The sale of ..:namespace prefix = st1 ns = "urn:schemas-microsoft-com:office:smarttags" />Marion 'Suge' Knight's hip hop and rap power house record label Death Row Records to Global Music Group Inc. and Entertainment One LTD. Is not the 'done deal' that has been reported...:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" />

Court documents show that R. Todd Nelson, Chapter 11 Trustee of debtor Death Row Records Inc. and Richard K. Diamond, Chapter 11 Trustee of debtor Marion 'Suge' Knight Jr. have filed a lawsuit in US Bankruptcy Court Central District of California, Los Angeles Division against Global Music Group Inc., a New York Corporation; Entertainment One LTD.

It seems that the news of hip hop mogul Marion 'Suge' Knights Death Row Records having a new owner, GMG, may have been a little premature. The sale of Marion 'Suge' Knight's hip hop and rap power house record label Death Row Records to Global Music Group Inc. and Entertainment One LTD. Is not the 'done deal' that has been reported. Apparently the sale of the hip hop powerhouse label was never paid for.

See pdf files of the court documents at http://www.ThugLifeArmy.com

Also it seems that Lydia Harris will be in court again over her judgment against hip hop mogul Marion 'Suge' Knight and hip hop / rap powerhouse Death Row Records.

Helen Ryan Frazer, Chapter 7 Trustee in Case No. SV-96-15521-GM filed in United States Bankruptcy Court in California has named Lydia Harris, New Image Corporation, Michael Ray Harris (Harry O), Conquest Media Group, LLC and Wasserman, Comden & Castleman, LLP., as defendants in another lawsuit. The case is for Complaint for Declaratory Judgment.

This stems from the $107,000,000 judgment against Death Row Records that was awarded to her.

See the PDF files of these court documents at http://www.ThugLifeArmy.com

ThugLifeArmy.com was blessed to be the only web site to sit down with Afeni Shakur-Davis in this 'web exclusive' interview. The best known 'Momma' among the hip hop culture, Afeni Shakur-Davis is much more than the mother of late hip hop rap artist Tupac Shakur (2Pac)...:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" />

Afeni opened up in this interview and spoke on many topics. Topics range from her son Tupac and the Tupac Amaru Shakur Foundation and ..:namespace prefix = st1 ns = "urn:schemas-microsoft-com:office:smarttags" />Tupac Amaru Shakur Center for the Arts in Stone Mountain Georgia, to hip hop, to her own legacy and everything in-between. This interview brings out a great side of Afeni, one that is seldom seen. She laughs, she cries and the commitment to her son Tupac is evident thru out the interview.

A very loving spirit pours thru her words as she answers the questions put forth to her. She has an overwhelming love and commitment towards children and the youth of the hip hop nation. She talks about the summer camps held in Oakland and Atlanta this past summer.

She talks about the trip to South Africa and the work the TASF is doing there. She is a very giving and caring person but also very humble and this interview shines a light on her persona.

One thing that is dear to Afeni's heart is the completion of the Tupac Amaru Shakur Center for the Arts Visitor Center and Peace Garden in Stone Mountain, Georgia. In this interview she explains her 'commitment' to Tupac, and getting the Arts Center finished is one thing that she wants to see finished. Hip hop and even the mainstream society should want to see the Center finished for all the work they do and for preserving the legacy of Tupac Amaru Shakur. Afeni Shakur-Davis has given so much and has asked for nothing in return. It is time we all stand up and help her finish the Tupac Amaru Shakur Center for the Arts. Not just for Afeni but for us as the hip hop community and for our children and for their children.

For ways to help support and donate to the Center please visit http://www.tasf.org .

To hear this 'exclusive' audio interview with Afeni Shakur-Davis, please visit http://www.thuglifearmy.com

Words are an important ingredient to good hip hop music. Great flowing rap along with that hip hop snap beat is what makes a good hip hop track.

Lately the talk has been the use of the 'N' word and the effects that it has on our youth. It has even been suggested that we 'ban' the use of the word 'nigga' in hip hop and rap music.

This issue has two sides - the why we should not use it and the why shouldn't we use it. Both sides have good reasons for their belief but what is more important is why we are even talking about this issue when there are so many other bigger issues to address first.

Talking to a friend of mine, who is coincidently a hip hop artist named FAME, I have been educated on a few things concerning the use of the 'N' word but more importantly another issue that no one is talking about.

Do you know, as I didn't, that some Afro-Americans do not like to be called Black? Have you really ever met a 'Black' man? Is calling an Afro-American a 'black person' any better than calling them the 'N' word?

It is in the context that the 'N' word is used of course, but have you taken the time to look up the definitions of Black and White?

Black can mean – Without hope; gloomy soiled, Evil; wicked, angry or resentful, dishonorable, Cheerless and depressing; gloomy, Being or characterized by morbid or grimly satiric humor, Deserving of, indicating, or incurring censure or dishonor, stemming from evil characteristics or forces, harshly ironic or sinister, deserving or bringing disgrace or shame, (bearing the least resemblance to white), dark, gloomy, sad, depressing, distressing, horrible, grim, bleak, hopeless, dismal, ominous, morbid, mournful, morose, lugubrious, joyless, doleful, cheerless, terrible, bad, devastating, tragic, fatal, unfortunate, dreadful, destructive, unlucky, harmful, adverse, dire, catastrophic, hapless, detrimental, corrupt, vicious, immoral, depraved, debased, amoral, villainous, unprincipled, nefarious, dissolute, iniquitous, irreligious, impious and the list goes on and on.

(Source: http://www.thefreedictionary.com/black)

So either blatantly or subliminally the word 'Black' has a deeper cutting effect than the 'N' word. The trouble is it is just accepted and used and no one mentions the definition of that word.

To better explain this look at the definition of white. White can mean – Caucasian, unsullied; free from moral blemish or impurity, pure - (used of persons or behaviors) having no faults; sinless; morally admirable, benevolent; without malicious intent, blank, clean.

(Source: http://www.thefreedictionary.com/White)

So a 'black' man would be (pick any of the above) – a sinister, joyless, bad unprincipled dude; while a 'white' man would be (again pick any of the above) – a pure, clean dude with no faults. Something is wrong there.

Deeper than the 'N' word is the words Black and White, there lies the true core of the 'N' word debate. The 'N' word just touches the surface and it should be addressed when there is nothing else to talk about, but as you can see maybe the words Black and White should be 'banned' when talking about race and race relations so we ALL don't get hood winked by the underlining subliminal messages in the definition of those words.

What does it matter if 'nigga' is used or not used when the underlying message is a 'black' man, by definition, is already doomed from the womb to the tomb no matter what they accomplish in life?

Think about that the next time you use the term 'Black' and 'White' to refer to people.

Thanks to my friend FAME for opening my eyes to this.

*Find out more on hip hop MC FAME - HERE - http://www.thuglifearmy.com/news/?id=4456

Originally published at http://www.ThugLifeArmy.com    

http://www.thuglifearmy.com/news/?id=4474

With the recent sale of Death Row Records, all the nay slayers have had their say and most of the hip hop community has chimed in on the recent events surrounding hip hop entrepreneur, rap mogul and the founder of Death Row Records; Marion 'Suge' Knight. ..:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" />

Some are even saying he is out of the game now and the sale of the Death Row Records catalog puts an end to the 'Suge' Knight era in hip hop. Set aside all the unsubstantiated rumors and unfounded accusations made towards him, and ..:namespace prefix = st1 ns = "urn:schemas-microsoft-com:office:smarttags" />Marion 'Suge' Knight's performance in hip hop music speaks for itself.

Seems that the 'boogie man' of hip hop culture has never, and I suppose will never be noticed for his contributions and accomplishments in the hip hop, rap and gangsta rap world; mainly because the 'mainstream' press and some so called hip hop and rap web sites who like to focus on anything negative and very seldom look at the accomplishments of those in hip hop culture.

