Ali Shaheed Muhammad (A Tribe Called Quest) has collaborated with emcees JaPoet and David Luke, and soul singer Merna (Ayah, who we know from her work with DJ Jazzy Jeff). All I'm going to say is that it deals with the conduct of police and that it's one of the best songs I've ever heard. There was a time when Hip-Hop music actually impacted my emotions, and this song has awoken that feeling. Do yourself a favor and listen to it/watch the video here: