bigted

:lolsign: Why you gotta bite for, you sound like a 2Pac wannabe! :ditto: This Numero Uno forum is for posting original lyrics, don't bring that bull**** here. :ali:

I was bumpin' that song quite a few times yesterday on my birthday, that made me feel pretty good and excited 'cause I know that time of year is comin' soon, I'm optimistic that this summer is gonna be better than the past couple summers considerin' that "Lost and Found" will be comin' out soon, I'll be having some more fun music to bump and meetin' some peeps.

Those peeps over that forum are right, you can't be mad at the playa. :lolsign: I don't think it's anything serious, u know how the media is, FP would be stupid to mess up his relationship with Jada.

A lot of those mcs in the early days of popularity really help take hip-hop to the next level in becoming a billion dollar buisiness, everyone should know who they are and they deserve some more credit and shouldn't be forgotten even if they never sell as much as they used to. I know Nelly has sold a lot but he didn't really impact hip-hop in a major way, but even though Will and LL have sold a lot, their influence on hip-hop is obvious. They should do a special on James Brown too 'cause even though he didn't have major sales, his impact really has influenced every mc in hip-hop that has picked up the mic, he was hip-hop before it was called hip-hop.

I'm really surprised that 50 would act this immature considering that that Jam Master Jay helped him make some of his mixtapes back in the late '90s, you figure that he'd learned something from one of the most positive cats in hip-hop history, I know that Jam Master Jay would be upset if he was alive right now to see 50 actin' so childish.

It's funny how some of us talk about Will likes he's some sort of God that says and does everything perfect, he's a good role model for the 'hood and Hollywood, but he's still a regular person, remember he said "Twinkle, Twinkle, I'm Not A Star". People start flippin' out when they hear that he curses and carries a gun in real life, what's the big deal, are the millions to do that really all criminals and evil people? :nhawong:

I think it'd be great if Public Enemy toured with JJFP 'cause all the younger fans that just started listening to JJFP can be introduced to another legendary hip-hop group, but all the ol' school heads still supporting would know them already of course, Chuck D can outperform these younger mcs like Jay-Z easily and Chuck D said in one of his terrordome postings that touring with JJFP was one of the greatest moments in his life.

Hey I just turned on VH1 while reading this post and they're showing "Switch" in the top 20! :thumb:

Well they did do a show on Will when "Men In Black 2" came out but it seemed they talked a lot more about his acting career than his rapping career, basically it left us with the same impression that Columbia left us of Will, there needs to be a better one on him than that. :ditto: VH1 is a mainstream channel so they won't really do one on those mcs I mentioned 'cause they ain't on the charts anymore, they did do one on Public Enemy and Run-Dmc before so it's a slim possibility, but hopefully they are on the charts again after "Lost and Found" sells 5 million and opens the doors for the ol' school and true mcs to shine again, but that happening might also be just a dream, hopefully JJFP could do another world tour with Public Enemy again 'cause they're touring again this year too, that'd be nice.

It ain't on the album is it? :dunno: What happened I thought Robin Thicke and Redman was doing the remix? This is wack! :ditto:

:werd: That looks like one of the early rhymes I did when I started, keep on working at it if u like writing and you'll improve.

U biting 2Pac's "Rebel From The Underground" there, I picked that up right away dawg, take FP's advice: "Please stop biting, please don't immitate" :lolsign:

Well PE's work is not done yet, it'd be nice to see them get some recognition again, hip-hop needs a group to bring that consciousness back, especially with all these groups out now rhyming about meaningless things and beefin'. The one thing I respect about Public Enemy the most is that they don't start beef with other rappers, they have a beef with the government that doesn't do anything for the 'hoods, rappers fightin' with each other like this will not have government peeps take the hip-hop nation serious and if another rapper gets murdered, we won't ever have a hip-hop president. btw, if anyone heard the album "It Takes A Nations To Hold Us Back" before, doesn't that guy sound like Tim Westwood who introduced the London crowd to Public Enemy in the album intro? :dunno:

