Hip-Hop in the Central Valley: ICE CUBE

Ice Cube- the West Coast legend, surprised many by coming to perform in Downtown Modesto,  on Saturday June 27^th outside the Palladium Night Club near 10^th & J streets. Cube comes to the Central Valley celebrating 25 years as a Hip-Hop icon. “I picked up the mic in 1984” Cube stated at his concert before performing the line “I started this gangsta shit, and this the muthafuckin’ thanks I get.” Ice Cube has been repeatedly credited with birthing the popularity of “Gangsta Rap” with his early career as one of the founding members of Niggaz Wit Attitudes (N.W.A.) with Eazy-E, Dr. Dre, MC Ren, & DJ Yella. With classics like “Fuck the Police” “Straight Outta Compton” & “Gangsta Gangsta” in his portfolio and the idea he wasn’t being paid his due in his head, Cube went solo and put out some of the most politically charged albums Hip-Hop has seen. “Amerikkka’s Most Wanted” “Death Certificate” “The Predator” & “Lethal Injection” are now California classics that delved into the deepest, darkest corners of American life. From police brutality to scandalous women, Cube has a history of breaking down complex issues into language ‘the Block’ can understand and learn from. Some have even claimed that Cube’s songs predicted the LA rebellion of 1992. Cube has his own independent label Lench Mob Records (the name come from his short-lived group Da Lench Mob who put out the album “Guerillas in da Midst”) & has since come out with the group Westside Connection with blood member Mack 10 and long-time crip WC (who he performed with in Modesto). Plus, let’s not forget about his long and impressive entrepreneurial and acting career with such films as “Boyz N da Hood”  “Friday” & “3 Kings.” His 2 recent albums “Laugh Now, Cry Later” & “Raw Footage” have returned Cube to his seat as ghetto spokesman with songs like “Why We Thugs” & “Gangsta Rap Made Me Do It.” Let’s hope Cube is around for another 25 years and continues to challenge the system, the police state, white supremacy, & corporate rap.      

The Frontline- The South Richmond Hip-Hop duo (Locksmith & Left) came to the V Lounge in Merced on Sunday June 21^st for the 1 year anniversary of Teen Night. Performing their hits “Bang It” & “What It Is” The Frontline did not disappoint. Currently the Bay Area residents are set to put out their new album “Lock & Left” You can find out more on Frontline at myspace.com/thefrontline510 & more on the V Lounge in Merced at myspace.com/clubvlounge

The Underground- is Modesto’s new Hip-Hop clothing shop located at 516½ McHenry Ave (look for the graffiti) & on Saturday June 27^th they presented their first Art Show featuring paintings inside, graff in progress outside, their wide variety of Hip-Hop fashion, and a live performance from Modesto’s Grains of Sand. Stop by the store the next time you’re on South McHenry and support your local Hip-Hop business. For more info visit myspace.com/theundergroundfma                                                                                               

Kings of the Valley –was a full-clip line-up of local rappers event that went down on Saturday June 27^th at the 141 Club in Modesto. Presented by Thurm Starzz, Bid Reezy the Bo$$, & Da Other Place Barber Shop, the showcase included 209’s heaviest hitters including Cob@lt, Mr. 700, Cali Soldiers, Ill Phil, J-Namic, Defcon, C-Sik, Villian Gang, Jackpot Money, E.O.D., Vi Peech, PenPoint Ent, Young Rich & Finesse. For more info  check-out myspace.com/dabossofdavalley

Fig.MuTanT –celebrated the release of his new album “Fight or Die” at the Fat Cat on Thursday July 2^nd in Downtown Modesto. The album’s release marks the next step in what looks like a promising career for the Modesto’s MC. Opening up for Fig was a mix of UFC fighters, R&B singers, hard rock, comedians, & pure Hip-Hop. The line-up included Mike Swick (UFC), Flyboys, Bv Bridges, Nikfuq, Cob@lt, Luna J, JinChi, & Grains of Sand. Make sure and pick up that CD and get more info at myspace.com/figmutant

Agerman- was at The 141 club in Modesto this year for Independence Day. He performed his classic single “Keep It On the Real” & songs from his new album. He also brought his new group “The Staff” to bless our ears. If you don’t know, 3XKrazy was the group Keak Da Sneak was with in the 90s. The show was promoted by Savstarr & PenPoint Ent & displayed a ensemble of local acts. PenPoint Ent consisting of Roc Rolla & Miss P, blazed the stage with their new style of mixing jazz with hip-hop, while Savstarr handled their business like they always do. New to the scene was a group from Stockton named “Smoke Sqodd” led by Young Cel, they set the stage on fire, & a group from L.A. “Tall Boi Ent” In my opinion the show was a success, good entertainment and no fights or drama is always a recipe for fun. If you want to see the whole show live with interviews, check out “PenPoint’s Nightlife” on Comcast ch26 Tues. & Fri. at 10pm…WRITTEN BY THA1HANDMAN

Spice-1 –returned to the209 on Thursday July 9^th at The Spot in Stockton along with Subliminal & Amon. The show was put on by G-Stacks Entertainment & Fat Boy Productions.  Also performing that night was .40 Cal, Big Jess, Cobra of Spit Flame, Ill Phil, Bo Gz, Livin Proof, Eddi Projex, & VI Peach. The Spot id located inside the Flamingo Club at 1233 E. Charter Way in Stockton. For more info go to myspace.com/209GZUP  

The Shiznit Part 2 –was presented by K-Cizzl Productions and went down on Thursday July 9^th at Virtual in Downtown Modesto. Headlining the show was KWIN’s “Unsigned at 9” winner Alina performing her hit “Too Hot ta Touch.” Along with Hip-Hop, R&B, & spoken word, comedians Anthony K, Roberto, & Issac Ames provided the humor. Ed Jackson & Do Dirty recited poetry, DJ 5on5 came with the beats, DJ the Comedian hosted, and Livin Proof, G-Stone, Da Goonz, Jucealini, Truth B Told, Kid Carre, Jeff Geezy, Capital T, Lil Go Dummy, & A.E. rocked the microphones. To find out about upcoming K-Sizzl shows visit myspace.com/kcizzlproductions

Hip-Hop in the Park –was a guerilla-style free concert thrown together by the Revolutionary Hip-Hop Reporters Organization & The Modesto Anarcho Crew that was held on Thurday July 16^th at Graceda Park in Downtown Modesto. The theme was “Takin’ It Back” with the double meaning of taking back the park for Hip-Hop and taking it back to the good old days of art-form. Armed with only a loud stereo, a microphone, & a few CDs of instrumentals local favorites Co@lt, Nikfuq, Roc Rolla of PenPoint Ent, Writmo of the Chosen Phew Krew, Knox, DJ 5on5 & K-Cizzl held it down with a steady stream of freestyle ciphers and writtens. For RHHR & MA events check out RHHR.org & geocities.com/anarcho209                                                                         

Pep-Love –of the Oakland Hip-Hop super group Hieroglyphics stopped through at The Babylon in Fresno on Friday July 17^th. Opening for Pep was a strong line-up of underground artists like Nima Fadavi, Populus, Invarious Nature, Phaze-1, Ahymz, Science, & Eternal. For more info on those artists check out peplovemusic.com and nimafadavibeats.com

Send info on your past or future show or event to RHHRorg@live.com

RHHR’s Favorite Hip-Hop “Rolas” by: Females

Bahamadia & RAH Digga – Be OK

“mediocre rappers getting’ all this play, while the underground rappers stay around the way, even up and coming heads getting’ lead astray, but us female rappers gonna be OK”

Medusa – Pimps Down, Flows Up

“I’m like a good damagin’ dank crop, medicinal when used properly, and once in the system I swear to God there ain’t nobody stoppin’ me…I got paragraphs of math that corrected Hitler’s diagram of man”

Queen Latifah & Monie Love – Ladies First

“the ladies will kick it, the rhyme that is wicked, those that don’t know how to be pros get evicted, a woman can bear you, break you, take you, now it’s time to rhyme, can you relate to, a sister dope enough to make you holler and scream”

MC Lyte – Poor Georgie  

“Girls have you ever had a friend that you’d get with every now and then? I know for a fact George had a lot of girls, spread out from state from state around the world, as long as he was smart and kept his girls in check, made sure I never saw them and showed me respect”

Jane Doe – Bi-Sexual

“my new destiny, this stripper named ecstasy, I met her at the Lime-Light on drag night, she gave it to me oral, and made me feel sensations for hours in the plural, she made me feel real free and horny, but I had to back track, she was bi-racial mixed between smack and crack, and I like ‘em strictly black”

Lil’ Kim, Da Brat, Angie Martinez, Missy Elliot, & Lisa ‘Left-Eye’ – Ladies Night (Not Tonight)

“its ladies night what, it must be Angie on the mic, the Butter P honey got the sugar, got the spice, roll the L’s tight, keep the rhymes right, yo I just made this motherfucker up last night, and uhh, I’m the rookie on this all-star team, me and Kim is getting’ cream, like Thelma and Louise”

Lady of Rage – Afro Puffs

“let me loosen up my bra strap, and umm, let me boost ya with my raw rap, cause I’mma break it down to the nitty-gritty one time, when it comes to the lyrics I gets busy with mine, busy as a beaver, ya best believe-a, this grand diva’s runnin’ shit with the speed of a cheetah”  

Lauryn Hill – Doo Wop (That Thing)

“who you gonna tell when the repercussions spin, showing off your ass ’cause you’re thinking it’s a trend, girlfriend, let me break it down for you again, you know I only say it ’cause I’m truly genuine, it’s silly when girls sell their soul because it’s in, look at where you be in hair weaves like Europeans, fake nails done by Koreans”

Yo-Yo & Ice Cube – It’s a Man World

“first of all let me tell you my name it’s Yo-Yo, when down on a girl first the fist and that’s a no-no, Yo-Yo thinks the kitchen sink should be thrown in, niggas be schemin’ and fiendin’ to stick the bone in, no, Yo-Yo’s not a hoe or a whore and if that’s what you’re here for exit through the door”

Eve – Eve of Destruction

“doubted my skills, bet you mad now, shoulda snatched me up, I’m in L.A. now with Dre now, ain’t comin’ back cuz I’m stuck, had enough of all the bullshit and sellin’ me dreams, had enough of fake cats tryin’ to shine off these schemes, but I’m laughin’ last, down to get this cash with the Aftermath, you happy being a local superstar showin’ ya ass”

Jean Grae – Hater’s Anthem

“insane rhyme structure, flame ya brain, I blame birth, the game switched ya, made you retain a greater picture, of lame dames that couldn’t be felt with brail scripture”

Salt-N-Pepa – Ain’t Nuthin’ But a She Thing

“the thing that makes me mad and crazy upset, got to break my neck just to get my respect, go to work and get paid less than a man, when I’m doin’ the same damn thing that he can”

Apani B Fly MC, Lyric, Ayana Soyini, Helixx C Armageddon, What?What?, Pri da Honey Dark, Yejide the Night Queen, & Heroine – Estragen

“The essence of womaness, we finesse because we are, far beyond amateur, not insecure, what we’re here for has already been explained, but unless they can be us I trust there’s no way they can ever really understand, whatever, can’t let those who wait down, stop the flow of the program, release my scheme as the anti-virus vaccine, took infected MC’s before they get a chance to erase me”

T-Love – Witch Bitch

“sweet as a M&M, soft smooth feminine, but I’m hard too, don’t misconstrue, TKO, meanin’ someone T knocked-out, when I be bringin’ skills, trip out they be salty like sodium, best believe we deep in here, on the podium, clean up like a custodian”  

Lady Luck – Change

“I’m sick of Hip-Hop, I’m sick of videos, I’m sick of the playlists that’s on the radio, I’m sick of rappin’ probably why I got a crazy flow, I’m sick of bums runnin’ up askin’ me for dough, I’m sick of racism, I’m sick of politics, I’m sick of kids shootin’ up schools and colleges”

Sister Souljah – The Hate That Hate Produced

“you built this wicked system, they say 2 wrongs don’t make it right, but it damn sure makes it even…I know you nerds are wrecked to hear a woman that’s a rebel, well you heard the bass, but souljah’s the treble”

Lil’ Kim – Can’t Fuck with Queen Bee

“rocks like the street light, baby watch ‘em glow, red yellow and green, don’t know whether to stop or go, I’m a chameleon, I got many styles of rhymes, like a bottle of fine wine I just get better with time”

Foxy Brown – My Life

“ask mommy every day, when daddy gonna come? but he never showed up, I would pimp for them, became demented, then men? resented them, just the scent of ‘em made me earl, especially the baller ones tryin’ to buy me with pearls, all I needed was love, all I wanted was love, lack of love had me fallin’ for thugs, the niggas who ain’t care, just like daddy, If he ain’t care, why should they? for this ‘high price’ life, it’s the price I pay”

