Luda shows who he remains faithful to

This is Criss Angel a famous magician whom Ludacris actually features on his song "Mindfreak"

Taken from Wikipedia:

In Bram Stoker’s 1897 novel Dracula, Jonathan Harker  mentions the hand gesture in his journal (chapter 1):

5 May. […] When we started, the crowd round the inn door, which had by this time swelled to a considerable size, all made the sign of the cross and pointed two fingers towards me. With some difficulty I got a fellow-passenger to tell me what they meant; he would not answer at first, but on learning that I was English, he explained that it was a charm or guard against the evil eye.


When confronted with unfortunate events, or just when these are mentioned or suggested, a person wanting to avoid that fate could resort to the sign of the horns to ward off bad luck. It is a more vulgar equivalent of knocking on wood. Interestingly, superstitious ones can alternatively “touch iron” (tocca ferro) or touch their noses, which are not considered as vulgar alternatives, or (for males) grab their testicles (the left one with the right hand in Argentina, a country very influenced by the Italian culture), which is considered very vulgar, but is perhaps the most commonplace of the three. In Peru it is shown usually by saying contra (against). In Dominican Republic is usually used the expression zafa as a protection against curses commonly known as fukú, as well when a mention is made of someone or something believed to be involved with a curse. All of these gestures are meant to somehow conjure some supernatural power to protect the performer of the gesture. This sign may be used (e.g. in Cuba and in Italy) to indicate a man whose wife is unfaithful (probably in the very widespread traditional association of horns with a cuckold), and as with superstitions, gestures to avert harm such as knocking on wood or saying “solavaya” are commonplace.

Such gestures are typically used when a black cat crosses one’s path, when seeing a hearse (whether or not it is loaded), or when encountering any situation, object or person believed to bring about bad luck. It was once thought to prevent or distract the effects of the Evil Eye, that is of intentional or directed curses. Historically the gesture was pointed at people suspected of being witches.

William Cooper – Lucifer Worship

Published in: on June 28, 2010 at 10:27 am  Comments (5)  
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Soulja Boy closes Twitter account, Celebrities being paid to Tweet?

Now check this:

Celebrities including Nicole Richie, Kim Kardashian, Whitney Port and Audrina Patridge can reportedly earn up to $10,000 per Tweet for companies including Sony and Nestle.

According to, a company that connects Twitterers and advertisers, Kim and Soulja Boy earn that figure when they endorse products via Tweet, says E! Online.

Alias actor Greg Grunberg who donates his Tweet fees to charity, earns in the four figures per paid Tweet,’s CEO Sean Rad tells the Web site.

Who are the ultimate paid Tweeters? According to Rad the most lucrative would be Britney Spears or P. Diddy who could earn up to $20,000 per Tweet.

So, how can fans tell when a star is Tweeting for money and not just sharing information with their followers?

E! Online says that a new regulation requires celebs to disclose whether a blog post or social media post was driven by any kind of cash incentive and violators could face fines up to $11,000.

Tweets arranged through all include language indicating that the communication is an ad, but if the stars Tweet for cash on their own and fail to disclose it they’d be in breach of the regulations.

Published in: on June 28, 2010 at 9:30 am  Leave a Comment  
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Miley Cyrus’ favourite rappers are Gucci Mane and Oj Da Juiceman?

yeah right bitch

wow never heard this girl speak before she sounds like a real hick

Just clicked on another youtube vid right next to that one where she says she has never heard a Jay-Z song and that she doesn’t listen to pop music. Yet you are familiar with Gucci and Oj

yeah right bitch!!

Published in: on June 25, 2010 at 10:46 am  Leave a Comment  
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Dilla >>>>> Meka

At the risk of drawing the ire of the all-important Internets community, I’ll say that I was never the biggest Jay Dee fan. Sure, he was a great producer and I liked what he did with The Pharcyde on Labcabincalifornia, and I count Slum Village’s “Fall-N-Love” among some of my favorite songs of all time (somewhere between Mary J Blige and Smif-N-Wessun’s “I Love You” and Hall & Oates’ “I Can’t Go For That (No Can Do)”), but I never considered him to be the greatest producer of all time; that distinction I’ll always bestow upon DJ Premier.

But much like those people who’ll say the McRib is the greatest sandwich of all time when McDonald’s takes it off their menu (and not just a bizarre concoction of random animal parts mashed between some buns and a bottle of KC’s Masterpiece), the collective of hip hop hypocrites will claim that J Dilla is the greatest thing to happen to urban music since Gilbert O’Sullivan (look it up). I’ve never been convinced that most of Dilla’s fans today were purveyors of his music in the past, and seeing something like Drake perform “Climax” and get virtually an crowd full of blank stares only confirms my suspicions.

When James Yancey passed away four Februaries ago, hip hop lost a talent that was in the midst of peaking, having hitting a stride and developing his own distinct sound. Unfortunately for him he took the road less traveled, and had to deal with getting mixed up with Jermaine Dupri on many occasions, forcing the name change. Hell, I’m sure that some folks who heard Jay Dee had died confused him with the guy who brought us such awe-inspiring talents like Kriss Kross, Xscape and Bow Wow instead. Perhaps due to the manner in which he passed – cardiac arrest, unlike Big Pun’s whose heart simply gave out on him from years of abusing it – Dilla wasn’t looked at as some sort of mystical force whose life was tragically cut short due to violence.

There was even a time when Dilla was looked upon as the catalyst for A Tribe Called Quest’s breakup. Coming in when ATCQ was in the midst of their issues (never mind the fact Consequence came in around the same time as well, but to far less scrutiny), Dilla was wrongfully was accused of sabotaging their sound on Beats, Rhymes And Life when in actuality Tribe’s internal strife was what fucked up everything between them.

Seeing the way J Dilla is “appreciated” now is, quite frankly, almost sickening at times. Some of his “fans” today likely did not care about him while he was alive, and the type of faux devotion he receives from them now is just wrong. Yet I’m sure I’ll run into a few of these types at the next Donuts Are Forever party. Good grief.

Can you believe this disrespectful son of a bitch. First off he starts of by saying he was never a big fan of Dilla which is cool but the way he makes him out it’s like you made a couple of “aight” joints and that was it. DILLA’S BODY OF WORK IS INCREDIBLE (

Now it’s fine that you don’t appreciate that but many do and we have a right to claim Dilla as one of the greats because he was just because he wasn’t on MTV all day doesn’t mean shit his body of work speaks for itself. Go and listen to Busta Rhymes albums and tell me that the Dilla songs are not the best beats on the album same goes for Common.

I just recently received the “History” instrumental produced by Dilla from the good people over at Stonesthrow which is on Mos Def’s album “The Ecstatic” and nothing is fucking with that beat right now.

Dilla’s beats on Only built for Cuban Linx 2 (House of Flyin Daggers, Ason Jones and 10 Bricks) were exceptional and are now among some of Rae’s best tracks.

You have a point that alot of people not familar with his work have hopped onto the bandwagon but even so many of us TRUE HIP HOP HEADS out there knew of Dilla or Jay Dee’s work way before he died and only want to carry on appreciating his music for the short time that he was here with us. And even if you didn’t know about him till Champion Sound so what let people rep Dilla because i’d rather people jumped on the Dilla bandwagon then all over Drake’s nuts to be quite honest.

Your blog was pointless and lacked direction also you start off by saying your not a fan as if to turn your nose up at the whole thing and say what’s all the fuss about. Well let me tell you there was alot to get worked up about when my Dilla Donut Shop arrives I’ll do a mix especially for you to enjoy lol

Published in: on June 24, 2010 at 9:48 am  Comments (1)  
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Happy Birthday Tupac

North Korea's Jong Tae-Se

And in case you are wondering why I have posted a picture of a North Korean footballer it’s because he apparently is a huge Tupac fan and also drives a hummer. Plus in yesterday’s game he showed the kind of heart that Pac himself would’ve been proud off. Crying during the national anthem then playing his socks off against a much more skilled Brazilian team he ran until he could run no more. We salute you Jong Tae-Se

Now for some Pac

Published in: on June 16, 2010 at 9:21 am  Leave a Comment  
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Necro – Die / Vinnie Paz – Sounds of the Assassin (Reviews)

Ok confession time I’ve never been a huge fan of Necro mainly due to his subject matter as his beats are often pretty banging. I don’t know whether it’s today’s climate in hip hop that has made me pay attention to Necro but whatever it is I actually enjoyed this album from front to back and was pleasantly surprised at what I heard.

