WASHINGTON (AP) – The House on Tuesday issued an unprecedented apology to black Americans for the wrongs committed against them and their ancestors who suffered under slavery and Jim Crow segregation laws.
“Today represents a milestone in our nation’s efforts to remedy the ills of our past,” said Rep. Carolyn Cheeks Kilpatrick, D-Mich., chairwoman of the Congressional Black Caucus.
The resolution, passed by voice vote, was the work of Tennessee Democrat Steve Cohen, the only white lawmaker to represent a majority black district. Cohen faces a formidable black challenger in a primary face-off next week.
Congress has issued apologies before – to Japanese-Americans for their internment during World War II and to native Hawaiians for the overthrow of the Hawaiian kingdom in 1893. In 2005, the Senate apologized for failing to pass anti-lynching laws.
Five states have issued apologies for slavery, but past proposals in Congress have stalled, partly over concerns that an apology would lead to demands for reparations – payment for damages.
The Cohen resolution does not mention reparations. It does commit the House to rectifying “the lingering consequences of the misdeeds committed against African-Americans under slavery and Jim Crow.”
It says that Africans forced into slavery “were brutalized, humiliated, dehumanized and subjected to the indignity of being stripped of their names and heritage” and that black Americans today continue to suffer from the consequences of slavery and Jim Crow laws that fostered discrimination and segregation.
The House “apologizes to African-Americans on behalf of the people of the United States, for the wrongs committed against them and their ancestors who suffered under slavery and Jim Crow.”
“Slavery and Jim Crow are stains upon what is the greatest nation on the face of the earth,” Cohen said. Part of forming a more perfect union, he said, “is such a resolution as we have before us today where we face up to our mistakes and apologize as anyone should apologize for things that were done in the past that were wrong.”
Cohen became the first white to represent the 60 percent black district in Memphis in more than three decades when he captured a 2006 primary where a dozen black candidates split the vote. He has sought to reach out to his black constituents, and early in his term showed interest in joining the Congressional Black Caucus until learning that was against caucus rules.
Another of his first acts as a freshman congressman in early 2007 was to introduce the slavery apology resolution. His office said that the House resolution was brought to the floor only after learning that the Senate would be unable to join in a joint resolution.
More than a dozen of the 42 Congressional Black Caucus members in the House were original co-sponsors of the measure. The caucus has not endorsed either Cohen or his chief rival, attorney Nikki Tinker, in the Memphis primary, although Cohen is backed by several senior members, including Judiciary Committee Chairman John Conyers, D-Mich., and Ways and Means Committee Chairman Charles Rangel, D-N.Y. Tinker is the former campaign manager of Harold Ford, Jr., who held Cohen’s seat until he stepped down in an unsuccessful run for the Senate in 2006.
SOME YEARS AGO, I WAS IN BEVERLY HILLS IN A MEETING WITH MY PUBLISHING COMPANY. WE WERE DISCUSSING SONG PLACEMENTS AND THE INDUSTRY IN GENERAL. THE VICE-PRESIDENT BEGINS TO TALK ABOUT HIS EXPERIENCE AT DR. DRES AFTERMATH RECORD LABEL, HE WENT ON TO REVEAL THAT THE UPCOMING RAKIM ALBUM WAS BEING GHOST-WRITTEN. …WHAT?!! I THOUGHT TO MYSELF…….NOOO! THIS SEEMED LIKE THE ULTIMATE HIP HOP BETRAYAL. WHEN ACTUALLY IT WAS BUSINESS AS USUAL. SORRY O… AND FOR THE EVIDENCE…….
JADAKISS
Diddy’s “Senorita” – by Jadakiss
Diddy’s verses on “Victory” – Jadakiss, Biggie, & ROC
Biggie’s “Mo Money Mo Problems” – (biggie’s & diddy’s verse) by Mase, Jadakiss, & Ed Bernard
Biggie’s verse on “Last Days” – by Jadakiss
Charli Baltimore’s “Money” – by Jadakiss
Cam’Ron’s “Horse & Carriage” – hook by Jadakiss, both verses by Jadakiss
J-Lo’s “Jenny From The Block” – (Style’s verse) by Jadakiss
MA$E
112’s “Only You” (biggie’s verse) – by Mase
112’s “Anywhere” (Lil Zane’s verse) – by Mase & Lil Zane
Biggie’s “Mo Money Mo Problems” – (biggie’s & diddy’s verse) – by Mase, Jadakiss, & Ed Bernard
Camron’s “We Got It” – (both Mase/Cam’s verses) by Mase & Cardan
Diddy’s “Friend” – by Mase
Philly’s Most Wanted’s “Cross The Border” – by Mase
JayZ’s “I Just Wanna Love You” – by Mase & Pharell Williams
Diddy’s “Come 2 Me” – by Jody Breeze
Diddy’s “After Love” – by Jody Breeze
Diddy’s “Through The Pain” – by Jody Breeze
JAY-Z
M. Bleek on “Coming of Age” – by JayZ
M. Bleek’s “All Types of ****” – by JayZ
“Coming of Age (Da Sequel)” – (Memphis Bleek’s verse) by JayZ
Foxy’s “If I” – by JayZ
Foxy’s “Foxy’s Bells” – by JayZ
Foxy’s “Get Me Home” – g by JayZ
Foxy’s “Ill Na Na” – (Foxy’s verse) by JayZ
Foxy’s “I’ll Be” – by JayZ
Foxy’s “Big Bad Mama” – by JayZ
Foxy’s “Hot Spot” – by JayZ
Foxy’s “I Can’t” – by JayZ
Foxy’s “JOB” – by JayZ
Lil Kim’s “Big Momma Thang” – by JayZ
Bugs Bunny – “Buggin” (from Spacejam sdtrk) – by JayZ
Jermaine Dupri’s “Money Ain’t A Thang” – by JayZ & ROC
Biggie’s “Hypnotize” – by D-Dot
Diddy’s “Fake Thug Dedication” – by JayZ
Timbaland’s “Indian Carpet” – by JayZ
Dr. Dre’s “Still DRE” – by JayZ
Dr. Dre’s “The Watcher” – by JayZ & Rakim
Dr. Dre’s “The Message” – by JayZ, Rell, & Royce Da 5′9″
Snoop Dogg’s “Intrology” – by JayZ
Pro The Spectacula’s “Call Ya Boy” – by JayZ
Pro The Spectacula’s “Handle Barz” – by JayZ
Slim Thug’s “I Ain’t Heard of That” – by JayZ
Slim Thug’s “I Ain’t Heard of That RMX” – by JayZ
Fort Minor’s “Where’d You Go” – c by JayZ & Mike Shinoda
SMITTY
Will Smith’s “Miami” – by Smitty
Diddy’s “Bad Boys 4 Life” – Diddy’s verse by Smitty & Black Rob
Diddy’s “And We” – Hook, Diddy’s, & Foxy’s verse by Smitty
Loon’s “How You Want That” – by Smitty
Diddy’s “Show Me Your Soul” – Hook & Diddy’s verse by Smitty
Diddy’s “Shake Ya Tailfeather” – Hook & Diddy’s verse by Smitty
Diddy’s “Girl I’m A Bad Boy” – Hook & Diddy’s verse by Smitty
Baby & Diddy’s “Do That” – by Smitty
Truth Hurt’s “Cop” – Dr. Dre’s verse by Smitty
Truth Hurt’s “Benefit of the Doubt” – by Smitty
Truth Hurt’s “Hollywood” – by Smitty
Dr. Dre’s “The Wash”– by Smitty
Dr. Dre’s “On The Boulevard” – by Smitty & Knoc-Turnal
Beyonce’s “Summertime” – by Smitty
T.I.
Bow Wow’s “Let’s Get Down” – by TI
Bow Wow’s “I’ll Move On” – by TI
Bow Wow’s “The Future” – by TI & ROC
Bow Wow’s “The Don, The Dutch” – by TI & ROC
Bow Wow’s “Hey Little Momma” – by TI & ROC
THE D.O.C.
Dr. Dre’s “Keepin’ It Dope” – by D.O.C.
Dr. Dre’s “A ***** Witta Gun” – by D.O.C.
Dr. Dre’s “Little Ghetto Boy” – by D.O.C. & Snoop
Dr. Dre’s “Big Egos” – by D.O.C., Mel Man, & Brian A. Bailey
Dr. Dre’s “Housewife” – by D.O.C. & Mel Man
Snoop Dogg’s “Snoop’s Upside Ya Head” – by D.O.C.
Trina’s “Ain’t ****” – song/hook by D.O.C. & Trina; (Snoop’s verse) by D.O.C. & Kurupt
Twista/Mobstability’s “Mobstability” – by D.O.C. & Twista
Ice Cube’s “Once Upon A Time In…2″ – by Ice Cube & D.O.C.
Ice Cube’s “Roll All Day” – by D.O.C.
Ice Cube’s “Until We Rich” – (Ice cube’s verse) by D.O.C.
Bone Thugs’ “This Ain’t a Game” song/hook by Trey Songz & D.O.C.; verses by Bone Thugs & D.O.C.
Snoop Dogg’s “Boss Life” – by D.O.C., Stanley Benton, & Akon
Snoop Dogg’s “Round Here” – (Snoop’s verses) by D.O.C. & S. Benton
Snoop Dogg’s “Imagine” – by D.O.C., Snoop, D’Angelo, & Dr. Dre
Snoop Dogg’s “That’s That” – (Snoop’s verses) by D.O.C.
I MET CAMU THROUGH MY COUSIN TREAD AND HIS BOY FLOO CAT. I Was already making beats at the time, but had just recently copped the ASR-10 sampler and was learning my way through it. Up until that point everything i did musically was pretty much uninfluenced. When i met camu all that changed. He was the first “producer” friend I had ever had. Someone i could build with, and learn from. In other words he became more or less a reflection, someone i could identify with. Like miles davis and john coltrane. Or better yet ray charles and Quincy jones. He was a little older than me, so naturally he would drop jewels. And I would pick them up. His beats were CLASSIC HIP HOP……in the tradition of primo, but he took chances like dilla. He could find a loop and bang it out perfectly. He would come over my house off and on for few years to use my ASR-10. (he was a beast on beats without any of his own equipment) in the end I remember him being fun, brilliant and having over all GOOD ENERGY. a star. SEE U ON THE OTHERSIDE BRO. – rashad
Discography
Camu Tao Presents – Blair Cosby’s Cereal Carpens (2001)
Camu Tao Presents – Blair Cosby II the Wali Era (2004)
HERES A RARE INTERVIEW WITH DILLA MOMZ………..props 2 scheme magazine.
Scheme: What were some of the first childhood memories you have about raising Jay Dee?Ma Dukes: HIS music, we really didn’t make fun of him but we laughed at him. He was a baby and he would be in this playpen and we entertained a lot because my husband was always helping somebody, whether it was group or vocal coaching. Dilla was a great kid, so he’d always be in the playpen because I always had to do a part [part of a music group]. Whenever we entertained, James Brown was a hit. My mother was always invited and James Brown was her man. So there was nothing unusual except when James Brown came on, by the second beat he’d [J Dilla] be up on the side of his playpen dancing. This kid couldn’t stand up or walk, much less dance. This kid would hold on to this netted playpen and would tear it up rocking back and forth. He knew every beat to every James Brown song, that’s how attentive he was, but by the last couple of beats he realized he’s standing up and realized he couldn’t walk. So we watched him ease down and we would roll. He had no care or fear. He liked all music, that’s why we didn’t have a problem because it was a music household. Only thing about him was that he didn’t sleep at night… ever [laughs]. That was the personality he was going to develop.
Scheme: Was he loud or was he just up and wouldn’t go to sleep?Ma Dukes: He would not go to sleep and I was tired. I was going to college before I had James and I was doing home study. So I had to study between the time that he should’ve been sleep, and early in the morning when I had to get up and get him ready to go. My eyes are down to here [pulls on the bottom of her eye lids] and I’m trying to maintain this 4.0. So finally Mr. Yancey [husband] started putting music on, and it would calm him down and he would almost fall asleep, but when he was ready he would wake back up. So for a couple of weeks we had this jazz pattern and he would rock him on his knee. He [Mr. Yancey] was an upright bass player, so he would do the runs with his mouth and everything and that put him into a deep sleep.
By two months old he [Dilla] was doing harmony, it was so funny because we would tape during rehearsals and we would tape him. My Uncle Pete who would come every once in a while would say, “That boy is gonna be something one day, watch, he’s already getting harmony and he can’t talk.” He could match perfect pitch harmony, I don’t care what bass run my husband did. It was weird because being around music we didn’t think this was going to be his forte. I’d give my right arm to have those tapes now, we moved so many times we couldn’t keep track.