Vita, Duchess, Lady May, Amil, Sonja Blade, Angie Martinez, & Remy Ma – Seven Deadly Sins

“feminine when rock Dior linen, all denim, stand out in the background, you blend in, open my mouth and they respect my diction, you open your mouth and cats wanna let their kids in”

Trina – Da Baddest Bitch

“I got game for young hoes, don’t grow to be a dumb hoe, that’s a no-no, see if you off the chains, stay ahead of the game, save up buy a condo”

The Real Roxanne – The Real Roxanne

Roxanne Shante – Roxanne’s Revenge

Da Brat – All My Bitches

Missy Elliot – I Can’t Stand the Rain

Lady Sovereign – A little Bit of SHHH

Guerilla Queenz – 2 My King

Jacki-O – Pussy (Real Good)

Charli Baltimore – Pimp Da 1 U Luv

JJ Fad – Supersonic

Ladybug Mecca (Digable Planets) – Rebirth of Slick (Cool Like That)

Sarah Jones – Metaphor Play

MEDUSA: The Godmother of LA Hip-Hop

Bowdown, the Godmother of LA Hip Hop is Here: MEDUSA By Davey-D

 

Every once in a while I feel compelled to do my duty as a productive citizen and generously give back to the community. Sometimes I volunteer my time. Other times I give money. Still on other occasions I give sound advice.
Today I wanna take some time out and give some sound advice to anybody who is an aspiring artist as well as to those who have been around the block a few times. My heartfelt advice to you is as follows: If you happen to be booked for a show and the promoter has you coming on AFTER this LA based artist named Medusa… DO NOT DO IT. Have your manager re-negotiate your contract, but do not go on stage right after her. You may be able to get by if they let the deejay play an hour long set or something or you have an artist like KRS-One performing alongside you… Maybe if you’re a bit sadistic and like pain, then following Medusa might be the thing for you to do. This woman is not to be followed.

If you are a battle emcee who has won a few contests and you’re feeling good about yourself and you’re looking for new challenges-Be warned! DO NOT set your sites on Medusa. Don’t let your homies or an over ambitious promoter set you up. If you find yourself on the bill and they schedule you to go one on one with her, the best thing for you to do is call in sick. Go on vacation.. leave the building. A true friend does not let their good friends get in the ring and trade lyrical jabs with Medusa. She will cause you extreme embarrassment, lots of pain and is likely to end your career if its in front of a large crowd. This woman who is often dubbed the Angela Davis of Rap or the High Priestess is no joke. Please Believe that.

When we look back on Hip Hop history one name that we simply will not be allowed to ignore is the Gangsta Goddess, The Angela Davis of Rap, the Top Cat of the clique Feline Science, the Godmother of West coast Hip Hop-the High priestess-Bow down to the one and only Medusa. Most people know Medusa the ‘Top Cat’ of the clique Feline Science as colorful engaging pioneering sista who has been rocking packed houses here on the west coast for the past 15 years. This skilled emcee hails from the legendary night spot-The Good Life Cafe which gave birth to legendary groups like Jurassic 5, Freestyle Fellowship, Volume 10, Kurupt, WC and many many more. Anybody who was anybody paid their dues at the Good Life back during LA’s Golden Era of Hip Hop in the late 80s/early 90s

Medusa was a regular to this haunt and later Project Blowed, where she not only held her own but would routinely surpass her male counterparts. As she explained during our recent sit down, that there were many a days she had to step into the arena and battle her Good Life comrads One memorable bout involved Peace from Freestyle Fellowship who she took out during a Source Magazine battle at the House of Blues. Many who know Medusa and hear about her past wins are not surprised, this is a woman who once she gets on stage -all eyez on her and you can feel her energy down to the core. Like I said before, if you can beat a cat like Peace or even just hang with him, then you are truly-no joke…

Medusa has always been known as a cutting edge, fierce emcee who is always willing to push the envelope. This was best illustrated on another memorable evening when she first performed what is now her signature song. ‘Power to the P’ is a spoken word piece that pays tribute to the female’s private parts. Medusa wanted to see how far she could go in terms of kicking up dust while adhering to the Good Life’s strict ‘no cursing’ policy. She laughingly recalled how it shocked everyone senses because it was very descriptive, very provocative and yet still clean. “It took a minute before everyone realized what I was doing. Once people caught they started cheering and flicking their lighters”, Medusa noted. She said the sexually suggestive content prompted the owner B Hall to rise up and make her stop but that brief performance got everyone talking to this day. Long before many groups were on the scene with a live band Medusa and Feline Science were out and about in LA breaking ground. Medusa explained that she’s a child of the funk era and came up at a time when Hip Hop was still unknown in many parts. Groups like; Parliament/Funkadelic, The Barkays, Confunkshun, Brass Construction to name a few, were the order of the day.

She noted that she always wanted to fuze Hip Hop and funk and bring those two experiences to a new heights. She explained that using band allows for so much more freedom of expression. And yes her band includes a DJ. But as she noted, it was wrong for so called music critics to place limits on what Hip Hop should ultimately be. She scoffed at those who claimed Hip Hop was ONLY two turntables and an emcee with a mic. It’s so much more. Long before it was acceptable to sing while you rapped, Medusa was out in the fore-front alongside artists like Lauryn Hill,Queen Latifah and the Force MDs who came before them who were paving the way by including harmonies and melodies with their raps and re-introducing that style to the Hip Hop audience.

During Hip Hop’s pioneering days groups like Crash Crew, Cold Crush Brothers and Grandmaster Flash frequently incorporated singing with their raps. It was considered Hip Hop back in those early days and then seemingly overnight it was a practice that was seriously frowned upon. It seems like some high brow, out of touch music critics got it in their heads that singing ‘wasn’t real Hip Hop’ and they went straight to the bank with that high profile distorted definition. During the period that Medusa included singing with her group Feline Science, it was ground-breaking. Today its commonplace today as we now have everyone from Mos Def to Snoop Dogg singing as well as rapping.
For all of us who know Medusa the emcee, there are many who recall that long before she rocked the mic she was a dancer. We didn’t call those who pop-locked, strutted, tutted, robotted and all that good stuff b-boys or b-girls back in the days. But let the record note that Medusa’s been popping since the 70s. She hooked up with a dance crew called the Groove-A-trons and been dancing ever since. During our recent sit down, Medusa went into detail about what the scene was like during those early days. She explained how she first got exposed to emceeing via the song ‘Rapper’s Delight’. Later on she was inspired by watching Ice T do his thing at the now defunct Radiotron which was made famous in the movie Breakin’.