I was listening to an interview with him the other day and from what I understand this album is perhaps not as sadistic (for lack of a better word) as some of his previous albums so maybe that’s what did it for me either way I found more than enough heat on this album to get it playing in my itunes for a good while.

Asbestos, Die, Viva Necro, Sorcerer Of Death’s Construction and Serpent’s Bite are some of my favourites but you have to check out the Kinkpanther just for pure hilarity.


Only thing that stopped me from giving it a five is just the fact that his subject matter doesn’t wholly appeal to me but when it comes to hot beats and dope rhymes Necro has them in abundance. Also how many rappers do you know that could put out an album with no features and still keep your attention aside from MF DOOM there aren’t any I can think of.

Vinnie Pazienza is an emcee who will either bore you to sleep or make you want to start a fight personally I like abit of aggravated rap (M.O.P anyone?) to start my day and this album right here is like soundtrack to someone being repeatedly punched in the face.

Is Paz lyricist of the year? No. He doesn’t get many marks for creativity either but what he does he does well and precise and the album is littered with good punchlines over what can only be described as solid but not the most diverse or engaging selection of beats.The drums on most tracks are hard though original boom bap style and Vinnie’s grizzly voice sounds great over them it remains to be seen how much replay value this album will have in a few months but for now it’s getting heavy rotation.


Standout tracks Righteous Kill, Nosebleed, Keep on Moving and Role of Life.

Published in: on June 14, 2010 at 10:52 am  Comments (1)  
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“Moving On From The Industry (In Order To Mature It)” by Cedric Muhammad

A very interesting piece right here make sure you read it.

Oh just shut up Kweli

Kweli goes in on the whole Slim Thug situation here and to be honest I couln’t even be bothered to read all of it so I just skim read it this isn’t the first time Kweli had an opinion on rappers being criticised remember when he defended Jay Z and Kanye West when people said they were illuminati (which they fucking are).

Just shut up Kweli no one gives a fuck what you think Slim Thug is a grown ass man I know it’s hard to fathom that when he has a name like Slim Thug but he is and he’s older enough to know that what he said was some pure ignorant shit like something out of an episode of Boondocks (uncle rukus no relation).

Don’t  feel the need to defend this idiot because he represents hip hop. All this guy represents to me is stupidity, another wack rapper with a big chain who thinks he is more important than he is talking about shit he had absolutely no idea about. Don’t be surprised either if he’s just stirring up controversy for this next album that’s how desperate these faggots are now they know their 15 minutes is about to be up in a minute and they are trying to survive the only way they can.

So Kweli just shut the fuck up have a coke and smile and be on your merry way nothing to see here.

This woman Jennifer McLune wrote in her article “Hip Hop’s Betrayal of Black Women” that

The most well-known artists who represent an underground and conscious force in hip-hop like Common, The Roots, Talib Kweli and others remain inconsistent, apologetic and even eager to join the mainstream player’s club. Even though fans like me support them because of their moments of decency toward women, they often want to remain on the fence by either playing down their consciousness, or by offering props to misogynistic rappers. Most so-called conscious artists appear to care more about their own acceptance by mainstream artists than wanting to make positive changes in the culture.

Hip-hop artists like Talib Kweli and Common market themselves as conscious alternatives, yet they remain passive in the face of unrelenting woman-hating bravado from mainstream artists. They are willing to lament in abstract terms the state of hip-hop, but refuse to name names unless it’s to reassure their mainstream brethren that they have nothing but love for their music.

I think she might be right on the money.

Also I remember this piece a while back written by someone who just calls herself “Revolution Mary” entitled “Don’t Let the Name Fool you: Misogyny in Conscious Rap here’s what she had to say about a show that she saw Kweli perform at.