Scheme: When did you realize he was actually going to pursue music as a career?Ma Dukes: He told me he didn’t want to do anything else. I tried to get him to go to school and learn aeronautics. I thought music was just a phase as a teen, but he always liked nothing but music. So we let him collect music at two years old and we would let him spin records in the park and we knew he loved doing that. It was something that pacified him and made him happy. We had a restaurant that was in the middle of downtown Detroit. They [customers] loved it, they used to like to see him with his shades and his hat spinning records, but there were no kids to play with down there, no kids lived down there [laughs]. People would be entertained and people knew James, they treated him like he was a little man. There were two guys there that were mute, they taught him sign language and he would speak with them and he was four at this time. He was quiet, the only time I had a problem was when I had to drop him off at the YMCA. We worked so many hours we would take him to part time daycare where he’d be around some kids. We’d take him and he didn’t want to go, but then when we’d come to pick him up he’d scream because he didn’t want to leave.
Scheme: What was a typical day like in the Yancey household during his teenage years?Ma Dukes: He stayed in the basement alone. We always had child daycare. A typical day was from 6am-6pm child daycare and I had upstairs and downstairs. I always had more kids than I could handle but 6pm-6am was Dilla’s spot. He had the entire rule of the house and the entire basement, which was better than the house itself [laughs]. He had his records and everything and people started coming over. He started doing beats and would show other people how to do beats. I knew he was really into it but in the back of my mind, my husband was a musician and my thinking was everybody doesn’t get a break, so he has to have something to fall back on… that’s what I was telling myself. His counselor told me he was the top kid in his eighth grade class and that they were picking one child out of each school in our area to go to Davis Aeronautics. The teacher told me if he goes there, by the time he graduates he would have a year of college under his belt. So I was happy, and when I talked to him it was all good, but during the course of the summer by the time all his friends had talked to him, they convinced him that he wanted to go to the school they were all going to. So I was like you’re going, no one else has this opportunity, you’re going. We fought for three years about this and he was unhappy everyday. The only thing that made him happy was I would let him use my car while I was at work. So he, Frank & Dank would ride out and I found out years later that my car had been to a lot of places I wouldn’t even go [laughs]. But a day in the household was total reign of the house, Eminem would be there everyday at 6pm waiting to get in and Paul Rosenberg because he was rapping to; of course his parents made him go to law school, which was a good thing because you never know how things are going to turn out. Everyone at the house was involved in music, Dilla was in a the gospel choir and an alter boy. So it’s like a big thing there [Dilla’s church] now, they keep a lot youth inspired because a lot of the youth are Dilla fans.
Scheme: There’s a lot of stories about him being very neat…Ma Dukes: [Sighs] To a fault. My household was relaxed, and very well lived in. If I had company coming over of course I would tidy up, but he could not stand a spec of dust. My sister had first hand knowledge and she would clean the household because I could not do it to his standard. Even after we would clean he would do a white glove test, and he would go through with his duster and would still see dust so he always had a feather duster. He was that way with his clothing from an early teen. He ironed his own clothes because they had to be creased and sharp like a knife [laughs].
I think that’s what made the cops mad at him when they gave him a hard time. There was never a spec of dust on his shoes, they had to look like they came out of a box and if there was a smudge on it he couldn’t do it. If he had a date to go out of town for something I don’t care how important it was, if he couldn’t get his barber or his barber was late, I would either have to move that flight or he would cancel. If he [barber] made a mistake or the line wasn’t right, he wasn’t going. There was a lot of, “Look James this is very important.” And he would reply with, “I don’t care, you know I’m not leaving out of here like this.” If I couldn’t get Frank to do it because he was the only other person that Dilla would let do it, he wouldn’t go. I knew he wasn’t satisfied unless I heard him yell from the back, “Yeah, it’s all good dog!”
If he had a funny feeling that somebody’s stuff wasn’t right on the other end he didn’t go. A couple of times I forced him and I would just tell him everything was good. He’d get there and call me and say, “I told you, it wasn’t right, so you know I’m coming back right.”
Scheme: Was he always intuitive like that?Ma Dukes: Yes, very strange, you couldn’t argue with him about anything. He had this instinct that was uncanny. He had a funny feeling about people, I don’t care how good it seemed.