Coming out of Compton, California and then attending UNLV (University of Nevada, Las Vegas) where he played football. Marion 'Suge' Knight also played for a short time with the Los Angeles Rams until an injury sidelined him; Suge Knight was always a 'stand out' type person, he always had a business approach to everything.

Later he was a bodyguard for many celebrities; Bobby Brown was one that 'Suge' Knight body guarded for. As he moved among the 'people' he listened to what was being said and he watched how things were done and with his business mind, he came up with his own plan, a way for him to get ahead.

Funky Enough Records was Suge Knight's first label. Then came Future Shock Records and finally Death Row Records. With his business knowledge and street knowledge Marion Knight set out to make his mark not only in hip hop but in the music industry with Death Row Records.

He gave artist who were going un-noticed a chance to prove themselves. Among the stable of artists that he amassed came some of the greatest names in hip hop, rap and gangsta rap.

Hip hop notables such as Snoop Dogg, Dr. Dre, Kurupt, Daz Dillinger and the Dogg Pound came out of Suge Knights vision of what the streets wanted; and he was right.

Also out of the Death Row camp came artists like Danny Boy, Nate Dogg, DOC, RBX, The Lady of Rage, Michel'le, Bow Wow, DJ Quik, J-Flexx, Sam Sneed, Mark Morrison, MC Hammer, Tha Realest, Crooked I, O.F.T.B., Eastwood, and Gina Longo. Lisa 'Left Eye' Lopez, of the hip hop / pop group TLC was also signed to Knight's Death Row Records and working on an album when she died in an automobile accident.

Among the artists coming to Death Row Records was Tupac Shakur (2Pac).  On Sept. 16^th 1995 Marion 'Suge' Knight and the then incarcerated Tupac Shakur (2Pac) signed what has become to be known as the *Danamora Agreement; which got 2Pac out of jail and took him to Death Row Records under contract.

Contrary to reports that Marion 'Suge' Knight put up the bail money to get Tupac released from Danamora Prison, 'Suge' Knight merely brokered the deal. 'The bail' that was put up was to get Tupac out of Danamora Prison until his appeal was heard. Here is how the monies were raised:

The bail had three components. $850,000 was posted in the form of a corporate guarantee by Atlantic Records; $250,000 was posted by Interscope, and the balance of S300,000 was posted in the form of a bail bond. All three components were secured by the future royalties to be earned by Tupac (2Pac).

During the short period between Tupac's release from Danamora Prison and his death, less than a year later, Tupac recorded three full CD's ( All Eyez on Me counted as 2 and the Makaveli album was the 3^rd) and approximately 152 other tracks which have not yet been released.

Like any young man in business Marion 'Suge' Knight made some mistakes along the way; both business and personal. Much is always said of his run ins with law enforcement (like no one else in hip hop and rap has had those troubles). But the persona of being 'hip hop's boogie man' is far from the man Marion 'Suge' Knight has proven himself to be. One thing was certain Marion 'Suge' Knight took care of business, the best he knew how to. Think about that when you listen to a back in the day track from Dre, or Snoop or even 2Pac. Without Marion 'Suge' Knight we possibly would not have some of those tracks to bounce to.

Recently we have seen Death Row Records sold due to bankruptcy and the catalog of hits and would be hits are in different hands other than Suge's. What this means to hip hop only time will tell but one thing is for sure Marion 'Suge' Knight is still a force to be reckoned with in the music industry.

So for everyone who is counting Marion 'Suge' Knight out of the game, he is a proven commodity not only in hip hop, rap and gangsta rap but in the music industry, so I wouldn't count him out yet. We should look at the current situation as the beginning of another Chapter for Marion 'Suge' Knight.

*Read the full 1995 "Danamora Agreement" at http://www.ThugLifeArmy.com - http://www.thuglifearmy.com/news/?id=604

Hip Hop History 4 Sale on Ebay: Tupac's (2Pac) Jaguar

Over the years many pieces of hip hop history has hit the auction site Ebay. Iconic hip hop figure Tupac Shakur (2Pac) has had many items related to him sold on Ebay. In the past there has been his Hummer, and numerous other memorabilia having association to the legendary hip hop rap artist.

For sale now on Ebay is the Jaguar once owned by Tupac Shakur (2Pac).

The 1995, 6cylinder Jaguar XJS is the same auto 2Pac drove in his hip hop video 'To Live and Die in ..:namespace prefix = st1 ns = "urn:schemas-microsoft-com:office:smarttags" />L.A.'.

The car has barely been driven since Tupac himself drove it. The original paper work comes with the auto and that has Tupac's name and signature on them. (So you even get an autograph of the hip hop icon in the deal)

You can see 2Pac's Jag and bid on it http://cgi.ebay.com/ebaymotors/ws/eBayISAPI.dll?ViewItem&item=280247305248&ssPageName=ADME:L:LCA:MT:31">HERE

June 16th is the birthday of hip hop icon Tupac Amaru Shakur. His life cut short in 1996 by senseless violence. His murder remains to this day is unsolved. ..:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" />

The 'testimony' of hip hop icon Tupac Shakur (2Pac) is written and there is nothing he can add to what he has left us. Tupac is dead. There will be no new oration from one of the masters of words or no new contentious tracks to make headlines. What we have from him is what we have and we must come to grips with that.

In his life Tupac touched many people. He understood the world around him and was quick to point out the flaws and the weaknesses of the government and society. He understood the power of the mic and the power the man holding that mic could brandish; not only in the hip hop culture but in all society.

Tupac has written his last poem, his last rhyme and has given his last opinion of problems in the urban community. As far as hip hop goes: Tupac is gone. But his greatest and strongest points are not those of a hip hop artist, a wild gangsta rapper associated with powerful Death Row Records and Marion 'Suge' Knight; his strongest point was that he was in a position to 'make a change' and to point out the problems; and most likely those values had something to do with his death; like many other social activist before him.

Tupac once said "I'm not saying I'm gonna change the world, but I guarantee that I will spark the brain that will change the world". Pac knew that the world had to change. We all know that things are not working the way they should and Tupac was quick to remind us and to point it out. He wanted to reach the children and the youth and make them aware of what was in store for them; after all he had lived a life many can not imagine.

"I'm a reflection of the community", Tupac once said and as we look back on his life we are witness to that fact. Many forget that Tupac was a young man, just 25 years old at his death. Tupac is just one of thousands of young men (and women) killed senselessly in this country every year. What set him apart were his charisma and his 'in touch' feeling with the urban community. Tupac became so well loved among the hip hop and urban community; earning praise for his musical and acting talent; almost everyone wanted to see this talented young black man excel. But he also saw condemnation at times for his explicit and violent lyrics; as many of his songs told of fights, gangs, and sex: but that is what was and is going on in the hip hop and urban community. "I don't see myself being special; I just see myself having more responsibilities than the next man. People look to me to do things for them, to have answers," Tupac said.

Today's hip hop and rap artists have forgotten that connection. Trying to 'hood wink' the community with worthless hooks and content in their tracks; this is why there will never be another Tupac Shakur. Many have proclaimed to be the next 2Pac and many have tried to be Tupac and many have failed to live up to what Pac stood for. KRS-ONE, Chuck D, Lupe, Jasiri X, Immortal Technique, Mos Def, Kanye, Dead Prez, NYOIL, Black Thought, Brother J, Common, Wise Intelligent, Pharaoh Monch and Lyfe Jennings are among some of the few artists today who try to bring the same qualities to the mic when they spit as 2Pac did.

"If we're all saying that rap is an art form then we gotta be more responsible for our lyrics. If you see everybody dying because of what you're saying, it don't matter that you didn't make them die, it just matters that you didn't save them," Tupac Shakur once said.

