Thursday, October 28, 2010

INFAMOUS INTERVIEW: Prodigy (Mobb Deep)

In this amazing interview, Prodigy breaks down a lot of behind the scenes events surrounding Mobb Deep's career. In true P fashion, he details makings of classic albums, industry stories, the Tupac beef, his role in the Nas/Jay-Z beef, and a whole lot more crazy ill information about the late-90s era of New York hip hop. If you are like me, and you fiend for this kind of "behind the scenes"/ "making of" information, you will prolly agree that this is the greatest-east-coast-interview-of-all-time. Enjoy...


"Juvenile Hell basically we were high school dropouts; like we just dropped out of school and we was like fuck that, we're doing Rap for a living. ... We was drinking 40s, smoking weed, wilding, hoeing, you know what I'm saying, weapons doing all kinds of shit. ... We didn't even concentrate on making a ill album, we was just like come on we got to hurry so we can fucking be rappers. ... We did like three beats on that album. That was the first time we started making beats.

We did "Hit It From The Back", "Hold Down The Fort" and "Stomp 'Em Out" and to tell you the truth those were like the three best songs on the album. So when we seen that, we was like "Wow we got some shit. We got to make the whole next album, fuck even going to producers."

The result was it wasn't (a good album)... So after that, that shit hit us hard. We was hurt because Nas had Illmatic out. He was popping with that album we was like ahhh he's getting all the shorties at the show, he's riding around in a Lexus, chilling in the projects. We like, "Awww we fucked up; we got to go back in. We got to go in hard son."

Now we started paying attention to what we was doing when we made Infamous. ... We made a beat, come outside on the block, play that shit on the radio. Niggas was like, "Oh, that shit ill!" Thats the formula: the hood love it than the world gon love it... We started getting older, and we started getting into more crazier shit in the street. Niggas was bugging; that was a crazy time in my life. I was doing coke and fucking drinking E&J for breakfast. Wilding like for real no joke, we was really wilding like smoking dust.... We met Raekwon and them niggas (laughs) being on Loud Records. They turned niggas out smoking that shit, I think they just passed it to us one day they didn't even tell us what it was.


How we met them niggas was, we was up in the Loud office one day right and all them niggas was up there cooling. Them niggas is older than us and we followed in their footsteps for real. We was on our own shit but we followed in their footsteps a lot with business and how they handled they business and how they was consistently on they business grind. Them niggas wasn't playing. They was in the office making deals. If something ain't go right, we see them flipping out, flipping chairs and shit, flipping desks, wilding. We seen all that, so we was feeling them niggas, so we started hanging out, started going out to Staten Island, hanging out in the harbour, hanging out in their hoods and shit, just chilling.

We was out there one night chilling with Ghost. .. Back than, Rae had a dark navy blue Acura. ... All I know is, I smell something. But that don't smell like weed. So we smoking, I think Havoc was smoking back than. So we getting blasted (laughs)! We was fucked up. So they was like what's up with Nas, they want to meet Nas. They was like, "Yo we want to do a song with Nas". We were like "Cool, we going to set that up for y'all". So we drove back to Queens Bridge.


Havoc is like, "Yo there was something in that weed son, I'm fucked up". I'm like "I don't know man, that shit got me feeling right though. We called Nas, so we all got in the studio and did "Eye For An Eye". We dropped Infamous, know what I'm saying, that shit took off. Then, Rae dropped his solo album. He was wilding talking about coke and dust, and I started listening I was like "These niggas is ill dust heads son". We was little niggas I was like let me try that shit and I was smoking that shit every day after that. I was smoking dust blunts. That was my shit. Niggas turned me out with that shit know what I'm saying? The hood is wild, the hood will turn you out to a lot of shit anyway. Word.



After that (car accident), Havoc's brother comitted suicide and that was crazy man. It was weird cause Killa B wasn't like that... He was a wild boy, busting his guns and all that, but he wasn't the type of nigga to kill himself, so that hit niggas hard... And right after Killa B, my man Yammy got killed out of town. He was doing some work out of town, and somebody ran up behind him with a bat and hit him in the head with a bat and killed him. Yammy was one of the strongest niggas that I knew. He gave us the name Infamous cause that was his name. He had it tatted on his arm "infamous Yambo". So when Yammy got killed that fucked us up cause he would come to every show.... So we lost a lot of strength, Killa, Yammy, Scarface. It was devestating to niggas.