I tried to regroup from the disappointing I love myself and hip hop buzz-kill that Sly Boogie induced. I was sure that Talib Kweli would bring that old feeling back. He’ll make it so I can regain that I love myself and hip hop high I had just a few hours earlier. I thought to myself, I can count on Kweli to remind everyone that we women are Beautiful, like he and MJB said. He’ll tell those other MCs to respect this Brown Skin Lady. Yeah, I thought, my boy Talib will bring it back to Love, not the love, which everybody hides behind, saying they do it for the love, which implies the love of the culture, the music, or the love of hip hop. No, Talib will bring it back to plain ole love. Love shared between people, for each other, and for ourselves. Kweli will bring it back and end the show by restoring that feel-good vibe—the I love myself and hip hop feeling that’s so hard for me to hold on to these days.

Sway welcomed him to the stage and the crowd seemed as ready as I was…to get “Back to Basics”. But who was Talib’s hype man, and why was he completely ruining my Kweli experience? He was this rising comedian/actor, and it’s probably a good thing I can’t remember his name because if I could, I’d probably return The Hate U Gave!!! As Talib took a water break, ‘dude’ proceeded to rant on and on about how “there ain’t no love”. He said, “if you gonna love something, love your money” (a sentiment I heard far too many times throughout the night). He continued, “cause women are shady!” Whaaat?! “ Women are sneaky!” he said. “They’re conniving! So @#%$ love! Put your “L”s in the air for ‘life’, cause there ain’t no love!” I couldn’t believe it! While the crowd had their life-not-love “L”s up, I had my left hand, middle finger up.

It was a reactionary gesture on my part, I admit, so I clenched my hand into a fist as an act of defiance, resistance, and disapproval of what he was doing. My clenched fist was also a subliminal call to Kweli to get back on the mic and defend, protect and console me like he does in his music…But he didn’t. He just laughed and continued the show as he shrank back into a mere mortal in my once admiring eyes.

I left the show with that uncomfortable feeling that I’ve been trying for years to ignore; that I hate hip hop feeling. Why? Because apparently hip hop hates me. How am I, as a woman, a Black woman, with a keen third-eye, self-respect, and a value for the true essence of hip hop culture, supposed to embrace an art that poisons me? How can I love an art—and the artists who create it—that don’t want to love me back? How is it that I can contribute consistently to an artists’ livelihood by spending my money on their product and buying tickets to their shows, yet they don’t even honor the reason why I support them in the first place?

Frankly, I’m tired of having my love of hip hop used against me. Tired of collaborating with rappers in their disrespect of women by my support of them and their music, and I know other women (and revolutionary men) are tired of it too. I would venture to guess that women are Talib Kweli’s biggest support base. What if all of a sudden we said, no more? Would MCs then start begging the question “where’s the love” then?

I’m not suggesting any sort of boycott of Talib Kweli. This experience doesn’t mean I’m no longer a fan, and will stop supporting him. But it does mean that I’m disappointed because I know he knows better, and as a consistent buyer of his music, I feel at liberty to tell him what I think. If hip hop is a community, if it is about unity, then I think we all need to step up and check each other more often. Women need to speak up and say when @#%$ ain’t cool. As consumers of rap music and as members of the hip hop family, we have that right. Fellas need to call each other out too, like I was expecting Talib to do to his hype man. Really it’s simple. Like the purpose of the tour, it’s time…to bring it “Back to Basics” and make hip hop a communal conversation again. I know I’m not the only woman who is unwilling to be seen and not heard.

Published in: on June 11, 2010 at 9:50 am  Leave a Comment  
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An open letter to Slim Thug By Marc Lamont Hill

I saw this early but couldn’t be bothered to post about it here’s the whole interview

Here’s a quote from it

…Most single Black women feel like they don’t want to settle for less. Their standards are too high right now. They have to understand that successful Black men are kind of extinct. We’re important. It’s hard to find us so Black women have to bow down and let it be known that they gotta start working hard; they gotta start cooking and being down for they man more. They can’t just be running around with their head up in the air and passing all of us.

I have a brother that dates a White woman and he always be fucking with me about it saying, ‘Y’all gotta go through all that shit [but] my White woman is fine. She don’t give me no problems, she do whatever I say and y’all gotta do all that arguing and fighting and worry about all this other shit.’…

While many people dismissed it as a publicity stunt or the rant of an ignorant rapper, I felt compelled to respond to him in the form of an open letter.