Scheme: What was it about BBE and Stones Throw Records that made him feel comfortable?Ma Dukes: He had a friendship with Peter [Adarkwah], he didn’t take fast to most people, but Peter was a true spirit. He honored him as an artist, Hh didn’t try to tell him what he thought he should do or how he should come out. Plus he had free artistic reign with whatever he did, because Peter was always satisfied. He [Dilla] would never give him any junk, so he never would let go of anything if he didn’t feel it was right. So Peter was comfortable with him and a couple of times he went to visit him in Amsterdam [laughs] so they were cool. When Eddie [Bezalel] took over for Peter, Dilla wasn’t feeling that. So it was like, we have a meeting with BBE and he’d be like, “You go.”
Scheme: Being heavily involved with Jay Dee’s career what lessons did you learn on the business side of things, did you feel like you were thrown into that aspect?Ma Dukes: No, because from day one he brought me in and I was so comfortable because I appreciated his music, and I was so proud of him. He didn’t talk much about it [accolades]. Only problem I had with him was things would go on and he would win awards and be acknowledged for stuff and I didn’t know about it until I someone would call me up and say, I got the magazine, I was like, what magazine? It never phased him, he never cared about all of that, but I was excited because I was a mom. I would’ve wanted to go to the Grammy’s with him. He didn’t want to go, he was in the car and got stuck in New York because he was doing some work with Q-Tip at the time. He stayed a day later because the work carried him over and he had no intention of being there that day. He called me in tears and said, “I don’t want to go.” I said, “Are you crazy, I’d give anything to be at the Grammy’s [laughs].” He said, “Well I’m here and I’m in the car but I’m not getting out.” I said, “Okay don’t worry about it, just stay in the Limo.” He said, “I’m not going to any after party, their taking me back to the hotel and I’m coming home.” He really wasn’t apart of that type of make up.
Scheme: On the business side when the executives saw you come in instead of him, were you treated any differently? Ma Dukes: I was always treated with the utmost respect and they knew that Dilla had me call for him a lot of the times. I hadn’t met anyone in person until the last two years. I didn’t meat Mike Ross at Delicious Viynl until two years ago, and we were the best of friends all of these years, we did business together and he was a big part of Dilla’s heart. Mike is still like that to this day, and he shares that love with me and my family. The only problem I have from anyone is that there are those that are there just for the name, and there are those that have true love; but you know them when you sit and you feel them.
“I feel so bad because I learned first hand now what kind of pain he was in. Now I’m experiencing the same thing. I always think I’m experiencing this now so I can keep in touch with what he was really going through, I don’t think anything just happens, but I feel like I’m going through this to experience what he was going through.”
Scheme: Did you know during the times when he was making numerous amounts of beats, remixes and songs the impact that he was having globally?Ma Dukes: No, the first time I saw Dilla perform was when he moved to LA. The reason being was because I didn’t want to make him feel like he couldn’t perform freely. I knew what kind of lyrics he wrote, but I never wanted to make him feel uncomfortable. His dad and I purposely never went to any of his shows even though I wanted to, especially the ones at St. Andrews, it was right down the street. I wanted him to feel happy and free and never wanted him to feel inhibited. It was just like being there, when he would call and tell me how it was overseas and tell me how Paris was, which he loved so much and just how wonderful artists were treated overseas. My husband would tell me how it was for Black artists overseas when he would perform over there and how so and so moved because they could perform and be appreciated for their work and be treated as human beings.
I saw it first hand when I went on tour with him and it was incredible. I felt like the Red Sea had opened when we were in Paris, and that’s something I will never experience again, it was that dramatic and spectacular. It was the love, and this was at one of his most painful moments brought him to life. When he was performing he was so happy and just for those moments because he had a hellish day and it disappeared when he was on stage, just by the love of the fans his face lit up. They don’t know how it was backstage, a couple of times he would speak to me and would say, “I don’t know if I can’t do it.” I feel so bad because I learned first hand now what kind of pain he was in. Now I’m experiencing the same thing. I always think I’m experiencing this now so I can keep in touch with what he was really going through, I don’t think anything just happens, but I feel like I’m going through this to experience what he was going through.