Bernie Mac Show

I think it'd have to be a multiple part "Driven" to cover JJFP's career, they should do one on Rakim, Big Daddy Kane, KRS-ONE, and a few others too that came out around that time too, they did "Driven"/"Behind The Music" on some many different mcs already, I don't understand why it'd take so long for them to do one on them. :dunno: How could they do one on Nelly's career he just came out a few years ago? :bang:

So what's wrong with that? He's human, it's legal to have a gun in America. :ditto:

I can't believe it was about a year ago, I remember comin' here 2 this forum a couple weeks after my b-day last year, I've been addicted to it ever since, it's nice to see that there's peeps out there in this world that share the same love for JJFP and hip-hop as much as I do. :thumb:

Thanks for the love y'all I'm enjoying it! :switch:

-I found this over at publicenemy.com, it's an interesting read on one of my all time personal favorite hip-hop albums "It Takes A Nations Of Millions To Hold Us Back", check it out: 16 years after 'Nation', what is Public Enemy's legacy? 03/01/05 01:00 16 years after 'Nation', what is Public Enemy's legacy? By Hua Hsu, Globe Correspondent | February 25, 2005 It is a strange time to be Public Enemy. This weekend, at New York University's Clive Davis Department of Recorded Music, a conference commemorating the group's epochal 1988 album ''It Takes a Nation of Millions to Hold Us Back" gets underway, and original studio engineers and art directors, critics, activists, and Public Enemy rapper Chuck D will piece together a history of the recording and reception of what is considered to be the most forceful, if not best hip-hop album ever recorded. Meanwhile last night, VH1 aired a recent episode of ''Strange Love," a reality show that follows Chuck's Public Enemy sidekick Flavor Flav in his tireless attempts to woo the grotesque bombshell Brigitte Nielsen. It featured the always-fawning Flav showing his affections by making fried chicken for Nielsen's kids. It is hard to tell which image resonates more with contemporary listeners: the young, Reagan-era spawns dangerous with their history lessons and militant theatrics, or the veteran, Reagan-era relics hammering away at a culture that has yet to figure out how to age gracefully. Their place in hip-hop folklore is set: ''It Takes A Nation" is one of the few hip-hop albums that might warrant the hoity-toity hoopla of an academic conference; ''Fight the Power," their 1989 contribution to Spike Lee's ''Do the Right Thing," was as incendiary as the film itself; and the album ''Fear of a Black Planet," released in 1990, was a Top 10 hit despite its steady assault of jarring, relentlessly heavy beats and dark rhymes about police brutality, interracial relationships, and the lethargic response time of 911. That Public Enemy released some of the most important and controversial records of the past quarter-century is undeniable: But does the band still matter today? It is easy to view this question with today's cynicism. The hip-hop generation's investment in political matters has never seemed as strong or as unified as it did in the late-1980s, during the group's heyday. Even last year's heartening push for voter registration felt millions of years removed from the mainlined aggressions of ''Prophets of Rage" or ''Bring the Noise." Public Enemy wasn't just a political rap group; it represented the political potential of a demographic that was as yet unconscious. Its albums were threats set to rhyme -- if one could harness the free energies and disaffections of this first generation that had grown up with hip-hop, then regime change could indeed start at home. When ''It Takes a Nation" was released, Public Enemy, which then consisted of rappers Chuck D and Flavor Flav, DJ Terminator X, Minister of Information Professor Griff, and producers the Bomb Squad, was attuned to much larger cultural forces. This was the time of Reagan, Thatcher, Mandela. The Cold War was still cleaving the world into good and bad, while the War on Drugs, Tawana Brawley, and the trial of Larry Davis suggested that there was just as much happening down the street. Alongside N.W.A. and Boogie Down Productions, Public Enemy helped hip-hop see beyond its own provincialisms. ''I don't rhyme for the sake of riddlin'," Chuck boomed on ''Don't