The social perception that Tupac Shakur was a 'thug' is just that – a false perception. Even when Tupac was on trial for alleged sexual abuse he said "This is all about my image. They buildin' me up and destroying me on the same image they perpetuated. I'm selling records, this is what I do for a livin', don't get it twisted. This is not my real life, this is not how my real life is supposed to be. I'm not supposed to have all these villains in my life."

The image they 'perpetuated' is thanks to Tupac's Black Panther bloodline; and the bout of arrests in L.A., Atlanta, East Lansing, and Manhattan; and the escape from five of those six arrests with as little as 14 days in jail. Plus there is the fact that while other rappers and hip hop 'want ta be gangsta's' talk about it, Tupac is the only known rapper who has actually put a bullet in a police officer.

Tupac said this "Let me say for the record, I am not a gangster and never have been. I'm not the thief who grabs your purse. I'm not the guy who jacks your car. I'm not down with the people who steal and hurt others. I'm just a brother who fights back."

"And the raps that I'm rappin to my community shouldn't be filled with rage? They shouldn't be filled with same atrocities that they gave me? The media they don't talk about it, so in my raps I have to talk about it, and it seems foreign because there's no one else talking about it."

"My music is not for everyone. It's only for the strong-willed, the (street) soldiers music. It's not like party music- I mean, you could gig to it, but it's spiritual. My music is spiritual. It's like Negro spirituals, except for the fact that I'm not saying 'We shall Overcome.' I'm saying that we are overcome."

"We talk a lot about Malcom X and Martin Luther King JR, but it's time to be like them, as strong as them. They were mortal men like us and every one of us can be like them. I don't want to be a role model. I just want to be someone who says, this is who I am, this is what I do. I say what's on my mind

One thing is for sure, if the legacy of Tupac Shakur is based on his hip hop persona, 2Pac will surely fade away. But if the total man Tupac Shakur is immortalized then his legacy has a chance to survive and make a difference. "When you do rap albums, you got to train yourself. You got to constantly be in character" Pac said, and that is what hip hop artists are – they portray a 'character'. There is little truth behind the persona of most of the hip hop and rap artists portray.

As we think of Tupac Shakur today we should think of the total man Tupac Shakur:The activist and poet; the real Tupac. I am not saying Tupac was a saint – far from it. But I am saying that we will never really know the potential of this young black man. We will never know what his knowledge and his willingness to speak up could have done. He was a voice for a generation, a voice that has been silenced but his message lives on.

As we remember the birth of Tupac Shakur today think about these words from Pac and just don't talk about it – be about it. And as Tupac said "Keep ya head up. Do what you gotta do. And then, inside of you, I will be reborn" – Thus keeping his true legacy alive.

"Some people say I was a thug and a gangsta. Other people remember me as a poet and a born leader. But I'm saying to you measure a man by his actions fully, through his whole life, from the beginning to the end."

"The real tragedy is that there are some ignorant brothers out here. That's why I'm not on this all-White or all Black shit. I'm on this all-real or all fake shit with people, whatever color you are. Because niggaz will do you. I mean, there's some (foul) niggaz out there (in the streets); the same niggaz that did Malcolm X, the same niggaz that did Jesus Christ- every brother ain't a brother. They will do you. So just because it's Black, don't mean it's cool. And just because it's White don't mean it's evil."

"You gotta make a change. Its time for us as a people to start making some changes, lets change the way we eat, lets change the way we live, and lets change the way we treat each other. You see the old way wasn't working so its on US, to do what we gotta do to survive." – Tupac Shakur.

Take a second to remember Tupac on June 16^th and to do all you can to preserve his legacy.

