It's C-Doc Again! Ep158 - Lord Digga!

edition 668

edition 667

edition 666

Madlib filed a lawsuit against former manager Egon on Thursday (October 31), the four-year anniversary of MF DOOM’s death. He chose the date to honor DOOM, whose family is currently in litigation with Egon over several missing notebooks that belonged to the late MC. 

In a complaint observed by RapStation, Madlib (real name Otis Jackson) accused Egon of several shady practices, including mismanaging his finances, skimming money generated from his recorded music and locking him out of several “key music business platforms” like Ingrooves, Apple Music, YouTube, BandCamp, Instagram and Facebook. 

Madlib was signed to Stones Throw Records and released his first single with the label, “Microphone Mathematics,” in 1999. Egon was working there as executive at the time. After Madlib left and Egon was fired in 2010, Madlib, who trusted Egon, brought him on as his manager. They stared multiple companies together, including Madicine Show and Rapp Cats.

“Egon’s role in Madicine Show consisted of control over all financial, legal and business aspects of the entity, which at inception was concerned with Madlib’s professional career,” the complaint reads. “For example, EGON managed and controlled all of the entity’s bank accounts and made all of the decisions regarding incoming and outgoing monies from those accounts. He decided when to make distributions to MADLIB and how much to distribute to him. 

“He was also responsible for all of the entity’s business dealings with others, including the overseeing of distribution agreements for Madlib’s recorded music, the managing of Madlib’s social media and other promotional efforts, the hiring of personnel ,outside consultants and professionals like lawyers and accountants, the leasing of office space, health insurance and the like.”

Due to Egon’s alleged mishandling of Madlib’s finances, the storied producer is seeking compensatory damages, including attorney fees, and more. MF DOOM, who frequently collaborated with Madlib on projects like Madvillainy, died on October 31, 2020. His death wasn't revealed until two months later.

Madlib filed a lawsuit against former manager Egon on Thursday (October 31), the four-year anniversary of MF DOOM’s death. He chose the date to honor DOOM, whose family is currently in litigation with Egon over several missing notebooks that belonged to the late MC. 

In a complaint observed by RapS...

Madlib Files Lawsuit Against Ex-Manager Egon On Anniversary Of MF DOOM's Death

Jahi, an MC, activist and culture conservationist, has been enmeshed in Hip Hop since the beginning. Decades into his career, the Oakland-based artist has released multiple solo projects, shared stages with the likes Mos Def, dead prez, Chaka Khan, The Roots, KRS-One, Outkast and frequently collaborates with Public Enemy tour de force Chuck D. He's also the mastermind behind the Bay Area Archives, one of the most comprehensive collections of local Hip Hop history. 

Most recently, he and <a href="https://www.kingmakersmusic.com">Kingmakers Music</a>—launched by Kingmakers of Oakland in an effort to create profanity free, life affirming Hip Hop to uplift Black culture—released their new album, <a href="https://open.spotify.com/artist/4q2m3ftd1XWc3frxcsJgiu">Black Love, </a>on the EVEN platform.

Jahi, now the Director of Kingmakers Music, and A&amp;R executive/artist Zo1 reflect on the meaning of the album, the new deal with Tuff Gong Distribution and how Hip Hop impacts society on a larger scale. 

RapStation: This is one of the most important elections of possibly our lifetimes. Do you think Hip Hop is doing a good job being a voice for enacting change or is there more work to do?

Jahi: Hip Hop culture has always been a voice for enacting change, and we are in a different time from the days of socially conscious music being infused into national politics. Given Hip Hop is not one person, or one lane, it's what I like to say a house with many rooms. We have some rooms who are using their voice to get the word out about being registered to vote and to exercise this right, some rooms who are paying no attention and some rooms who are focusing on their local politic more than the national politics. Ultimately, I think Hip Hop, as a culture under 100 years old, can always do more, but I think that work is far more cultural than political.

Public Enemy has been fighting the power for decades, but it seems like we are right back where we started. What progress, if any, do you see in 2024 vs. 1987 when Public Enemy first came out? 