A few days ago, you made comments in Vibe magazine that have caused a great deal of controversy. While I appreciate your willingness to offer your opinion in public, you made several statements that were not only unfair and untrue, but deeply damaging to our community. Normally, I would reach out to you privately, but since your comments were made in a very public place, I feel compelled to respond in the same manner.

As an artist who is respected by millions of fans, particularly young ones, I found your comments to be hurtful and irresponsible. For good or for bad, our children follow the lead of you and other artists for everything from fashion and slang to self-esteem, body image and relationships. Imagine how a young black girl feels to hear from you, her role model, that her “standards are too high” and that she should “bow down” and “settle for less.” Consider the pain that our beautiful brown skinned babies feel when Yung Berg says he doesn’t date “dark butts.” Think about the self-esteem of our community when Nelly refers to our mothers, sisters, and daughters as “Tip Drills.”

As celebrities, your public comments are not just your own. Instead they influence the choices, beliefs, and lives of an entire generation of young people who look to you for direction.

Of course, you have every right to say things that you think are true. The problem, however, is that there was very little truth in your comments.

In your interview, you talk about how much better white women treat their partners than black women. If what you’re saying is true, why do Whites have the highest divorce rate of any group? Do white men get tired of being treated like kings? In reality, it seems that you are buying into (and selling) a stale but dangerous ideal that constructs White women as ultra-feminine, loving, queens, and Black women as angry, selfish, and untrustworthy hoes.

Even more disturbing was your comment that “Black women gotta start being down for their man more.” Since slavery, Black women have had to withstand rape, torture, and humiliation (from both white and black men) in order to sustain their families. Now, in 2010, 1 in 3 Black men between 20 and 29 years old are incarcerated or otherwise under criminal supervision. Every day, Black women are raising children without men in the house, working multiple jobs (for less pay!), and supporting brothers as they finish their prison bids.

With Black male unemployment as high as 50 percent in some cities, sisters are often holding down households without child support or other financial assistance. Black female incarceration rates are skyrocketing, partly because Black women are “riding” for their men, hiding guns and drugs, operating as mules, and refusing to snitch to authorities. In addition, Black women are the group most likely to be victims of domestic violence and the least likely to be married. Still, in spite of all this bad news, Black women are less likely to date outside their race than Black men.

How much more “down” do you want Black women to be?

I agree with you that both brothers and sisters have work to do. Over the last year, we’ve seen countless TV shows, movies, and bestselling books telling Black women how broken they are, how ugly they are, why they don’t have a man, and how they need to  behave. Instead of adding to this pile of pain and ignorance, I would encourage you to turn the mirror on yourself. How does the image of the pimp/player/baller/dopeboy promoted in your music help to create the “gold diggers” that you badmouth in your interviews? How might your own admitted failures at monogamy undermine the type of loyalty that you find missing in Black women? Criticizing the vulnerable is easy. Working on yourself is the difficult part.

I hope you don’t take this letter as an attack, but as an act of concern and love from one brother to another. Through your fame and wealth, you have tremendous power. You can use it to hurt or to heal, to injure or to inspire.

The world is watching. What will you do?

Your Brother,

Marc Lamont Hill

Marc Lamont Hill is Associate Professor of Education at Columbia University. He blogs regularly at He can be reached at

Published in: on June 9, 2010 at 1:53 pm  Leave a Comment  
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Who dates porn bitches?

Apparently this guy does

Apparently bitches that do porn are also women too according to Murs. No shit, they also get paid to fuck someone on camera and probably have a history of sexual abuse. But hey if you want to take her back to your mother that’s your preference personally there’s not enough money in the world that will make me eat out Roxy Renolds I guess Murs didn’t see that vid of her doing some foul shit to some dude ( i seriously can’t even mention it it’s so disgusting) each to his own I guess.

Murs is like the biggest lame rapping next to Charles Hamilton they need to be paid a visit be A Pimp Named Slickback or something to school these cats on some ho business. Because taking a girl that does porn out on a date what part of the game is that?

Published in: on June 9, 2010 at 10:20 am  Leave a Comment  
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