Scheme: How is it dealing with Lupus through your son and then dealing with it on yourself?Ma Dukes: You know how crazy it is? He was sick for so long, and dealing with all the sickness that comes with Lupus, let me tell you an example. This morning I left home and I was doing good, because last week I couldn’t walk. By Sunday I was walking around the house and by Monday I was good to go. This morning I left the house and I was good to go, by the time I got to her house [sister], she has about three or four steps, and I could barley get up those steps. By the time I got to the airport I had to take pain pills. You just have to watch what you do and just take it day by day. So I’m experiencing this and I’m appreciating this more for his persistence on his work, because if it was me [laughs].
“A lot of people don’t understand rap music, and a lot of people don’t understand hip-hop and there’s a difference. Hip-hop is a culture and involves more than just a beat. It’s a spirit and it’s soulful, and you have to be an artist with soul.”
Scheme: How has that been mentally and spiritually for you?Ma Dukes: Spiritually it’s been okay for me because I identify with it and I appreciate just being here, it’s a blessing. It’s a blessing in a way that I can honor my son’s spirit more because I know what he really went through. I think about all those days and months we spent in Cedar Sinai [hospital], every couple of months we would spend a couple of months in Cedar Sinai [laughs]. I haven’t been through a lot of the things that he’s been through but because of him I know all the things that I have to handle day to day.
With my son they didn’t realize until the last year that it was Lupus, so of course they weren’t treating him for Lupus. Here I find out early on so I’m taking medications but they have side effects for everything. They treat you with cancer drugs so for about the first six weeks my hair was bald [laughs] and it took months for it to start growing back in.
Scheme: Where does Illa J fall into all of this? Ma Dukes: Ahh the baby, he is his own person. He’s always put his own heart into whatever he does. He was the kid brother and he got closer to Dilla when Dilla would come and take him to the studio. Then he started doing work with him in the studio. He [Dilla] bought him a lot of the DJ equipment, so he really enjoyed it. He was really overlooked because everyone else was doing their own thing. My daughter who if I had her voice I would be in the recording studio right now, but she wanted to be a English teacher instead. I have weird kids but they all have their creative gifts. John excels at whatever he does and he is the type of person that we never tried to tell him what to do as far as balancing those types of things. He’s just beginning to fall into his thing and he’s doing a lot of writing now and he’s into his keyboards and his guitars, and happy in LA. He’s making his mark and I usually talk with at least once a day, if I don’t talk to him I know he’s in the studio working.
Scheme: In the entertainment industry when I think about mother and son relationships I think of Kanye West and his late mother Ms. Donde West and the public affection he showed towards her. I think that is exemplified when I recall you in the OH-NO video for Move. Ma Dukes: [laughs] That was my song, I remember when he was first making that song. I tried to tip down to the basement, because he’s in a sound proof studio and he knew that I had tipped down. When he first hit that classical music I was so happy to hear it! By the time I got down there he came out the studio and was like, “What do you think your doing?” I was like, uh and he said, “You know I don’t like that, I’m not done.” I was so happy when it came out. I wasn’t supposed to be in that video, but I went out there because it was a hot -hot day and we just got out of Cedar Sinai again. They were doing the video that Saturday, so I came and I brought medicine just to make sure he would be okay. We got there and we did our part and they finished the other stuff around it, but because he was very weak and on medication that’s why he was on top of the picnic table, and I decided to stay under just to be on the safe side. So I’m getting ready to get up so they can shoot and he was like, “Oh no you’re staying here.” I was like, “You don’t want this old lady in this video.” That was my song so it was all good to me because I love rap music.
Scheme: J Dilla has such an extensive catalogue what are your top three Dilla records?Ma Dukes: I love Vivrant Thing, I like Players more now because of the original song and because it took it back to the contemporary feel and the Light really inspired me.
Scheme: What’s your opinion on rap music and the industry?Ma Dukes: I love it to a fault. I color myself as a old hip-hop head. I love it because it’s an infusion of different things. A lot of people don’t understand rap music, and a lot of people don’t understand hip-hop and there’s a difference. Hip-hop is a culture and involves more than just a beat. It’s a spirit and it’s soulful, and you have to be an artist with soul. You can’t fault them because they don’t know the difference. That’s why it’s good to have an instrumental part because maybe if they take the time to they would understand a little better. I don’t like all rap artists, there are some out there that shouldn’t be doing it but they got a hold of some good beats and got on.
“When he told me a couple of weeks before he passed he told me he appreciated everything I had done, he was trying to prepare me and I wouldn’t let him go. He told me he loved me and he grabbed me by the hand and said I appreciate everything you’ve done, and that was a hard sentence for me to swallow. He always showed me he loved me and everything my heart desired my son did for me. He was like a mentor to me…”
Scheme: My mom tells me every now and then that if she could turn back the clock she would’ve done this instead of that with me. Is there anything that you would’ve have done different when it came to being a parent to your children?Ma Dukes: Sure, one thing I could think of… well there’s a lot of things [laughs]. The most important thing to me was that I would’ve started a music career of my own while James was healthy. That was the plan but I got sick last year, by the end of this year I will have at least started it. I have artists out the woodwork ready to do beats for me, like Madlib and J.Rocc and Busta’s workin on stuff for me too.
Scheme: How did you get the term Ma Dukes?Ma Dukes: Ma Dukes got your back. I would always cook for his friends when they would come through. It got to be a thing that just before Christmas through the New Year all the guys would come through our home. We did a lot of things, we bowled, we sang and hung out so Dilla had the reign of the house. I had would cook certain things if I knew certain people were coming and just like I said Dilla was meticulous with his house, he was about his refrigerator. Juices with the juices, pop with the pop, Coke couldn’t be with the Sprite jello couldn’t be on the same shelf with this etc. When Common came over he didn’t eat sugars so I had to have different things for him. When the Roots came over I used to do deli trays, which I would love to do. Frank n’ Dank loved my fried chicken and James loved my sweet potato pies. It was so much fun because everyone was supposed to stay for one or two days and they would stay for at least a week. Ahmir was there two weeks, because he always stayed after everybody else left. I’m so happy that he did everything that he did do because he had such a short life.
Scheme: What were those poignant conversations where you saw Jay Dee growing not only as a musician but as a person?Ma Dukes: We were so close, and there was nothing we didn’t talk about. There’s was nothing that he did that we didn’t discuss. I would always tell him don’t be ashamed to talk about anything. When he told me a couple of weeks before he passed he told me he appreciated everything I had done, he was trying to prepare me and I wouldn’t let him go. He told me he loved me and he grabbed me by the hand and said I appreciate everything you’ve done, and that was a hard sentence for me to swallow. He always showed me he loved me and everything my heart desired my son did for me. He was like a mentor to me, when I wanted my first daycare building and going back to college Dilla told me you do this for you and he was like, “I got you.” FRANK N DANK DISCUSS DILLA BEAT TAPES AND STUDIO RULES. REMINDS ME ALOT OF MYSELF..
Okay now.
Anyone who know me, they know me to ride
But when the xxxx was selling slow it’s just my homies and I.
Had to get rid of all the phonies and the homies disguised.
So you speaking, I don’t reply, homie don’t be surprised
You ain’t gotta ride for me, I didn’t ask you to.
Take the journey on my own, I would gladly do.
You gon’ and turn around now, I’ll call a cab for you.
I stand up on my own 2, he kiss the xxx of who.
No way Jose, we pot Rose, blow dro, that’s more than okay.
See but don’t say, my folk, they flip more yay than Cirque du Soleil.
Keyser Soze, oh they kill people and get off like OJ.
You catch your case, just shut your face, don’t get caught singing do, re,
Mi, fa, say, la, ti, do, ghetto hero, G-code I obey.
He’s so gay, didn’t have no business hanging around me no way.
It’s okay, life lesson learned I suggest that you go your way.
I be straight, no conversation man.
That’s all I’m gon’ say (hey).
styles will change/ they say change is dange/
errors/era’s/ as a King standing on the terrace/
while his partner pointing up at the rifle men/
cowards/shooter never know when youre life will end/then
live like there aint no morrow/
and if one come/ then this the motto/
now I put message in bottle/
you go to the nearest beach and open your car door/
and walk to the place where the sea meets the land/
yeah/its easier to run the street than walk in the sand/
hey I’m talkin young man/ as if chalk in my hand/
I will talk y’all little ass to school/
it’s cool when the kids calls me sunny/ the hood calls me stacks/
the bees calls me honey/ Hollywood calls me back/
crack and I have a lot in common/
we’ve both came up in the 80’s/ and we keep that bass pumpin..( damn!)
thats a nigga/take comparison/ embarassin unfortunate/
that if you come up fortunate the street consider you lame/
ha!/ I thought the name of the game was to have a better life/ (real talk!)
I guess it aint what a shame/ I dont sling
never slung/but i’m one with the slum/
that has a name well fitting/
plenty cheese getting/
no wonder why they call it the trap/
so watch your tail/and im not kidding/
the rats and mice would give advice/they said you can paint and draw/
get out of here/ go show them that we’re more than slangin raw/
thats when I broke into my Big Rube impression/and I try to enlighten/
but that night I learned a lesson/that the morals that you think u got/go out the window/
when all the other kids are fresh/ and they got new Nintendo…Wii’s/
and your child is down on her knees/ prayin hard up to God for a Whopper and cheese/
do you B?/ hit the street hard with a flair/
or do you A?/go to school for heatin and air/
dare, make an honest livin/but make a crooked killin/
or do a bit of both till youre holdin on a million/
brilliant/ you got one foot in one foot out/y
ou put your left foot back in/ and then you shake it all about/
you do the hokey pokey/ till you turn you life around/ that’s what it all about/3000 out
Stephen Garrett was born and raised in Louisville in a family of musicians. Growing up, he sang in the choir at his church, where his sister played piano, his mother was the musical director, and his father was the pastor.
As a member of Playa, Static began his musical career under the tutulage of Jodeci’s DeVante Swing, and formed kinships with fellow members of DeVante’s Swing Mob such as Missy Elliott,Timbaland, and Ginuwine. After the Swing Mob members parted company with DeVante, Static and the rest of Playa worked extensively as songwriters, co-producers, and background singers for their colleagues. Static was one of Ginuwine’s main songwriters, penning the lyrics to Timbaland-produced Ginuwine hits such as “Pony“, “What’s So Different”, and “So Anxious”.
Static also wrote much of Playa’s material when the group signed with Def Jam Records in the mid-1990s, including Playa’s 1998 hit single “Cheers 2 U” from the album of the same name. Also in 1998, Static wrote the lyrics for Aaliyah’s hit single “Are You That Somebody“. Following the success of “Are You That Somebody”, Static became Aaliyah’s main lyricist, and wrote many singles and album tracks for the singer. Static’s writing credits for Aaliyah included “Come Back in One Piece”, “We Need a Resolution“, “Rock the Boat“, “More Than a Woman“, and the number-one single “Try Again” from the 2000 film Romeo Must Die. During this period, Static also wrote for Nicole Wray (“Eyes Better Not Wander“) and Destiny’s Child (“Say My Name (Timbaland’s Remix)“) as well.
Aaliyah died in a plane crash in 2001, and Static went on to write for other artists; his later co-wriitng credits included Truth Hurts‘ “Addictive” and Brandy’s “Come as You Are”. Aside from his longtime association with Timbaland, Static also collaborated with producers Scott Storch, Dr. Dre, and Jazze Pha. In the mid-200s, Static worked with R&B group Pretty Ricky, R&B singer Tank, and appeared on David Banner’s 2004 single “Crank It Up”.
Static later signed to Blackground Records, label home of Aaliyah and Tank, as a solo artist. He died on February 25, 2008 in his hometown of Louisville, Kentucky. The cause of death is currently unclear, but it is thought that he may have died from a brain aneurysm
HIS music, we really didn’t make fun of him but we laughed at him. He was a baby and he would be in this playpen and we entertained a lot because my husband was always helping somebody, whether it was group or vocal coaching. Dilla was a great kid, so he’d always be in the playpen because I always had to do a part [part of a music group]. Whenever we entertained, James Brown was a hit. My mother was always invited and James Brown was her man. So there was nothing unusual except when James Brown came on, by the second beat he’d [J Dilla] be up on the side of his playpen dancing. This kid couldn’t stand up or walk, much less dance. This kid would hold on to this netted playpen and would tear it up rocking back and forth. He knew every beat to every James Brown song, that’s how attentive he was, but by the last couple of beats he realized he’s standing up and realized he couldn’t walk. So we watched him ease down and we would roll. He had no care or fear. He liked all music, that’s why we didn’t have a problem because it was a music household. Only thing about him was that he didn’t sleep at night… ever [laughs]. That was the personality he was going to develop.
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