Jahi: I see incredible progress as so many people around the world no longer try to imitate Hip Hop from an American construct but now use their own voice, their own languages, their own styles to expand what Hip Hop culture means and how it's done.  I don't think we are back where we started, I think the concept of Fight the Power is a continual one. In 1987 we were seeing Jesse Jackson prepare to run for president, so there was a particular energy in the air as before we knew who Barack was, Jesse was saying "Keep Hope Alive." In music and culture, through sheer will of the community and creativity we pushed back on the idea that Hip Hop was a fad, and there was so much originality. I think in 2024 the underground has become even more important than 1987 because I just cant say I see progress in the mainstream. I see a whole lot of trends, metrics and wanting attention, but not pushing the dial. But the underground worldwide is one of the most innovative spaces, not just in the US but globally in 2024 and beyond.

<iframe frameborder="0" src="//www.youtube.com/embed/kJX9JsSSF8E" width="640" height="360"></iframe> 

How long did you work on this record and what does it mean to you? 

Jahi: Black Love was done when I arrived to lead Kingmakers Music powered by Kingmakers of Oakland. Zo and the artistic community did an excellent job of being courageous enough in this climate of hate and false narratives about Black youth in Oakland to say—Black love. We focus our work on narrative change, and this album is a shining example of that. In my first 100 days of preparing the rollout of this album and supporting the artists and the process, it's been an incredible labor of love with our team. What this album means to me is the next generation of Hip Hop is in good hands and the more I can nurture it and our artists, the further it will go.

How important has your friendship/collaborative relationship with Chuck D been over the years? 

Jahi: Chuck D and I have been comrades, rhyme partners and global stage rockers now since 2006. We met in 1999. It means everything to me because Public Enemy saved my life with the music in the '80s. Chuck as an elder statesman of our culture continues to encourage me in all areas of life, not just on the mic. We were just at an event for Hip Hop Public Health. Chuck had me in the room so I could learn more about how we can use Hip Hop as a motivational force in holistic health. He is a constant giver of knowledge and for me he, like Malcolm X is our shining example of manhood in Hip Hop.  

Why did you choose to title this project Black Love?

Zo1: I chose to title this album Black Love to reflect and highlight the essence of Oakland's Black community and exemplify what Black love looks like in real time. Coming off of our 3rd album, Black Joy, I felt compelled to continue changing the narrative around Black people. Black love is something that is unique to black people, but not exclusive. Everyone needs and deserves Black love in their life, and this album is going to heal the world as a whole.

Why were you intentional on including over 20 Bay Area artists on the project?

Zo1: I wanted to collaborate with artists throughout my journey that have experienced Black love, are a product of Black love and who perpetuate the spirit of Black love. Most artists on the album are a direct product of a youth ensemble called "Young, Gifted and Black" and we performed a song called "Black Love", so it only made sense to continue in that spirit. The Bay Area has infinite amounts of talent to showcase, and I wanted to shed a light on the artists using their platform for positivity and change. It was an honor working with all of the amazing talent on the album, having personally known most of them the majority of my life. We are creating our own ecosystem, our own platform, our own foundation with our artists that will last for generations to come. 

Tuff Gong International is distributing Black Love. What does that mean to you?

Zo1: To be in collaboration with Tuff Gong International is a sincere honor and pleasure. I grew up listening to Bob Marley and The Wailers, my mom raised me on a value set that is similar to the traditional reggae message. We had the privilege of meeting The Marley Brothers at their concert on their tour and the sense of alignment was almost overwhelming. Coming from different places in the world, we all agreed upon and shared the same sentiment, LOVE. Black Love was created in the same essence that Bob Marley created Tuff Gong and we are excited to further spread the message. 

As an artist under 30, what has helped to develop your consciousness?

Zo1: A strong base of people who cared for me. I grew up around Fathers, Mothers, Aunties, Uncles, Activists, Artists who instilled in me the values of self love, community, and wellness. Staying true to self and staying tethered to what matters most is essential in navigating today's climate, especially in the Hip-Hop scene. Working with youth and pouring that same positivity and consciousness into the next generation gives me a sense of agency to make their generation better than ours. Every step we take, word that we speak, and lesson we teach serves as a seed that will grow to become a tree, that will feed the youth of tomorrow. Love is what waters that soil and provides the sunlight to foster that growth.