Also – the reviews are coming in on Thug Life Army's release – In The Shadow of an Icon

"This entire project is not just a true testament to the direct inspiration that Tupac provided many in our society, but also a reflection of positive hip hop culture being used as a voice for the voiceless." - Shamako Noble: President and Executive Director of The Hip Hop Congress – http://www.hiphopcongress.com

"The artists featured on this two-disc compilation have all been baptized at the altar of Tupac; they not only continue a mighty tradition, they take it to a higher level. All praise is due to ThugLifeArmy Records" - Dr. Uhuru Hotep / Kwame Ture Leadership Institute http://www.ktli.org

"In The Shadow of an Icon pays homage to the late, great Tupac Shakur. Thug Life Army Records compilation was done with taste and respect for Tupac's legacy." - Jonathan Wolfson / Wolfson Public Relations http://www.wolfson-pr.com

"Maybe the "In the Shadow of an Icon" CD will help us, at least imagine if only for a moment, the possibilities of not only Tupac Shakur, but the legions of young men and women who would follow his lead, if they politicized their lyrics and connected them with the struggling masses..." by "TRUTH Minista Paul Scott" of http://www.NoWarningShotsFired.com

"In the Shadow of an Icon is the rare album available today whose lyrical content, production and theme are all top-of-the line and in harmony. The spirit of 'Pac - his intellect, defiance, and love - lives in this album, with enough of a roster, message, and music to carry his great legacy for another generation" – by Cedric Muhammad / Black Coffee Channel http://www.blackcoffeechannel.com and Black Electorate.com http://www.blackelectorate.com .

"A really solid release... I really appreciate the purpose of the project. It's not your typical thugged-out music. It's street music, but with heart, and in that way, it does a great service to the memory of '..:namespace prefix = st1 ns = "urn:schemas-microsoft-com:office:smarttags" />Pac. I was also pleasantly surprised by the quality of the production, the lyrical skills of the MCs and variety of artists on the CD. Well done!"...by Greg Schick / Old School G - World Hip Hop Market http://www.worldhiphopmarket.com

Review from StreetHop by Rahim "Judging a book by its cover never really helped anyone to begin with, and in my findings, this 29-track compilation CD is filled with up and down-beat tracks that anyone can easily be bopping their head to, not to mention that the whole vibe of the album can be described as something out of the vaults of Suge Knight's Death Row Records. The album also showcases a style of music that most 2Pac fans will recognize, while the music itself represents the same struggle in which 2Pac had fought hard for. There are a lot of talented artists on this album, and from the sound of it; I'm glad none of the artists give off too much of a mainstream feel to their music...."

Hip hop is not dead, you just have to know where to look – and that means look to the streets instead of the boardroom and you will see that Thug Life Army Records has done just that on In the Shadow of an Icon. "Hip Hop was supposed to be this new thing that had no boundaries and was so different to everyday music. As long as it has soul to it, hip hop can live on." - Tupac Shakur

The album can also be purchased at http://www.TupacTribute.com or http://thuglifearmyrecords.com for a 'Special' price. Thanks in advance for all the support.

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African Chief & Member of The National African Religion Congress dies at age 72...:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" />

The world of African-based religion is deeply saddened by the death on May 9, 2008 of Chief Babalawo Adeyela Adelekan, Amulewaye Iledi-Ooni Ile Ife, who served as an Executive Board Member for the National African Religion Congress/NARC World International since 1999.  

Chief Baba Adelekan was born in ..:namespace prefix = st1 ns = "urn:schemas-microsoft-com:office:smarttags" />Ife on October 15, 1936. His maternal grandfather was the late Araba of Ife, who reigned from 1910 to 1934. (The Araba is the head of all Babalawos worldwide.) Chief Adelekan's father, Chief Laadin, was descended from the Ooni Ilare Quarters, one of the three royal households of Ile-Ife (the ancestral home of the Yoruba). Chief Laadin was fifth in rank to the Ooni.

Chief Adelekan began his training as a Babalawo in 1944 under Oluwo Akoda Akanni the son of the Araba. He also underwent a Western education, unlike many of his predecessors, in order to prepare him for his work as an instructor in Yoruba traditional philosophy outside of Yorubaland. It is on record that Chief Adelekan was born with a green leaf wrapped around a sixth finger on his left hand, which was a sign that he was the reincarnation of his grandfather, Araba Akanni.