When we got to Murda Muzik our attitude was foul cause of all the shit that happened. It hardened niggas up in a negative way. So our whole attitude (with that album) was like fuck everybody, fuck everything, and anybody try something they're gonna die. Straight up and down they gonna go down....

After parties we got to do autograph signings, we in the hood cause that's our audience. (We be) in Baltimore, on the corner record store in the hood lining down the block for Mobb Deep, just to get an autograph... I'm talking about it's people in line that's looking like they can't get some sneakers but they coming to buy an album, that shit bugged me out. ... I look back and I'm like, "Wow you can feel the power in that album, that's why it went platinum." We put all that agressive, negative energy into it and it's positive energy at the same time. We was like "Fuck that nobody is stopping us. We are going to make a hit, we're going on tour, we're going to come back safe... This shit is going to be a success." And that's exactly what happened.

When we did Infamy that was around the time you know when Nas started coming around more. Like at first, Nas didn't really take too kind to me when I first came to the hood. He actually told niggas I was corny and that Hav need to go solo and it got back to me and I was like "Damn" and that shit kind of hurt me. I just came to Queens Bridge and I didn't want niggas to start like word like "P corny, he can't hang out with us no more" so that shit kind of hurt inside. ... After that, that's when I made "Shook Ones". That's when I made all my shit. My rhymes changed. ... When I heard Nas say that shit, I was like "Hold up, this shit is serious. I can do this for real. I'ma show everybody".

I never felt no kind of way towards Nas after that either. I always thanked him in my mind, because if it wasn't for that, I wouldn't have been what I am today so in my mind I always look up to Nas. ... So around the time of Infamy, Nas started hanging out around more, I was working on Murda Muzik the movie, and I was shooting a movie for Queens Bridge and for Mobb Deep.

... I got everybody in that movie. Nas, everybody. When Nas started seeing this he was like "Damn, P making me look bad because why didn't I do this first?" This was kind of late... Like, why didn't nobody ever do a movie about this shit. We in 99 son. We should have did a movie back in 96-97 or something like when Nas first came out. Somebody should have been like "They need a movie about their life and their hood"... So I wrote that shit like fuck it. I'ma do this shit. I got everybody together in that movie. Everybody got in that motherfucker, that don't even get along with each other... Niggas was like, "Yo them niggas don't even get along. That's ill that you got them to play that shit son"

So we at Soundtrack Studios and Nas started booking sessions right next door to us; out of nowhere. That's Nas. He usually at the Hit Factory or somewhere ill, like he's out in Bermuda doing his album or something. I was like damn he's coming over here? I'm like, aight cool.

So I'm doing songs for the movie soundtrack and not only did I get everybody from the hood in the movie, but on the soundtrack I got all new rappers from the hood, all the new niggas and dun was seeing that too. And people were going back to him telling him like, "P is doing a lot for QB. What are you doing?"

..So Nas started booking sessions. So I go over there like what's up and he's like "Yea, I'm working on a QB album, but it's a Queens Borough album (it wasn't a Queens Bridge album)..." I was like "Yo, you know what we need to do? This nigga Jay-Z is taking little jabs at us on songs. ... I'm like, aww he talking about me in that song ("Where I'm From") and I'm like yo he bit our shit, with the little plastic cups in the hood and if you do the research and history of it, Jay-Z was on some speed boat in Bahamas, Versace type shit. Then, "Shook Ones" came out, then Jay came out with the plastic cups, football jerseys in the projects, taking jobs at us". And I was like, "Nas, what we need to do is get at these niggas, because number one, his lil' man is trying to shit on you; talking about your life is written and all this shit"... I was like, "These niggas is going at us subliminally and fuck that, we need to go at those niggas. Let's make a song about them, son." He was like "Nah nah, that nigga ain't nobody to be doing that". I'm like son I'm telling you it's gonna be a problem, and he like nah. I'm like "aight cool." Cause in my mind I'ma adress it on my own anyway. I don't give a fuck what this nigga do. I love you Nas but I'ma handle this cause you buggin.