This Godmother of west coast Hip Hop took us down memory lane and spoke in great detail about west coast Hip Hop’s early days. She also went into detail about the difference between spoken word and emceeing. We later morphed into a discussion about emceeing techniques including the skill it takes to truly ride the rhythm. Medusa also spoke about the challenge many emcees have in terms of keeping their egos in check. Far too often emcees overshadow the beats that are provided to them. Medusa also broke down the challenges one faces doing the independent hustle. She feels the grind is necessary but a good thing in the end. She said the trick to being successful is to be consistent. We also talked about the challenges she faced as a woman in the male dominated industry. Medusa started off by explaining that one needs to first love themselves in order to gain confidence. She revealed that she was once incarcerated in a woman’s prison called ‘Civil Brand‘. It has since closed down. For her it was a wake-up call and she came out determined to never ever go back, but she was also made aware and tuned into the plight of women who were starting to come into prison in increasing numbers.
She talked about this experience and how it made come out stronger and the end result was Medusa becoming how she came to form Feline Science. She said that came about after she felt she was being rejected to be a member of a group called ‘Masked Men’. Years later she realized she wasn’t being rejected, but instead being encouraged to start her own group which would and did become an entity on to itself. Everyone who got down with Feline Science both men and women all took on cat names with Medusa being ‘Top Cat’.

Medusa talked about how the music industry has seemingly only given a platform to one female emcee at a time. She recalled a conversation with Rah Digga who expressed the same concern about how only one female at a time ‘gets their run’. Much of this has to do with so called critics claiming that listeners can’t really tell the differences between female emcees. It’s an idea that Medusa soundly dismissed. Medusa concluded our interview with Medusa talking about how women need to go about striking a balance between maintaining control of their art, but being willing to confidently work with folks and giving way to other ideas and perspectives when working on a project. Medusa talked about how being so rigid and controlling may have led to her not being able to work with Dr Dre. In retrospect there was a way to maintain ones credibility and still turn over control to a dope producer.

Medusa recently dropped her new album, Gangsta Goddess.
You can check her site at myspace.com/medusa

Courtesy of daveyd.com

Interview with Marcella Arguello (Very Funnny)

RHHR: Tell us, who is Marcella?

MARCELLA: I’m just a silly ass girl with a ridiculous stature.

RHHR: Who are your favorite comedians? 

MARCELLA: One of my personal favorites is Dave Attell. He is incredibly clever and has a wicked sense of humor. But I’m inspired by a lot of comics all across the board from mainstream comics like Chappell to Carlin to DeGeneres to more underground comics like Eugene Mirman to Hari Kondabolu to Natasha Leggero.

RHHR: Tell us of some of the big comedians you’ve met or shared a stage with!

MARCELLA: I was lucky enough to earn a spot opening up for Norm MacDonald, and I recently shared a stage with Mark Curry and Paul Mooney. But I’ve been lucky enough to meet Jim Gaffigan, Nick Swardson, Dave Attell, Dave Chappelle and many others. How dope is that!!??

RHHR: We met after one of your dance performances. That was tight!  Michael Jackson was one of your idols, how do you keep him alive?

MARCELLA: Michael Jackson is the reason I understand what it takes to be a true entertainer. After he passed away I brought back the impersonation for a one night only type of performance at a show I was headlining in San Francisco. However, the night before my friend, Fig Mutant, had his CD release party and really wanted me to do it then. The energy was insane both nights. Nobody can deny the power he had over audiences and the world over.

RHHR: What music do you listen to the most?

MARCELLA: I have a taste in music that spans all across the board. I’m just huge on great production so I love everything. From Regina Spektor to Atmosphere ((Ant is a genius)) to Beyonce to Ghostface Killah to Robyn to Ella Fitzgerald to No Doubt to The Blow to Edan to Kanye West to Fiona Apple to Lady Gaga to Living Legends to Jean Grae to M.I.A. to all the Salsa and Latino music I grew up on to everything! My family has different tastes, so my dad would blast The Beatles and my mom would listen to CCR and Queen and my brothers would bump Wu Tang Clan and my sister and I would listen to En Vogue and I was l only ten years old with all these varieties of brilliant music! I just love good music. And we’re lucky enough to live with it in so many forms.

RHHR: I have watched all your homemade videos on MySpace and I think you are really funny, I specially like that you keep it local. How do local issues inform your stand up?  

MARCELLA: A lot of my material has come from personal experiences that I’ve had in Modesto, but as far as discussing topical issues in my stand up regarding Modesto, it’s a little hard since I perform mostly in the Bay Area and they’re not too concerned with us. But I am very proud to be from Modesto, I am the person that I am because of all of my experiences in Modesto, be they good or bad. 209 TIL I DIE!!!!

RHHR: I understand you are coming out with a book! “Everybody Aborts!” how long have you been writing?

MARCELLA: “Everybody Aborts” is a satirical feminist book presented in the form of a children’s coloring book. It’s kind of ridiculous and took a back seat for a few months because my life has been non-stop chaos since I started it late last year but I cannot wait to put it out into the world. I think it’s an important issue that does not attain the attention it deserves, so many women have had an abortion and keep it a secret because they are either ashamed or embarrassed or something horrible but they shouldn’t be because every women and every story is different and sometimes it is the best choice.

RHHR: Do you call yourself a feminist? / What does that mean to a comedian? Are some jokes off limits?

MARCELLA: I am certainly a feminist but my comedy is not engrossed in it but the strong female perspective is there and that’s because that’s what I am!!  To me, nothing is off limits and sometimes I feel the backlash, but comedy is art and art is life and it’s all a form of being true to yourself and being honest to create the best form of art.

RHHR: You’re multi talented, how did you decide that this was going to be what you wanted to do for ever and a day? 

MARCELLA: Someone suggested it to me once and I just went for it. It made sense. I’ve always been the class clown and enjoyed being the center of attention. So, I asked, why not?

RHHR: Do you make your own videos?

MARCELLA: Yes, I make all of my own videos but recently I’ve started collaborating with other comedians because I have found a few that I work really well with. They’re so much fun to create, the writing, acting and editing, I love doing it all. Not because I think I’m talented but mostly because I’m a control freak. FACT!

RHHR: Can you give any advice to youngsters who think they want to head in your direction?

MARCELLA: Never lie to yourself. Be confident. But don’t confuse confidence with being conceited because that can be tricky! And just go for it.

Klan Officer Resigns, Neo-Nazi Deputy Jailed

Article is from the Southern Poverty Law Center’s Intelligence Report – Summer 2009 Edition

The law enforcement careers of two white supremacists ended abruptly in separate cases last January when one was forced to resign and the other was sentenced to prison on drug charges.

Fruitland Park, Fla., police officer James Elkins, 28, quit the force

Officer Elkins with Klan Leader

during an internal affairs investigation into reports that Elkins was distributing Ku Klux Klan recruiting literature. Also, a local sheriff’s office had received photos of Elkins dressed in Klan regalia, including one in which his uniform, badge and service revolver were visible beneath his unfastened white robe.

Elkins initially denied he was involved with the KKK. But after investigators linked him to a post office box that was used to send and receive Klan literature, Elkins admitted that he was the “district Kleagle,” or local recruiter, for the National Aryan Knights of the Ku Klux Klan, a small Klan group based in Englewood, Fla., some 160 miles from Fruitland Park.

“It’s an embarrassment to this department, it’s disgusting and we do not tolerate this kind of conduct,” Fruitland Park Police Chief Mark Isom told a local television reporter.

Former Yavapai County (Ariz.) Sheriff George “Buck” Buchanan apparently held a somewhat more tolerant view of white supremacist activity in 1999 when he hired Justin Dwyer as a detention officer. Internal memos show that Buchanan knew that

Deputy Dwyer

Dwyer was the former Washington state leader for Aryan Nations, a neo-Nazi group.

In that role, Dwyer had recruited racist skinheads, organized a neo-Nazi rally on Whidbey Island, and visited white supremacist Randy Weaver at his remote Idaho cabin just days before the infamous Ruby Ridge shootout and siege in August 1992. In April 1994, Aryan Nations founder Richard Butler presided over Dwyer’s marriage ceremony, held beneath a burning swastika during an Aryan Youth Conference held at the Aryan Nations compound in Hayden Lake, Idaho.

By the time he moved to Prescott, Ariz., in 1999, however, Dwyer claimed he was no longer a neo-Nazi. He got the detention officer’s job and was promoted to deputy in 2000. Whatever his ideology, though, his off-duty behavior proved less than exemplary. In September 2008, Dwyer, 41, pleaded guilty to providing alcohol, marijuana and cocaine to minors at homemade pornography viewing parties. He was sentenced last January to seven and a half years in prison, with no chance for parole.

Note: Being a white male exponentially increases one’s chance of being a police officer and a white supremacist.

The Problem with Hip-Hop…

The Problem with Hip Hop: Patriarchy, Proletarians, and Revolutionary Culture

Punk rock was the first style of music that really meant anything to me. That’s not really true, I was into grunge and radio rap for a while, but punk was the first musical culture that I felt any real affinity with. After all, punk was what lead me to anarchism, and then to class consciousness. Around the same time that I was getting into anarchism, I was also playing in bands, setting up shows, and tabling with anti-war, crimethinc, and animal rights literature at local concerts. By the time I was 18, being an anarchist within punk rock was what I considered to be the best way to get towards a freer world. I felt that the punk scene represented what could be the ‘revolutionary agent’ within society. I reasoned that this group of kids united by a love of a musical style could become radicalized, they then could go out and “do stuff.” I received a rude awakening from this hypothesis when the band I was in was invited to play with some pretty big bands like Phobia and Resist & Exist in LA and San Diego for a series of benefits for the anarcho-punk publication, Profane Existence. LA is a hot bed for anarcho-punk and crust bands. There, I watched probably a thousand kids singing along, surrounded by anarchist banners, and literature tables. Yet, despite the sea of people who were “down,” a ragged collection of a million “Support the ALF” patches, and hundreds who chanted along with the lyrics, I realized how empty all of this was.

People here were united in an aesthetic and for the enjoyment of a musical style. It was also telling to me that the people I met in the various activist groups and at places like the Che Cafe (a radical space and infoshop) largely came from outside of punk and often did not dress the part. As I became older and more involved in community based action, I discovered that people were motivated to take action against Capital based on the conditions that were imposed upon them by class society. Slowly, as I came to class consciousness, and I grew to see that in punk, not only was class largely not discussed; there was a lack of looking at one’s relationship in class society. Meaning that if you put on an Aus-Rotten record you might get schooled on what the US was doing in Columbia, but you’re weren’t going to hear about the singer’s work and why it sucked. Punks largely didn’t talk about being without money or working – perhaps this was because of the class composition of punks, or perhaps it was just because of the cultural tradition of many anarcho-punk bands. As I became older, I was introduced to other forms of music that I was not before; namely hip hop, largely through the leftist political rap group, Dead Prez. Soon, I was listening to more political hip hop than I was political punk rock, and now, I listen to mostly non-’political’ hip hop.

At this point in my life, I find hip hop to be the most class conscious form of music. By this I mean hip hop is the most clear musical style that articulates the singer’s relationship to the commodity while at the same time expressing their struggle within that relation. The narrative that is found in hip hop is something that I think all proletarians can appreciate and find resonance with, even if the image of the street hustler or an up and coming gangsta is far from your present reality. The idea that one can only beat the material conditions that are imposed upon our lives by taking risks, breaking the law, through the action of close and trusted friends (thus making the police, feds, and snitches enemies), and not hesitating to use violence to achieve such ends, is a fine narrative indeed. Because so much of hip hop is about the reality of life within poverty, ghettos, and being forced into certain situations (drugs, prisons, police brutality), it can act as a vehicle for creating class consciousness. When people understand what they go through is not their fault, but the product of a system that, in fact benefits from exploitation, then they can make a better analysis of the current system and their place within it. The problem with hip hop however, is that much of it has created what I would refer to as a ‘false class consciousness,’ that has nothing to do with abolishing our present conditions and everything about class ascension. Meaning, the goal is not to abolish class, but to rise up from the bottom and get the fuck out.

Much of the substance of hip hop is also problematic: black market capitalism, prole on prole violence, and rampant sexism. Patriarchy is perhaps the most problematic aspect of this, and one of the biggest barriers holding hip hop back from being a truly class conscious form of music. This happens for several reasons, and probably the largest driving force is, of course, the music industry that demands that rappers keep turning out hits about empty sex and booty jams. But beyond that, the narrative of most hip hop starts off firstly with that of the individual; that individual largely always being a young male, as opposed to being any young proletarian or the collective body that is the class. This young male, in his attempt to appropriate material conditions (often through criminal means), also often sees female bodies as objects that he wants to appropriate. Thus, women, like money, cars, jewels, etc, become commodities to be accumulated for the purpose of consumption. In fact, women are often seen not only as commodities, but as commodities that require the buying of even more commodities. Thus, hit after hit about buying women various objects for the purpose of acquiring them, or talking about how other males are broke, and thus less admirable suitors towards various female bodied people continues to be pumped out. It is no surprise that these songs are hits, as they reinforce the values of the culture and help to reinforce racial stereotypes of young men of color. Thus, as female bodied people are commodified into objects just like cars or jewels, it becomes necessary for them to be demonized or spoken of simply as “bitches” and “hoes.” This is done for the sake of writing them and their agency off; thus justifying their position as commodities. Since much of hip hop has written off a whole section of the class, it thus cannot truly be a vehicle for class consciousness, and thus cannot be revolutionary. There are several artists out there who attempt to fight this (for instance the Coup, “Pimps down, hoes up!”) or 2pac (who although in some songs states that he is pro-choice and pro-woman, then goes on to state things like MOB, or Money over Bitches). This further plays itself off in hip hop culture, such as in the video, or on stage, or just in the sheer lack of female emcees singing and performing. In one of the latest Young Jeezy videos, “Put On,” which includes references to the economic recession and housing foreclosure, and is an all together pretty class conscious video. The video is then shot to shit when Jeezy comes out flanked by three women who do nothing but dance around him in a provocative manner. Hip hop not only often lacks women’s voices, it silences them. By denying women the opportunity to talk about their relationship to not only class society, but also their lives within the patriarchy, hip hop in essence further strengthens those systems of domination. Until hip hop sees women as active players in their own lives, able to articulate their own needs and desires not only as people but also as fellow proletarians, it will not be fully class conscious.  

Hip hop is also further problematic, because it shapes and influences so much of proletarian and youth culture. Modern hip hop, while often antagonistic towards the police and aspects of the power structure, it does not question the nature of wage labor and commodity production. Since the late 60’s and 1970’s, the various nationalist and liberation movements that sought to organize and liberate the internal colonies in the ghettos and barrios of the United States were crushed by the US government. In the place of these groups and political parties such as the Black Panthers, self-defense crews formed into gangs. Political revolutionaries turned instead to drug trafficking. What was first seen as a movement to liberate communities, instead the focus became much more individualistic and concerned only for itself. Modern hip hop is a product of this class decomposition. The drive to accumulate material conditions and ‘fuck everyone else,’ shows this clearly. The influence of the drug game that has grown since the 1970’s and has thus influenced hip hop has spread to every t-shirt, car sticker, and rap album in the English speaking world. With the dreams of the 60’s crushed and nothing new to take its place, this new ‘false consciousness’ now parades around, offering no real opposition to Capital. While it may claim to be against snitches and the police, as long as this is only for the purpose of protecting the power and markets of the drug trade, then it will only be the musical voice of underground capitalism.

At a time of great crisis, we do need proletarian cultural forms like hip hop. While I have talked a lot of shit about it, truth be told, give a poor person a mic, and they’ll in the end give you something good, at least part of the time. Still, for hip hop to be a way to explain actual conditions and thus create class consciousness on a mass scale, it will have to leave behind much of what has been a part of hip hop culture for so long in the past. It must come to terms and destroy its patriarchal language, themes, and ways of presenting itself. It must bring female bodied people into the picture and allow them to talk about their lives as proletarians on even footing. It must turn away from being an individualistic movement, and instead focus on destroying the things which create poverty in the first place. Many new class conscious and anarchist hip hop projects exist here in

Sherman Austin

the US and in Europe, and for me are very exciting. Emcee Lynx, Drowning Dog, DJ Maletesta, Kenny Arkana, Looptroop, and Sherman Austin are all creating great hip hop music that is both revolutionary, class conscious, and also banging. Hopefully this continues and artists like this will become bigger and more popular within the class. Please, let the beat drop.

This article was submitted by “Crudo” from the Modesto Anarcho Crew. Send us your writings, ramblings, art, & poetry to: RHHRorg@live.com

BOOK REVIEW: Killing the Black Body

KILLING THE BLACK BODY: Race, Reproduction, & the Meaning of Liberty

“The social order established by powerful white men was founded on two inseparable ingredients” According to Dorothy Roberts, the author of Killing the Black Body, (Can you guess what they are?)

1. “The dehumanization of Africans on the basis of race, and
2. The control of women’s sexuality and reproduction”

That makes sense, who do you think built their wealth? What do you think they had to do to make that legit? That’s right they made LAWS and used “science”. 

In a 300 page learning experience Roberts chronologically takes you from the slave trade to today. Apparently during and after the feminist movement African women had no rights; they didn’t even own their bodies and were sold and later forced to procreate for their masters. Masters would pay $400 for a young female and later sell her and her 3 kids for $4000. “For slave women procreation had little to do with liberty” Laws, regulations and birth control have always been forced upon black women. This Feminist perspective puts on blast the mainstream feminists who were active, yet all too racist. In this book Roberts reveals how Planned Parenthood, Norplant: an awful birth control method and Welfare were all part of the master plan to establish social order for the white race.

Roberts is very specific to the conditions of the women and the stupidity that backed the evil acts of white America.  Welfare was seen as only for white women and black women were to blame for having children when they knew they could not afford them. If black women needed welfare they had to go through extreme conditions. Norplant and other deadly contraceptives were required in order to receive assistance. They even gave it to them without them knowing!! This was their population control. Crazy shit, for real this is a good read Roberts breaks it down! It’s poignant but it makes you want to question what is going on now?

The ban of the importation of slaves was in 1808, yet till this day the United States government enslaves, criminalizes and dehumanizes black and brown bodies. Women’s masters would literally rape them for profit. Now that’s not surprising right? I mean they’re raping Latina women too. Who do you think is working long hours in the field and bent over machines in the factories, we got masters too. Killing the Black Body is a great review of welfare, population control, and the terminology of the laws that dehumanize and criminalize black and brown women. Anyone interested in knowing the details of this evil plan, that has now only extended to get uglier, should read this book.

Other readings:   Ain’t I A Woman? Black Woman and Feminism and Racial Formation in the United States

 

 

Juanita Jackson: Modesto’s Black Panther

Did you grow up in Modesto? “I was born in Oklahoma and my mother moved out here to California in 1941. She migrated here for employment during the war, they had scouts out recruiting in the South, so she and grandmother and many others came out here supposedly to work in some of the defense plants, but they didn’t have any jobs for them when they got there. So my mother got a job at a cannery here, so I basically grew up here and went to school in between Ceres and Modesto. My mother purchased some land out at the Monterey Park track, that’s the only place she could purchase any property because a man had parceled off a section of land out there and sold it to minorities. The community was integrated during that time, I remember when I lived there we had an Indian family, a Chicano family, a couple of Black families, and even a Portuguese family.”