Chief Adelekan held four titles: first, 'Amulewaye' (he who seizes earth upon entering the world), a title which was conferred by the Council of Elders in Ife, the Ogboni; secondly, the title of 'Alatunse Awo' in which capacity Chief Adelekan acts as a moderator of all Babalawos worldwide – this is an office conferred by the present Araba and the council of Babalawos in Ife; thirdly, the title of  'Orisa Tunwase' (the Emissary of Obatala) bestowed by the elders of the Obatala temple headed by Chief Obalesu; lastly, the title of 'Olumesin Oduduwa' (the Promoter of the Religion) - this title was conferred by the Council of the Oduduwa Temple headed by Chief Obadio.

Chief Adelekan was a sixteenth-generation Babalawo, who traveled widely outside of Ife for the purpose of instruction and healing, and is celebrated for his knowledge of roots and herbs and his tireless work in healing and in promoting understanding Yoruba religion. He was the founder and patron of Egbe Isese Esin Yoruba (The Root of Yoruba Religion, Science and Cosmology), a society based in London which is a focus for the practice of Yoruba tradition.

Chief Adelekan was a member the National African Religion Congress' Executive Board and was one of NARC's most ardent supporters.  As a global proponent of the preservation of African-based religion, Chief Adelekan showed consistent leadership and conviction that the unification of African-based religions is the key to their survival.  Until his health made it impossible, he attended every major NARC conference and major event and was, in spite of ill health, always available to consult with NARC's leadership on policy matters.  His testimony was pivotal to the court's determination, in Le Peristyle Haitian Sanctuary v. Weaver, that in a dispute involving spiritual matters in the Voodoo religion, the Court must accept and enforce the decision of a tribunal convened by the National African Religion Congress.  The court determined the issue of the ownership of the shrines was of such a spiritual nature that, under Pennsylvania law, a civil court must give deference to the decision reached by a properly-constituted tribunal of the National African Religion Congress, a recognized spiritual authority, and ordered that the shrines taken from LePeristyle Haitian Sanctuary be immediately returned.  This landmark decision confirmed that practitioners of African-based religions may enforce their own organizational decisions on conflicts involving spiritual issues in American civil courts and is Chief Adelekan's legacy to NARC.  The strength of our organization is a testimony to his steady influence and patient guidance.  His contributions will be sorely missed.

For further information, contact the National African Religion Congress, 5104 N. Broad St., Philadelphia, PA 19141, at 215.455.0815.

Originally posted on http://www.ThugLifeArmy.com

In this year of America saying and showing it wants change, can we change present hip hop music to more fit the culture of hip hop? Can we depend on the leaders that will be elected to say to the music industry; enough is enough?

With countless senseless killings and record numbers of people being incarcerated, isn't it time we say enough is enough while we still have young people to watch out for and to lead.

The major record labels have been 'censoring' the hip hop music we hear for years, so why not force them to stop with the music that tears down the community instead of enriching it.

It is hard to imagine that the hip hop scene we have today is what Afrika Bambaataa first imagined when first using the term hip hop to describe the subculture that hip hop music belongs to.

The 'elements' of hip hop - DJ'ing, Rapping, Graffiti, Breakdancing and Beatboxing where meant to uphold and build the community – not destroy it. The injection of gangsta rap into the culture was a pivotal turning point, since the corporate end of the hip hop scene seen nothing but money in gangsta rap. The first gangsta rap album to become a mainstream pop hit, selling more than 2.5 million copies, was N.W.A.'s Straight Outta Compton and the flood gates were open to the anything goes era.

That was the 80's and still today 20 years later almost every hip hop and rap artist wants to portray themselves as gangsta, with shoot 'em up lyrics and death with 'honor' as a subtitle, drinking and clubbing is more important than knowledge and advancement.