... And now I found out that the Queens Borough album changed to the Queens Bridge album, the QB album. Now I'm like, oh I see what this nigga's doing. And during that time he came to the studio, he started calling my crib like I would come home and my girl be like "Nas called". I'm like what? Nas never called me before, that was amazing to me!
... During this time, I'm going at Jay-Z. I started writing songs cause he was saying all that faggot shit and nigga it's three years later and now you going to say something? You ain't say nothing when it was war! You ain't went to Cali. We could have got bodied out in Cali, son! Them niggas ain't playing. Them niggas is gangs; they do they body shit. Murder every day straight up just because of what color you got on. They don't give a fuck about you. This is what we dealing with when "L.A L.A" came out. We in Cali performing that shit. It was the number one record on the radio in L.A! We had to go to Cali to perform that shit. We could have said "Nah, we ain't going to Cali, they going to kill us." ... So years later, he's (Jay-Z) trying to restore the feelings? What feelings you trying to restore? What are you talking about son? Who are you talking about and why are you talking? Shut the fuck up son you should have said something a long time ago. Me and Fat Joe were at Loud offices one day and I even heard Fat Joe say it. I didn't even come out and say nothing, I was just chillin' in the office and Fat Joe came out and said, "Yo, this motherfucker Jay-Z trying to restore the feeling?" .... "Yo, that nigga is a funny nigga for saying that. Who's he talking about?"

So I told Nas, he was like "Nah nah he ain't nobody, we ain't going to diss him." I said fuck that, I'll diss him on my own. So I diss that nigga, shittin on him. I said in the Source Magazine, "Yo, that nigga is a bitch ass nigga for saying that, he wasn't even around when that shit happened. Biggie was going at them niggas. Mobb Deep was going at them niggas. And they was going at Nas, they was going at Jay-Z, they was going at Biggie, and them niggas was quiet than a church mouse son. Them niggas was quiet than a motherfucker son.

...Down the line when I'm dissing Jay-Z, (E Money) Bags told me, "I went to high school with Jay-Z. Me and Jay-Z went to highschool. Sauce Money is married to my sister. Fuck Jay-Z, that nigga is a bitch son. I know that nigga man." I'm like, "Word that nigga on some bullshit, I had to speak up on it." He's like, "Nah you right son. You ain't wrong for speaking up on it."

So me and Bags chilling in the studio one day in Long Island at this place called the Music Palace. It was a Friday night, I had come from the store and on the radio it was Funk Master Flex. It was Jay-Z, Freeway, Beanie Sigel and Young Gunnaz...."




READ / LISTEN TO FULL INTERVIEW HERE :

Wednesday, October 27, 2010

ECONOMICS: Devastating "Free Market" Reforms Imposed on Serbia



by Gregory Elich (Global Research)

Nine years ago, neoliberal political forces took power in Serbia, promising a radical transformation of the economy. Today, deep into that transformation, Serbia is foundering from its effects exacerbated by the worldwide economic downturn. Industrial production has fallen 15 percent compared to the average of last year, while unemployment remains high.

The outcome for those who work at enterprises that undergo privatization has been all too predictable. Companies privatized in accordance with the 2001 privatization law have shown a decrease of 45 percent in employment over the first two years of private ownership. Those companies that are privatized based on the 2003 law dropped just 15 percent by the end of the first year, but this apparent difference was only because of the extensive downsizing that these firms must undergo prior to sale, in order to make them more attractive to investors. The textile industry has been particularly hard hit, with steep job losses and falling performance. As the Privatization Agency reveals, "the performance of privatized companies is worse than the performance of the sector as a whole," an interesting admission.

Inevitably, it is working people who bear the brunt of privatization. Unemployment in Serbia steadily grew since 2000, when neoliberal political forces came to power, quickly reaching 32 percent within four years. After that there was a modest economic recovery, due in part to the short-term influx of cash from the sale of enterprises through privatization. Unemployment dropped to 16 percent by April 2009, but this apparent improvement is illusory, having to do mainly with the recent adoption of the current American model for calculating unemployment. Under this method, workers who are not regularly and actively seeking jobs are counted as "discouraged," and "out of the job market," and therefore not belonging to the ranks of the unemployed. If one adds back in the number of workers who are classified as "inactive" but who profess both the ability and the desire to work, then the unemployment rate increases to 25 percent. In real terms, then, there has been no meaningful improvement in the unemployment rate. To put this in perspective, at its peak in 1933, unemployment during the Great Depression in the U.S. reached 25 percent, a figure that was then not calculated to exclude a significant portion of workers. Today Serbian workers are enduring their own Great Depression, but one that has been imposed through adoption of the neoliberal economic model. For those who lose their livelihoods, there is little hope. Nearly two thirds of the non-discouraged unemployed have been without work for a year or longer, sometimes much longer. They are society's discards.
FULL ARTICLE


RELATED:
Gazda “očistio” tradiciju - Zrenjaninska Industrija Piva (In Serbian)

Monday, October 25, 2010

IX MILLION WEAR: Fall / Winter 2010

These 8 pieces represent the first official IX-Million-Wear line. We are in the process of finalizing the manufacturing and distribution contracts, and by the Fall of 2011 we plan to have a broader selection of items, including Shoes and Accessories.

All items are made of 90% cotton (10% polyester).

All items include an original IX-Million-Wear tag.

All items are available in sizes ranging from SMALL to XXL.

We offer XS and XXXL sizes in select items.

E-mail us at info@ixmillion.com for orders and information.

Include Name, Address, Telephone Number, Item # and Preferred Method Of Payment.

First shipment will be in stock no later than November 15, 2010.



















FUTURE SHOW: Cincere @ Presbyterian Hall (Niagara Falls)



DATE: Saturday, October 30 2010
TIME: 9 PM
PLACE: Presbyterian Church Hall (Lundy's Lane, Niagara Falls)
TICKET PRICE (With Costume): $5.00
TICKET PRICE (Without Costume): $10.00
FOR TICKETS CALL: Cullen Manningham (1905.650.5583)
OR VISIT: Capish Hip Hop Clothing (5815 Victoria Avenue)


IX Million Entertainment's Cincere will be premiering all new "Jackin 4 More Beats" material. This is an annual charity event. Proceeds from the door go to charity.

Sunday, October 24, 2010

QUOTE: Erykah Badu on Hip Hop (Oct. 2010)

"How y'all gone stand by and let our music turn into pop techno cornball ass music. We don't own our music no more. Come to think of it, did we EVER own it? when I say our own music, I'm not talkin bout the artist I'm talkin bout the people ... let me be quiet. I wanna hear from the young people? easy for me to complain about this techno-pop cause I have a taste for something else. but how do you feel? These rappers ought to be shame of they damn selves, I'm not talkin the emcees rappin over this techno pop music. I believe in pimpin the system but got DAMN! not like this. #pop-technosongs. I like the idea of no distinction of race when it comes to music, but Soulkeepers, U dont give up the boom bip and the hump for the payday. I love house and techno as a side dish. But now it's served as the main course AND that's all u gone get. like chittlins in the back house. I love music PERIOD. just not ready to say goodbye to the boom bip and the hump .. kinda painful for my generation to see. just strange 2me. Yes, no1 wants 2b poor again. artists have 2 sacrifice integrity of the music sometimes 2 make ends meet. this is understood. but gotDAMN now. if you've never tasted good p*ssy you're satisfied with ass hole. (that's terrible ain't it).

Saturday, October 23, 2010

LEGEND: Bill Hicks - Outlaw Comic


William Melvin "Bill" Hicks
(Dec. 16, 1961 – Feb. 26, 1994) was an American stand-up comedian, satirist and musician. His humor challenged mainstream beliefs, aiming to "enlighten people to think for themselves." Hicks used a ribald approach to express his material, describing himself as "Chomsky with dick jokes." His jokes included general discussions about society, religion, politics, philosophy and personal issues. Hicks' material was often controversial and steeped in dark comedy. In both his stand-up performances and during interviews, he often criticized consumerism, superficiality, mediocrity and banality within the media and popular culture, describing them as oppressive tools of the ruling class, meant to "keep people stupid and apathetic."

Hicks died of pancreatic cancer in 1994 at the age of 32. In the years after his death, his work and legacy achieved the significant admiration and acclaim of numerous comedians, writers, actors and musicians alike. READ MORE (Wikipedia)






Friday, October 22, 2010

IMPORTANT READ: Enlightened Self Interest


"We have no eternal allies, and we have no perpetual enemies. Our interests are eternal and perpetual, and those interests it is our duty to follow."

- Lord Palmerston, 2 The House of Commons, March 1, 1848




As I return to providing advisory services to artists - before taking them on as clients - one of the most important areas I like to get into are how one's self-concept (how well a person knows and views themselves) impacts the kind of material they write; "sound" they rhyme over; and the alignment of their brand-image-reputation. Because I believe the secret to how magnetic an artist becomes lies in those elements being properly married I am very selective about who I work with and I am extremely doubtful about the prospects for the long-term success of any artist who doesn't have a team around them who can help guide them through these dynamics.

Knowing one's "Self" is the key to creative energy, marketing and leverage in business, and power in politics. If you don't know who you are, you simply cannot build anything successfully - whether a career, a business or movement. And you cannot generate credibility and respect.

Too many of us when we use the phrase "Knowledge of Self" (KOS) are reducing the most powerful concept and reality to an ideology - a dogma where phrases and words are memorized but not understood. And anything you don't understand, you can't apply.

The two missing elements in many of the definitions of KOS I hear are: 1) a deep awareness of one's emotional being, personality and moral character, 2) how knowing who you are and what is in your best interests allows you to strategically pursue goals and objectives in the world of politics, without unnecessary dependence on others and their institutions.

In these two areas I think over the last 20 years the individual who placed the most emphasis on broader aspects of KOS is the Honorable Minister Louis Farrakhan, who frequently touches on these kind of dynamics with a phrase, "enlightened self-interest".

The Minister's point about the journey and process that one goes through from learning who they are to being able to apply that knowledge effectively for their own benefit is relevant to all of us, regardless of creed, class or color.

Many missed an important point I made about Jay-Z in this regard, in my now legendary two-part editorial "Jay Z - Rich, Righteous Teacher".

A major point I made which many missed is my conviction that Jay-Z is more Self-Aware than most political, conscious rappers who in many cases hide their personality behind ideology and book knowledge. He has a form of KOS but because of how loudly those of us who claim KOS are in limiting its definition to "quoting Lessons" - memorizing a series of Instructions, Questions and Answers, Word Problems, and Statements - we drown out a fuller discussion about basic and deeper aspects of those Lessons which pertain to our individual essence, character, and personalities.

What those Lessons drive us toward in addition to what They revealed about the Knowledge of God, the history of the World, and "secret" knowledge pertaining to current events and the nature of the Universe, and so much more, is a deeper understanding of the nature of our own beings, which has been buried due to our miserable condition and opression. In knowing ourselves we have to overcome a wealth of ignorance and rubbish - as Minister Farrakhan describes:

"The Knowledge of Self is the greatest of all knowledge. It is akin to the knowledge of Allah (God). Both of these knowledges, which is really One, is the key to our return to God, Self and Power... We must know ourselves historically, biologically, genetically, but we must also go to the root of ourselves which is the knowledge of the nature in which we are created, which is the Essence of Self-Knowledge"

This begins with self-awareness which expands into self-examination, than self-analysis, and finally results in self-correction and perfection.

An individual can be intellectually informed through academic instruction and intense study but still be irrational and emotionally immature because their true Self is buried under psychoses, neuroses, compulsions, and repressions. The only way these "multiple personalities", "deamons", "spiritual diseases", or "habitual" ways of thinking and behaving - whatever verious schools of thought and "isms" call them - can be overcome is by one becoming self-aware, and making a concerted effort to examine, correct, and improve themselves.

The ability of artists to be developed and healed emotionally and spiritually will depend upon how honest they and those guiding them are allowed to be about the human condition. That artists too often are celebrated for the creativity they manifest while being "sick", "addicted" (usually 2 drugs), or "imbalanced" and even possibly because they are sick - is a problem society and industry must solve together.

The first step, though, for now, is getting in tune with who we are and what we are feeling and expressing it honestly.

In terms of self-awareness and introspection many artists can learn something from what Jay-Z expressed in a recent Forbes interview with Warren Buffet:


"My first album didn't come out until I was 26, so I had a bit more maturity. The album had all these emotions and complexities and layers that a typical hip-hop album didn't have if you were making it at 16, 17 years old. That isn't enough wealth of experience to share with the world. I had so much wealth to share with the world at that time, and I've never forgotten those things, like you say. You never forget those true things that you stick to, your basic things that make you successful.

And for me, it's that truth, finding the truth of the moment, of where I'm at the time, not trying to cater to a certain demographic or being something I'm not, not driving a truck over a 10,000-pound bridge. There are so many similarities in what he was just saying. So for me, it's just having the discipline, and the confidence in who I am. If I go into a studio and find my truth of the moment, there are a number of people in the world who can relate to what I'm saying, and are going to buy into what I'm doing.

Not because it's the new thing of the momet, but because it's genuine emotion. It's how I feel. This is how I articulate the world."

What Jay-Z is getting at is profound. That the music industry - where the Hip Hop genre is concerned in particular - revolves around young artists making music for young consumers means that immaturity is actually bred into the culture of rap music.

I described this in detail in my editorial "The 17-year Old: The God Of Rap".

My position is that it will take the self-aware and emotionally mature artist - not the "conscious" rapper who can only quote and memorize ideology - to break through this prison house of immaturity and make music that is relevant to both a younger and older audience.

Thursday, October 21, 2010

DOPE VERSE! "Ghostface Killah - Criminology"

Ghost has a lot of those raps where he just blacks out and takes over the track. Although he has made classic albums, it's on guest appearances and posse-cuts that he really shines. Some people just can't digest an entire Ghostface album (it will fly over their heads), but put him on a song with their favourite rapper - he'll eat em up. He’s that type of mc, you need to have him juxtaposed with others in order to truly appreciate how ill and unique he is. Put him on beside a mafioso rapper - he'll go more in depth; an r'n'b rapper - he'll get more personal; someone who is even more "left-field" than him - he'll make him look pretentious. In other words, he's a natural. Only a select few legends have been able to occasionally outshine Ghost (Nas, Rae, Meth...). The delivery is flawless. The whole verse captures the Wu-Tang essence perfectly. Just listening to it, you get the impression that he is some larger-than-life Shaolin supervillain ninja commando mothafucca wildin out in a Gotham-like environment. This, in a nutshell, is the reason why Wu-Tang became GLOBAL superstars - because their personas are something greater than just "hustlers-turned-rappers." Their image is key to their success. They draw you into their world - a stylish projection of NYC with them as major players in a city run amok. More so than any other rappers, they blur the line between the mc and the myth, and they do it without ever becoming a gimmick.





Further listening:
Wu-Tang Clan - The Mystery of Chessboxing
Ghostface Killah, Cappadonna, Raekwon - Daytona 500
Wu-Tang Clan - I Can't Go To Sleep

Wednesday, October 20, 2010

CLASSIC DOCUMENTARY: Once Brothers (2010)

Once Brothers (ESPN, 2010) is the story of Drazen Petrovic and Vlade Divac, 2 of the greatest European basketball players of our time. Drazen and Vlade were part of the last Yugoslavian national team, which went to win the 1990 World Championships in Argentina, defeating both the USA and Soviet powerhouse teams.

This movie is incredible. 4real. To me, and likely most former Yugoslavian kids, it's also very personal. I remember the times when Divac snatched the Croatian flag from the fan, and I remember him becoming a hero to Serbs, and a villian to Croatians. Where I lived (Serbian part of Croatia) every kid wanted to be Divac, and every kid had a Divac poster on their wall (In my case, a TEMPO magazine centerfold). I also remember everyone, Serbian and Croatian idolizing Drazen Petrovic. Drazen's dad was Serbian, his mom Croatian, and before the war he was the pride of Yugoslavia.

"Once Brothers" is a obvious metaphor for the story of all Yugoslavian people, it's more than a sport story. It's packed with front line footage of the civil war, never before seen footage of Vlade's and Drazen's early years in the NBA, and rare insight into the behind the scenes details of this incredible piece of history. Divac does a good job directing and narrating as well.

I met Vlade Divac in 2002, at the peak of Sacramento Kings mania. I was at a church hall in Hamilton, and he was at a table with Scott Pollard, Hedo Turkoglu and Peja Stojakovic. I only got a chance to talk to him briefly, but to me it's still one of the illest moments of my life. I don't think people outside of Serbia can ever understand how much love Serbian people have for Vlade. It's been said for years, and it's most likely true, that if Vlade Divac decided to run for president, our country would have it's first unanimous election. Not because he's a Serbian extremist, or even nationalist. Maybe because he's a Real Philantropist (you know, the kind that gives more money to charities worldwide than Michael Jordan, Kobe Bryant, Tiger Woods and ... you name him, but without the media coverage return on investment), or maybe because he's a Real Leader (you know, the kind that sees no racial or national differences in people... the kind of goodfella who can't understand how his friend can put his country above their friendship, and although he has a country in a war too, he had a friend before the war started), or maybe it's just because, in the words of Chris Webber, "He's a Real Nigga".

If it's the only documentary you'll watch this decade, please don't miss a thing.


WATCH ONCE BROTHERS HERE:




PART 2: http://www.youtube.com/watch?v=qF5fN08RTQs

PART 3: http://www.youtube.com/watch?v=qg2PWkoZXjo

PART 4: http://www.youtube.com/watch?v=DXjjHKYc6tY

PART 5: http://www.youtube.com/watch?v=PrUymteD3cs

PART 6: http://www.youtube.com/watch?v=-951k59xMV0