You lived in Modesto for a long time, what changes have you witnessed? I saw a lot of changes, especially in the farm labor movement, because I was heavily involved in that at the time, you know, getting drinking water for them in the fields, getting them (bathrooms), higher wages, and basic health needs that were needed. Yeah I’ve seen changes, but the roots that grow the changes haven’t changed much, we still have a select group of people who still control what goes on in this town. Whether it has to do with employment, health services, education, media, straight across the board they still control things. It’s a “good ol’ boy” network and now they’re bringing in their “good ol’ sister” network. It’s real, because if you think about it, money doesn’t really leave a family, especially in the upper echelon. They marry each other and keep that money and that power tied up.”

You eventually left the Central Valley and went to school, when did that happen? “I always did go to school whether it was vocational or otherwise, I always kept my foot in education. First I attended MJC and then Stanislaus State for a semester and they had scouts for UC Santa Cruz so I went there in 1971. I got my BA in sociology and did my teaching credential there at UC Santa Cruz also, then did some teaching myself for awhile.”

Is that when you were introduced to the Black Panthers? “Yes, in Santa Cruz, at that time it was what people would call a “radical school.” While I was there I worked with a professor named Dr. J. Herman Blake. We did research together on Alex Haley’s book and before that we were doing work with Huey (P. Newton). I had always been on the fringe of the theory and philosophy of the Black Panther Party ever since I was a kid, so being involved in Alex’s research and helping Dr. Blake write his book on the Black Panther Party I got more involved with them. They didn’t really influence my thinking about the system because I’ve always felt that way, they just fueled it.”

What other involvement did you have with the Panthers? “At that time, I don’t know if people realize how dangerous it was being involved with the Panthers because cops didn’t mind “pulling the plug on you” and that came down from J. Edgar Hoover and he just fueled it, but I would help them put on rallies and events and I attend them, I was at George Jackson’s funeral when he got killed. I was involved in some of the planning with Huey, Bobby, and Elaine and them, but I was mostly on the fringe because we were working on a different need, which was helping put that book out. (Revolutionary Suicide is the book she is referring to). I missed the situation where they went to Sacramento with the guns, I didn’t think I could deal with that, the guys didn’t want us to anyways. Their basic philosophy, those “points” that they came up with, feeding the children, education, head start, and things like that was very basic. We were trying to overthrow the government, but our main focus was trying to get the community to stand up for themselves and buck the system with our communities and we got a lot of flak from our communities. We were called ‘those crazy niggas’ because nobody could conceive of a group of black men walking into the state capitol and sitting down with the governor with guns. But my part was doing research and advocating in the community to address the needs of the community and doing things like the clothing drives, free lunches, and out of that I got involved with a group of welfare mothers in Stanislaus County that came from the Westside, and together we got the first Head Start program in the county.”

You mentioned how dangerous it was to do what the Panthers were doing, what were some of the things the government did to stop the Black Panthers? “Nationwide the Party felt very strong. Huey and Bobby and that main group, they were some heavy intellectual dudes. They attended college and organized themselves. They read everything across the board, they researched different revolutionary groups and individuals and they researched the system, we didn’t have to study it too much because we experienced it. (J. Edgar) Hoover let it be known that he could kill without regards to any consequences. He sent the word down to ‘shoot to kill’ and they raided and slaughtered some of us. They were our enemies, they murdered us, wholesale murder, and had no conscience or feelings or concern about it. They continually tried to brainwash our people so the majority of the black middle-class were not there to support us, and that was a hard pill for us to swallow, because we felt we were trying to look out for their future generations. They brought mass amounts of drugs into predominately black communities. Now look what we have, drugs in every poor community across the board. That’s why I say we’ve had changes, but the roots of the problems, the evilness, is still there. Whether its capitalism, racism, sexism, all these ‘isms’ it’s still there and it divides us. We were discussing that years ago in the (Black Panther) Party, how the systems manipulates minds by pitting people against each other. And it’s all for the bottom line of making money. They still do it, with the kids, they say ‘it’s the hyphy movement’ or ‘it’s Hip-Hop’ or ‘it’s the kids in the gangs.’ They got us in a slave mentality and slavery was based on indoctrination and misinformation.”

What can Modesto and the Central Valley learn from the Black Panthers? How can we use their lessons to create change here? “First of all, I’ll start with gangs. Gangs are real organized, some of them are really smart. They have organizational skills, if they weren’t labeled a detriment to the country they could have been on Wall Street, but the system gave them the crumbs down at the bottom, which was the drugs. And they’re even limited on that money because the real money made off of drugs is up at the top. In Modesto what I want to see is all the different factions of OGs, from blacks, Chicanos, Asians, and whites, could come together and invest some of their money and invest it into the youth. They need to come together and address issues like the penal system, especially since a lot of them go to jail eventually. Be role models for the younger ones. Do something with them. Don’t just sit around. If I was a male I could be better at it, they don’t want to listen to me, they say “you don’t understand grandma” and I do understand. I know a lot of these guys and they act tough and have their swagger, but I also know they have a heart. The OGs have the respect to talk to them, they get more respect than the law enforcement. Law enforcement used to be able to do what they want but now they’re targets. Cops are going to start getting picked off like they do to kids and like Hoover did to the Black Panthers. I say that because once I saw, right here in Modesto, a cop intimidated an 11 year old kid, he told him to sell some drugs for him and the kid wouldn’t. So the cop told him to run down an alley and then shot bullets over his head as he ran. What do you think that does to a kid that young and the community that the kid lives in. They get older and want to get back at the police. So my main point is I want the OGs to organize, all of them, and work against the system. It doesn’t have to be with guns, sometimes it’s better to use the power of the people.”

12 Questions with DJ 5on5

Anthony G aka DJ 5on5 is a local entertainer on the wheels of steel aka the backbone of Hip-Hop. In addition to rockin’ a party, 5on5 also spends his time working & volunteering for The Haven Women’s Center of Stanislaus. According to their web-site, “the Haven is a non-profit, bi-lingual organization consisting of a group of dedicated staff and volunteers who share their time by helping victims of domestic violence and sexual assault. “ RHHR recently asked DJ 5on5 about his dual role as an entertainer & activist for a cause.

 RHHR: Give us brief overview of the Haven (what where, how, etc…)

Haven women’s center is an organization that offers various services to those who need help in a domestic violence or sexual assault situation. We have a legal dept. that assists with obtaining a DV (domestic violence) restraining order. We have a counseling dept. that specializes in 1on1 or group counseling. And a shelter program where we can put a client in an undisclosed location if they are in a life threatening situation.

How do you see your role in Hip-Hop?

Well being a DJ I’m the one who provides the music that people want to hear. With that advantage I try my best to educate them about the difference between club songs and hip hop.

What is your role at Haven?

To provide help for those in need. To help spread equality in a world of ignorance. To help the youth understand how to respect women, maintain healthy relationships and self care.

How are they related, the same, different?

They are both fighting for the same cause, which is PEACE. The only difference is they both focused on different issues. 

What do you say to critics who say Hip-Hop is degrading to women?

One word IGNORANT! Just because a few gangster rappers (who commonly referred women as bitches) made it on the radio, doesn’t mean they speak for the whole hip hop nation. There are plenty of rappers that use hip hop to help spread peace, unity, harmony and equality.

How do you see the role of women in Hip-Hop (the way it is and the way it should be)?

There shouldn’t be a role for any one. If you rap… then you rap, if you break dance… then you break dance, if you tag… then you tag, if you DJ… then you DJ. If you do any of these then you’re a part of hip hop regardless of your sex, ethnicity, religion or culture.

What do you think of the 2Pac song “Wonder Why They Call You Bitch”? Does he make any good points?

That one right there is a powerful track. Basically the women that tupac refers to as a bitch are the ones who don’t have their priorities straight, and would rather sleep with a man for money instead of respecting themselves and getting educated for a better future.  Now me personally… I feel the word bitch is more of a personal developed opinion about one particular person.  For example, if a man approaches everyone with cruelty, negativity and no self respect or manners, then he is commonly considered an “asshole” to society.  Same thing goes for a woman. If she approaches everyone with cruelty, negativity and no self respect or manners, then she is commonly considered a “bitch” to society.

How did you feel when the whole Rhianna/Chris Brown situation happened?

The same way I feel about the hundreds of domestic violence victims that are hospitalized every day…… why is everyone focused on the topic now when it has always been a problem!?!?

What message do you have for the youth (boys & girls) who listen to Hip-Hop and may be influenced by its negative portrayal of women?

Don’t be a leaf in the wind! Just because everyone is listening to the radio doesn’t mean that is the only music out there! If there are no political views, no story, and no form of knowledge being dropped then it’s not hip hop!

How can we change the views people have about Hip-Hop as well as make Hip-Hop’s message more positive toward women?

Stop making MONEY the motivation to create music! RAPPERS take a second to realize the power and talent you all have! You already got the kid’s attention now use it to bring peace and knowledge to the world!

How can women use the Haven to get the help they need?

Haven basically works off of the client’s consent. When the person feels they are ready, then they can contact Haven.

Is there anything else that is important you feel should be discussed? 

These views and expressions are those of DJ 5on5 only, and not the views and expressions of the organization HAVEN WOMEN’S CENTER

ALINA: The Voice of Modesto R&B

You’re from Modesto, were you born here? No, I was born in San Francisco. I’ve lived in Modesto for about half my life.

When did you start singing? When I was about 5 years old.

Wow, that’s young, who inspired you to sing, both professionally and personally? I’d have to say when I was younger my influences were Mariah Carey and Whitney Houston. Personally my two biggest inspirations were my mother and my grandfather.

Were you affected by the recent loss of Michael Jackson? Yeah, I’ve always admired him. His dancing, everything, his perfection, he always choreographed everything perfect.

How is being a part of the Hip-Hop & music scene in Modesto? Do you get love? Out here it could be better, I get a lot of love, I get love in the Bay Area too. The venues are great, most of the events put together here are awesome, but I think it might be better for rappers. It’s a little harder for upcoming singers to get local support. The more and more I perform, and since I was on KWIN, it has helped boost up the crowd more. Now that they’ve seen me progress I get more feedback, but I’d like to see more support for local artists who are hustling to make it up there.

KWIN hooked it up? Yeah, I won a $20,000 promotional package from them and they’ve been a big part of getting me exposure.

Now you got money to make the album, when can we expect that? The album is not out yet. I’m not going to release it until all the songs are recorded, mixed, and mastered and we got all my best stuff ready. It should be ready by the end of this year.

What’s it going to be called? ‘Peace of Mind’ Peace is actually my middle name.

Who are you working on it with? I’ve worked with Izakane on the single “Too Hot Ta Touch” and also with Cuzin Shawn, he’s a really good producer. If anybody needs any beats they should hit him up. They’re both very talented and local.

What other local rappers do you like? I really like this rapper called Filthy Tone, he’s from Stockton, but he comes down here (to Modesto) and performs sometimes, he’s good.

Alina & Baby Bash

How was opening for Ice Cube? It was amazing! It was one of those shows where I just felt really good, being able to show a crowd that size my talents.

Who else have you opened for? I performed at LatinFest with Baby Bash, Frankie J, and Pitbull.     

You’re only 20, so you got a long future ahead of you, where do you want to be in 5 years? I would like to have already made it as an artist myself and start helping other people that want to be singers. There are a lot of artists that have made it and they don’t really go out and help other artists pursue their careers. I mean, if you have the money and the tools to help young artists that have talent then why not. I would love to have a record label, sign people, change people’s lives and make them see anything is possible.

How does your Puerto Rican heritage and culture influence your music? Do you feel like you want to be a role model for younger Latinas? Latinos give me a lot of support and it really helps out a lot to have that, it’s really cool. As far as a role model, my main goal is put out really good positive music for the younger people, so they can feel the music but it’s not influencing them in bad way.

Where do you want to be 10 years from now? I still want to be doing my music because that’s what I love to do, but other than that I would like to help out, and I know it sounds cheesy and everybody always says it, but I want to help find cures for diseases like AIDS in Africa, you know, have a charity and try to help.

Are you interested in being on the business side of things? No, not really, honestly I don’t like to deal with that part, it’s really shady and it’s hard to deal with. There are bad parts and good parts to doing music and you run into a lot of the bad parts, but once the good starts coming you appreciate it a lot because of all the hard work you put in.

What’s the best way to find out more about you? You can go to myspace.com/puertorican_1diva, I’ll be posting all my shows and where I’m performing and other stuff.

Anything else you want to say? I just want to thank everybody who has supported me, in the KWIN contest a lot of people voted for me and I want them to know I really appreciate the support and love that’s been shown.

What’s the next step, what are working on right now? Trying to get more exposure, working on the album, and never stopping until I get there…