What’s 2025 looking like for Jahi? 

Jahi: 2025 will look like continuing to work with our new distributor, Tuff Gong International, to push Black Love out to the world. It also looks like taking more care of my health because way too many folks in our culture have left way too soon. 2025 looks like more music personally from me, and more literary works. Most importantly 2025 is a continuation of what I've always done, via Kingmakers of Oakland, which is to do legacy work in service of my people and community.  

READ MORE ABOUT KINGMAKERS <a href="https://www.kingmakersmusic.com">HERE</a>.

Jahi, an MC, activist and culture conservationist, has been enmeshed in Hip Hop since the beginning. Decades into his career, the Oakland-based artist has released multiple solo projects, shared stages with the likes Mos Def, dead prez, Chaka Khan, The Roots, KRS-One, Outkast and frequently collabor...

Jahi & Zo1 On Landing Tuff Gong Deal, The New Album "Black Love" & Fighting The Power In 2024

It's nearly impossible to sum up the seismic impact Quincy Jones had on the music industry.

The legendary polymath, who died at his home in Bel-Air on Sunday (November 3), envisioned and executed some of the most influential albums of all time, including Michael Jackson's 1982 masterpiece Thriller, forever changing the landscape of popular music. But beyond his genius-level talent and seemingly endless accolades, he was beloved by all who knew him.

Perhaps Will Smith (also known as the Fresh Prince) said it best: "Quincy Jones is the true definition of a Mentor, a Father and a Friend. He pointed me toward the  greatest parts of myself. He defended me. He nurtured me. He encouraged me. He inspired me. He checked me when he needed to. He let me use his wings until mine were strong enough to fly."

DJ Jazzy &amp; the Fresh Prince sampled Jones' 1973 theme song from Sanford &amp; Sons, "The Streetbeater," for their 1987 single "Rock The House." And numerous others would follow suit.

In 1992, West Coast Hip-Hop luminaries the Pharcyde sampled Jones' "Summer in the City" for the Pharcyde classic "Passin' Me By." Nas weaved elements from Jackson's "Human Nature," produced by Jones, for "It Ain't Hard to Tell" for his 1994 opus Illmatic. That same year, Mobb Deep repurposed "Kitty With the Bent Frame" for "Shook Ones (Pt. II)" and Aaliyah sang over Jackson's "Billie Jean," again produced by Jones, for "Got to Give It Up" featuring Slick Rick in 1996.

<iframe frameborder="0" src="//www.youtube.com/embed/6xN3KOY2kbg" width="640" height="360"></iframe> 

"Thriller" alone was sampled more than 300 times by artists such as A Tribe Called Quest, N.W.A, Freddie Gibbs &amp; the Alchemist, Public Enemy, Westside Gunn, Redman, EPMD, $uicideboy$, Biz Markie and Kool Moe Dee. Needless to say, Instagram is exploding with tributes to Jones from people whose lives he touched—from Ice-T, DJ Quik and LL COOL J to Rakim, Mannie Fresh and Raekwon.

 Article originally published on AllHipHop.

It's nearly impossible to sum up the seismic impact Quincy Jones had on the music industry.

The legendary polymath, who died at his home in Bel-Air on Sunday (November 3), envisioned and executed some of the most influential albums of all time, including Michael Jackson's 1982 masterpiece Thriller,...

It's C-Doc Again! Ep158 - Lord Digga!

Hugo Monster featuring Paavo - Checks In The Mail (CD-R) — $10.00 USD

Blak Madeen - When All Else Fails (CD-R) — $10.00 USD

Nord1kone & Brycon - Duartes (CD-R) — $10.00 USD

Madlib Files Lawsuit Against Ex-Manager Egon On Anniversary Of MF DOOM's Death

Jahi & Zo1 On Landing Tuff Gong Deal, The New Album "Black Love" & Fighting The Power In 2024

Quincy Jones: Hip Hop Mourns Legendary Polymath

edition 668

edition 667

edition 666

Sight

Sound

Story