Today the lyrics of many hip hop tracks incite violence against either another rapper, sect or crew or they want to disrespect women and even worse is the use of the word 'nigga'; which disrespects an entire race of people.

Now if we look at the definition of the word 'nigga', some can argue that the hip hop icon rap artist Tupac Shakur (2Pac) looked at it this way – N – never, I – ignorant, G – getting, - G – goals, A – accomplished = 'NIGGA'. Now that may make sense to those who know 2Pac's explanation of the word, but many are from an era when the word 'nigga', 'nigger' or anything close would be taken literally and there would be no time for explanations; the result would be a confrontation of some type.

If we look at the struggles, the pain, the deaths that brought us from Frederick Douglass to Malcolm X to Martin Luther King Jr. to the Honorable Minister Farrakhan; and the many in between; and the demand for respect for a people: how can we use that word so freely and comfortably? How can the struggles of the Civil Rights movement be thrown out so nonchalantly? Many people were beat, many died gaining respect for a race and culture and now that is all forgotten and the word is mainstream again. That is a pitiful statement against the 'elders' who brought us all to this point.

How can women be treated and represented in such an ill light, when they are the center of humanity. With out women we do not reproduce, we fail to exist and still some would compare them to female dogs?

In this time of everyone wanting change, let's change what the perception of hip hop and hip hop culture is and build communities instead of destroying them.

Some things can not be changed but if hip hop is to continue in its true form we have to change the perception of the culture by changing the landscape that makes up the community we call the hip hop community.

Will the leaders, or so called leaders, have enough truth and quality in them to tell the music industry enough is enough? Or will they walk that thin line and use excuses like freedom of speech as a way to let things go on the way they are going. Yes we have freedom of speech but just as you can not yell fire in a movie theater without repercussions neither should we be able to incite or condone things that hurt our youth and hurt the community at large.

As a generation of youth is lost: either by killings, lock downs or as innocent victims; we all should be concerned that maybe the music industry is on the verge of child abuse – just to make money.

And the music is not the only thing in question here. Another factor is police brutality and the perception that maybe the Bloods and the Crips, and other street organizations, are not the only 'gangs' roaming the streets. The biggest 'gang' on the streets today seems to be the police. Increased beat downs, police shootings (as in the case of Sean Bell), and racial profiling and 'hip hop' profiling are serious issues that need to be addressed. When the people do not trust those who are suppose to enforce the law, there can only be a serious breakdown of society.

Everyone needs to be held accountable for what seems to be a national trend. Is this country so arrogant to think that these problems will work out by themselves? Police departments from coast to coast seem to be out of control.

Should hip hop remain the culture of the exploited for financial gain by corporations who are just out to make a buck off the pain of our culture. Should those who 'look hip hop' be more closely scrutinized by the police than any other group? Should our women take a back seat when it comes to respect from some of the artists who feel it necessary to degrade them?

CHANGE – yes we need change both in our political arena but also in our social arena. Seeing the violence, the waste of life, the disrespect and the lawlessness that is being created should make you aware of that. But will those so called leaders who are now pimping CHANGE really change anything? Will they include the recording industry in their plan for this big change?

Probably not because after all it is all about the money, but those in hip hop culture who are standing up and saying yes we need change should also realize that change needs to be across the board. Preservation is more important than money; I know that is a new concept but in reality it is true.

CHANGE, I agree we need it but for the sake of hip hop culture and all the ancestors before us: Be about it just don't talk about it. (*So Sen. Obama... if we stand with you and give you a chance to make change, don't forget change is a good thing if it includes everything that is harmful to the community at large).

The lyrics of Tupac's (2Pac) 'Changes', like many of his tracks, foretell where we find ourselves:

"We gotta make a change...

It's time for us as a people to start makin' some changes.

Let's change the way we eat, let's change the way we live

and let's change the way we treat each other.

You see the old way wasn't working so it's on us to do

what we gotta do, to survive."

Tupac Shakur 'Changes'

Originally posted on http://www.ThugLifeArmy.com