Believe the Hype." Rather, Chuck rhymed for the sake of a better world. How one got there was a whole different issue. The album starts with a brief clip of a British DJ introducing the band on a 1987 European tour in support of its debut, ''Yo! Bum Rush the Show." (A DVD documenting this tour is scheduled for an April release.) One hears Griff and the group's dancers, the S1Ws, take the stage, and the crowd howls -- the thirst for revolution is global. The songs that follow are undeniable classics. ''Bring the Noise" is a thrilling, skittering call to arms that offers an anti-history of rock as well as a call to follow Louis Farrakhan as reasons to nod your head. The hard, horn-laden swing of ''Night of the Living Baseheads" belies the fact that it is a song condemning crack addicts and one of the most powerful, succinct ones about that subject ever made. The funereal ''Black Steel in the Hour of Chaos" finds Chuck dodging the draft and laughing off the government's attempt to conscript him in the ''army or whatever." Chuck's stern, unadorned flow was perfectly complemented by Flav's twitchy non sequiturs. They both sounded brilliant over the Bomb Squad's beats, layered high with messy, antsy noise, and funk borrowed from James Brown. This was a record where the beats sounded as troubled as the rhymes. As an album, ''It Takes a Nation" is still a hip-hop anomaly; all of its pieces sound as if they were meant to function as part of a more purposeful whole. (Even the staunchest B-boys or girls will acknowledge that the concept album -- the complete, arching, hourlong statement -- has never been hip-hop's forte.) It is the definitive album from one of hip-hop's few definitive groups. But as a collection of political statements and ideas, it's hard to read Public Enemy's legacy. Like all critics, Public Enemy's power was in its ability to convince you that its causes were urgent. Chuck's no-nonsense baritone foretold apocalypse around the corner. But the apocalypse never came. Instead, controversies surrounding Griff's alleged anti-Semitism and Flav's nagging drug problem clouded the group's mission. All the years of organizing amounted to very little, and the group's fist-pumping anthems seemed to hang, stale, in the air as hip-hop fans tabled the whole revolution issue. Perhaps the fault wasn't with the group itself. ''I'm not a politician, I'm a dispatcher of information," Chuck explained in a 1988 interview. Like brother-in-arms Spike Lee, Public Enemy was always far better at rousing the masses than telling them precisely what to do. They weren't making threats about specific things; they were making threats to remind the youth that being threatening and idealistic was their God-given right. Still, with the absence of any group brave or mighty enough to follow its path, Public Enemy has come to represent the pinnacle of hip-hop politics, to old-school enthusiasts and liberal college professors alike. Sixteen years after the album shook the pop landscape, it is probably best not to take it too literally or nostalgically. Instead, linger on the unfinished thought of the title: ''It Takes a Nation of Millions to Hold us Back," but from what? This is the part of the story that is still waiting to be written. © Copyright 2005 Globe Newspaper Company.

Oh damn I guess it wasn't true after all, we got worked up for nothin'. :kekeke: Let's wait till we get the album, then we could really hear what FP's talkin' about. :ditto: Whoever posted those phoney lyrics should get jumped! :bang:

MC Hammer "Have You Seen Her"

:werd: FP would have a legit reason behind sayin' it, don't judge the song until u hear it. :ditto:

Well that's why FP doesn't curse either, his grandmother didn't want him to curse in his rhymes, but these mcs prove that tough guys don't have to curse to express their anger, of course they could literally kick your ass too. :ali: :kekeke:

It's only an intro thank god! :werd: If that was one of FP's verses, I'd be worried. As far FUQ said, yeah there's many songs out there where you could express your anger without cursin', "Mama Said Knock You Out" would be a major example. :ali:

I don't mind if the rhymes are short and have curses in 'em but that verse has no punchlines in it, that won't destroy Em, I don't believe FP could make a rhyme that weak, that's all I'm sayin'. :ditto: