Ghetto Heroes: Meanteam

He still fails to produce it all and the final strip is air brushed by John Higgins. This year's Judge Anderson strip proves confusing to me because its credited as a Judge Dredd strip. I read it expecting Dredd to pop up at any moment but he doesn't. Slaine's big adventure as a time warrior ends this prog.

I say "ends" but the final panel of this episode has Myrddin announcing that Grimnismal , the worst of The Dark Gods , is awakening from his slumber. Thanks for ruining the party, Myrddin. Previously, when I wrote about this epic, I confessed to finding it difficult to follow but, in the end, I would say that I caught up with it pretty well. At the beginning, script robot Pat Mills spends a lot of time throwing new, brain bending concepts at us but, later, he seems to have lightened up a bit, letting his ideas leak into the story in the concise but accessable way that I normally associate with his writing style.

This Slaine saga is drawn by two art robots, David Pugh and Glen Fabry , who alternate runs between them. History tells us that Fabry is the star here, but his work in early episodes looks like enthusiastic fan art to me. It seems like he's drawing the Celtic warrior as a superhero who spends hours doing his hear before going into battle.

But by the final episodes, his work looks amazing. The characters ooze personality and emotion, his ink work is considered and his overall style radiates confidence. Fabry seems to be the spiritual successor to the already legendary Brian Bolland. More so than Cliff Robinson , anyway. However, the moment I saw David Pugh's first warp spasm I realised that, of the two on this story, he is the art robot for me. Slaine, almost bursting out of his own skin, snaps a chariot shaft in half and cuts his way through an army of Vikings with its sickle blades.

More recently, Pugh draws two full pages of ancient, claustrophobic architecture which, we learn, are the buildings that imprison The Dark Gods. These pages are stunning. As good as Fabry is by the end, it's Pugh's work that, first time around, eroded my resistance to the new boys because they weren't Mike McMahon. Rogue Trooper's visit to Horst turns out to have been relatively brief. Already, he has found the antigen that will enable his bio-chip buddies to be re-gened and is on his way back to Milli-Com to face the consequences of disobeying orders. Once again, Rogue ends a story imagining himself standing together with his GI brothers, Gunner , Helm and Bagman , as whole men with their shirts off.

I think we all understood that Rogue couldn't spend the rest of his time in AD searching for the Traitor General but relocating him from Nu Earth doesn't seem to have been a wise move considering that the planet functioned as a major character in the thrill itself. It's not just in Rogue Trooper that there is a sense of these being its final days. In ACE Trucking Co , Ace has been given only days to live and has decided to take part in a race to Poopoopeedoo where, once again, he has wagered his entire trucking business on winning. Once again, art robot Belardinelli draws himself in, this time as an overweight pirate.

What makes his cameo different on this occasion is that the characters name is Belardi leading me to think that it has been written in by Wagner and Grant. In Judge Dredd Nosferatu , written as usual by Wagner and Grant, Mega City law enforcement is on the hunt for a spider like murderer who kills his victims by liquefying their insides and drinking the contents through puncture holes in the neck. The great thing about Judge Dredd is that, conceptually, it's scope is broad and strong enough to handle a genuinely creepy tale as this as well as the political satire, big adventure and outrageous violence that we already know it for.

Every year, the Sci-Fi Special seems to get taller. By , I fully expect it to be the shape of a 24 inch ruler. The paper is shinier too. According to my memory, which, as we all know, isn't entirely reliable, the paper the specials now use is similar to that used by magazines that came free with Sunday newspapers at the time. Inside, Cam Kennedy draws Judge Dredd again. Neither party involved in this relationship between artist, character and reader is getting bored yet. In fact, Kennedy works well with the taller paper bleeding off page here, there and everywhere.

It's a creative partnership that goes on to be very influential in comics. Outside of AD at this time, they might be creating vital comics, however, in Do You Copy , we are given a perfectly enjoyable Future Shock but nothing particularly memorable story or art wise. It really is a wonderful and a flawless way to wrap up the thrill that the creator droids have decided never to do again.

I'm trying to forget about the single paged, agony columns the characters go on to host a couple of years later. Every now and then there is a Strontium Dog story that gets my ire up and has be shouting at the page, "Get him, Johnny! Shoot his legs off! In it, a reservation of nice, honest, hard working folk on Smiley's World are attacked, abducted and sold into slavery elsewhere in the galaxy.

The police don't hold much hope of locating any of the victims so decide not to bother looking but Johnny Alpha with his norm partner Wulf , moved by the plight of one family in particular, is tracking them down for free. I can't wait until they successfully make all guilty parties involved in the chain pay. Hit him with your hammer until he is as dead as der cucumber! Unfortunately, Supersurf 7 is illegal in Mega City One and the Judges are determined to ensure that it doesn't take place.

If this means shooting foreigners off of their skyboards then so be it. In Dredd's defence, Supersurf 7 has caused disruption in Mega City One resulting in property damage and death but, on the other hand, the morale that Chopper's win has had locally is immense. I remember Song of the Surfer being a surprise at the time.

Not just because Dredd is portrayed most overtly so far as the villain but also because his appearances are kept to a minimum. Cam Kennedy 's Dredd art is, once again, brilliant to look at and Wagner and Grant's script is, once again, beautifully paced. It's a wonderful example of script and art working in unison and exceeding the sum of its parts. Judge Anderson's first, big solo adventure finishes this prog with thousands dead, the Dark Judges stranded in a random dimension and her suspension lifted. It turn's out that, being a psi, she was prone to influence from Judge Death and therefore not in control of her actions.

I'm still surprised that she got let off the hook when you consider the things people do get arrested for in Mega City One ; for example, I saw a guy get busted once for whistling in a humming zone. When I wrote my entry for Prog , it was with the incorrect memory that Brett Ewins draws the entire story. I had completely forgotten that he is replaced half way through by art editor robot, Robin Smith , and Cliff Robinson.

As Brian Bolland's number one fan, Robinson's presence partly undermines by point that Ewins serves as a bridge between the old and the new artists to draw Anderson and The Dark Judges. Fortunately, Smith's style is far enough removed from Bolland's that I don't feel entirely stupid by what I said the other day. I joke about the influence that Bolland's work has had on Robinson's but I can't deny my sense of awe at the staggering discipline he displays in his inking.

In general, I ink my comic strips with a brush and I find that I am frequently frustrated by how it splays or my line looking that it's been applied by somebody with Parkinson's Disease. Robinson's ink work looks like it's been applied by a, well, robot. Sometimes, I'm so mesmerised by it that I want to lick the page. The line of AD re-prints continues to expand as, this prog, there is an advertisement for "The Judge Dredd Collection", a book containing the first run of Saturday strips from The Daily Star. It makes a nice change to see that IPC , the publishers of the weekly, have had the foresight to produce this collection and not, for example, the rapidly growing Titan Books who repackage everything else.

The Daily Star Judge Dredd strip began three years before in and is great. However, such lyrical content is opposed to the benevolent dictator Carter portrays in the song's music video. In the video's world, Carter's face is on everything, from cigars to bottled water.

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Even with the brief accusation against the record companies, Carter is still propping himself up as the mogul and successful tycoon. Though such imagery appears contradictory to the song's lyrical content, it maintains the image Carter has cultivated in his public persona. Though the song contains supposed personal lyrics by Carter, it is still a commercial product. Carter is selling a lifestyle and himself, along with the actual music, despite what is said in the song.

Though the subject matter might be personal, unless the audience finds enjoyment in the listening, Carter's desires to gain wealth will go unrequited. Because of this, rappers must be keenly aware of their public appeal, with Carter being no exception. Indeed, while the lyrics of "H. The song primarily features a sound sample from the Jackson 5 hit "I Want You Back," which is looped into a bouncy and catchy beat. Indeed, it is fairly easy for a listener to ignore Carter's lyrical content of drugs and unrequited profits in light of the sheer fun sound of the song.

Another element of Carter's, which demonstrates his desire to become a commercial success, is his habit of creating and self-promoting his own names and titles. While Simmons and Combs are notorious for shamelessly plugging their products and other ventures, Carter generally promotes himself rather than his products. A key example of this principle is his taking of the title "Hova. Like, how do you do that? So it's like, 'You're like a different guy, Jehovah. And then, the name stuck. Though Carter claims he was not the originator of the name, he is still willing to repeat it, all the while stating he was not the one who gave him the title.

As Carter became more popular and in the forefront, his persona became a marketable asset; no longer was he just referencing his wealth and success through name brands, but also by his own name. It is difficult to isolate a particular cause for the animosity between the two rappers. Prior to the contention, the two artists had public esteem for each other. Biggie, Jay-Z, and Nas. That's a one hot album every ten year average. Though there was malice in their lyrics, violence was never brought into the equation.

In essence, Jones and Carter were returning rap to its roots in regards to using confrontation to sell records. While certainly biting and witty, the insults contained in the Jones and Carter raps are hyperbolic, and fairly free of legitimate threats. Though there is Carter's allusion to having sex with Jones' girlfriend, with the elusive, "you-know-who, did you-know-what, with you-know-who, but lets keep that between me and you, for now," in "Takeover," it is in line with other rap battle lines. This falls in line with the tradition of break dancing and other older urban contests, such as the dozens, originating as an alternative to gang violence.

It is possible to achieve the same sort of victory without resorting to violence. Carter's "Blueprint" was to be released on September 11, , with "Takeover's" inclusion. Likewise, Jones' "Stillmatic" album included "Ether," and was to be released December 18, The feud is no longer perceived as two enterprises ramping up demand for their product, but rather the personal disagreement between two individuals.

Though presumably their labels' public relations department worked overtime to insure exposure for the two rappers, it retained an intimate disagreement. Their feud did not end in fireworks or gunshots, but rather with their albums being released. Once there were no more albums to release, the banter diminished severely. Jones and Carter both acknowledged the others' lyrical ability and value as an artist.

Indeed, by the time of their public reconciliation at Carter's "I Declare War" concert in , the contention between the two had long been put to rest. In addition, Carter was CEO of Def Jam at the time of concert, a fact heavily referenced in the stage pieces of a mock oval office and presidential seal. However, the centrality of further economic viability came into play at the concert's culmination, where Jones joined Carter onstage. Not only did the two perform together, but they announced a collaborative album would soon be released. Rappers favored the over year old brand of high end Cristal Champagne.

Cristal fit the rapper aesthetic well: Carter is no exception to this esteem. Indeed, Carter mentions the alcoholic beverage often throughout his discography, even beginning early with his Reasonable Doubt record. Many of Carter's videos depicted club or party scenes with bottles of Cristal being popped and poured without care or discretion. We can't forbid people from buying it. I'm sure Dom Perignon or Krug would be delighted to have their business. While the hip hop culture felt the appearance of Cristal signified the perception of wealth, Rouzand's comments seems to suggest Cristal viewed the association with rappers as undesired and sullying to the company's reputation.

In response to Rouzand's comments, Carter issued a press release of his own. In addition, Carter makes reference to his other brands no longer being associated with the liquor. Though Cristal might have one commercial outlet, Carter makes reference to having several, which would compound the loss of profits for the drink maker.

In addition, Carter also called for a hip hop wide boycott of the beverage, due to the supposed racial nature of Rouzand's comments. Carter hoped the loss of revenue and esteem for Cristal would punish the company. Furthermore, Carter replaced his traditional esteem of Cristal with Armand de Brignac in the "Show Me What You Got" video, which marked his supposed return to rap as an artist following his retirement.

The lyrics also reflect the sentiment, where in Carter calls out the "Gold Bottle with the Ace of Spade. Regardless of Rouzand's later apology, Carter took the statement as a personal insult and altered his public perception to reflect the change. First, Rouzand and Carter's statements were not made on a mixtape or in lyrical form, but rather in the pages of The Economist and press releases.

Furthermore, the subject in question was not shoes or other more affordable commodities, but rather a brand of champagne that costs several hundreds of dollars bottle. It is highly unlikely any of Carter's listeners, regardless of income, were purchasing bottles of Cristal on a regular basis, if at all. Finally, the contention between the two never escalated to a major confrontation. Aside from no longer mentioning the liquor in a positive fashion, Carter did not further berate the alcohol manufacturer, after the disagreement.

Monument to the Ghetto Heroes

I thought dudes remark was rude okay. But I first had to take care of the world I know. However, despite the increased affluence of Carter, he responded to the perceived insult in a personal manner. Though he was CEO of Def Jam, he did not mention the label in his statements, but rather he would no longer use Cristal in his "personal life. The video shows attractive females responding to the unveiling of the bottle with gasps of glee.

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The focus on commercialism and financial success is noticeable throughout the music career of Shawn Carter, but it is most keenly felt in the build up to his supposed final album and retirement. Carter claimed to be leaving the world of a rap artist to focus solely on his role as CEO. Carter claimed to be retiring, even though he was taking up the position of a CEO and president of a major record company. The insinuation is that compared to rap and living on the streets, as it were, legitimate business is easy.

He would be able to relax, even though in theory, Carter is taking up a much more intense career.

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Carter also uses the record to silence supposed cynics who decried his commercial records. Most rappers made their name by insulting other rappers and winning the subsequent battles. He got somethin to live for…You ain't with Mary no more where gettin chips from now? He laughed at me. It probably tripped him out that I understood what was going on.

I was thinking businesswise. He exaggerates or fabricates criticism for his own benefit. Carter never names the source of such heat for his commercial music albums, but claims such ire is causing him to retaliate. His retaliation also raises publicity and hopefully record sales. Since rap is a highly competitive and egocentric genre, it follows naturally that an artist would manufacture an adversary if one were not readily apparent.

The more they reacted, the bigger my name got. The Life and Times of S. Most, if not all, rappers will mention their rise from the ghetto and overcoming the odds by making it into the music business. Their past life of crime has avoided imprisonment or falling victim to the violence of the street gangs. In short, they have overcome much too simply get an opportunity to rap in the first place. However, such a claim restates a central fallacy of rapping; though rappers claim street credibility and authenticity at all costs, it is fairly evident that their background is not typical for individuals from the ghetto.

The entrepreneurial drive and fierce individualism might be the source of their success, but it does not coincide with the forms of African-American expression, such as the blues and jazz, that most scholarship links with rap. While they give credence and respect to the environment, it is mainly to ensure such individuals continue to purchase their records and give them the counter-cultural credibility needed to market to mainstream consumers. However, by being accepted by the ghetto, it ensures the perception of being rejected by the mainstream; since if a commercial product is held in high esteem by the counter-culture, it therefore must be not as accepted by the mainstream culture.

Rappers thrive on controversy to generate publicity for their music and other products. However, after sustained success in the mainstream, the rap mogul becomes the establishment. But, an edge must be maintained to the music, as well as keeping the esteem of the black audiences which initially supported the mogul in the first place.

In this vein, a new approach must be taken to facing phantom opposition. In particular, since Carter was taking on the mantle of CEO of Def Jam, and would have to presumably work and sign artists he might otherwise battle, his choice of opposition was problematic. However, by choosing not to name his supposed critics, Carter had an advantageous position; in short, he could say whatever he wanted, claim someone else said it, and not alienate any particular audience.

This marks another interesting element of hip-hop music, though the lyrics are often antagonistic and heated, it is rarely if ever directed towards the audience. Although rappers are often particularly violent and threatening in the lyrics, the audience is not the recipient of verbal abuse. However, he does not belittle his music purchasers for their choice, but rather the black community for their frustration with him. Carter exemplified this principle early in his career, not only bringing on label mates on his songs, but also very deliberately showing off the Roca wear clothing and other products.

It is in this vein the public perception of Damon Dash comes into play. Even though Carter was yet to assume the actual mantle of rap mogul and CEO, he was already engaging in such behaviors in his work as an artist. Of course, such behavior begs the question if Carter sought out to primarily be an artist or a mogul in his musical endeavors. Though his entrepreneurialism in jump- starting his musical career is evident, he also quickly sought the assurance of continued commercial viability by seeking out Combs and Def Jam for his second album.

Financial means outweighed the desire for independence early in his career. However, he eventually left the position due to the mundane nature of signing invoices and other humdrum activities. For Carter, signing papers for three seconds on a music video was preferable to actually signing papers in real life for hours. Carter is an individual who enjoys playing the perception of a mogul more than actually having the responsibility of such an office. However, considering the heavy emphasis put upon image in rap music, Carter is viewed as more successful of a mogul than individuals who legitimately engage in such activities.

Akin to Run-DMC becoming more revered as gangstas than actual gang members despite not engaging in such activities, Carter succeeded in become more accepted as a music businessman than actual music businessmen. Despite the lyrical content of Carter's rhymes, and his attempts to perpetuate his own narrative, his supposed retirement and ascension to the position as CEO of Def Jam marks a different course.

Although Carter might not be an example of Simmons and Combs' work ethic in establishing companies, he does exhibit characteristics of one who has listened to exploits of those and followed the story rather than the actual occurrence. Indeed, Carter's willingness to engage in the story-telling and self-actualization of speaking wealth into being demonstrates the success and persuasiveness of Simmons' retroactive explanations in reaching subsequent rappers. In addition, it also demonstrates the reach Simmons' message had.

Granted, Carter was also from New York City and became linked to some of the rap individuals as Simmons and Combs, but Carter and Simmons are certainly from different generations. Carter saw the images portrayed by rappers and sought to follow the example given. This process of self-actualization by championing one's own persona and speaking wealth into existence gained popularity and became commonplace. However, by the time commercial hip hop matured to encompass a new generation of rappers who were in the initial audience of the music, most of the infrastructure was already in place.

There was no need to create new record companies or hustle distribution deals since Simmons and others had already created such. This generation did not have Lyor Cohen working behind the scenes creating a press pack to entice Adidas, nor was it needed. Companies actually began to pay rappers for endorsements or ignored the rapper's mentions and became dismissive of the culture, like Cristal. While the other two initially looked at rap music primarily as a product and were not too heavily involved in the actual writing and performance of rap, Carter was primarily a rapper, despite his founding of Roc-A-Fella records, with his true rise to actual mogul status not fully realized until later in his career.

However, once moguldom was achieved, Carter drew away from the actual work of a music executive, preferring the perception of being a mogul rather than the reality. Granted, he certainly enjoyed the trappings of a mogul and CEO, being more than happy to make boastful outbursts concerning his wealth and station. There is no political voice…Our way of thinking is dead, our commerce is dead…If we don't change, we gonna disappear like Rome. There are those in the rap world who are defensive about elements that they view as central and meaningful in their life and are not fond of seeing it so crassly and obviously displayed for commercial gain.

However, their memory is more than likely skewed. Riverhead Books, , Very few individuals start out listening to conscious rappers, since they are by either design or circumstance considerably less exposed. Furthermore, many rap critics are holding on to the idealism of the potential for hip-hop as the catalyst for social change. They want to believe it can cause major societal transformation because of the change it caused in their life. Although they want as much exposure as possible for the music, this exposure is to be limited only to black listeners.

However, despite the best efforts of the street teams and mixtapes, the most common and effective methods of promoting rap music are also the most accessible for all listeners to hear. That is because radio hip-hop is what sells and sells and sells. The reality is, it is the only hip-hop most of us know. Despite the hopes of some critics, subliminal messages for wide-spread black rebellion are not hidden throughout the lyrics. Indeed, even the songs that could be considered highly afro-centric are not privy to widespread listening or public knowledge.

Still, such critics assert is the music has lost its political edge by becoming too commercial and no longer worrying about social commentary. Doubleday, , As it evolved, certain elements had to be held to. Above all, the music had to be enjoyable with a good beat. Though non-rhythmic experimental rap might hypothetically exist, if it does, it is doubtful it has an audience. No matter what is said in the rap, the beat and sound of the record still has to be entertaining. People listen to rap because they like it or find it clever, not under any social obligation.

Furthermore, such critics might be harkening back to a social commentary that did not exist. For instance, while N. It is unlikely an artist currently popular and successful would decry new acts as being "illegitimate hip-hop" or "killing the genre. Run, also the recipient of a reality show, also lives in a wealthy community, a far cry from the streets Run-DMC was supposed to come.

It gives credence for Jones provocatively entitling the album for shock value and publicity, not legitimate social concern. While Jones might decry the results of their commercial influence, he still recognized their importance within the advancement of the genre. As evidenced by these moguls, rap music is not a rebuke of capitalism, but rather a reaffirmation of its potency. Rappers were not attempting to change the system, but rather utilize the current status quo for their own means. In addition, the sustainment of this mainstream audience was paramount, as evidenced by Combs deliberate rebranding of his name.

Were it not for economic drive of individuals such as Simmons, in addition to the lines of national distribution provided by linking with larger record labels, there is no way rap music could have reached as large of an audience, let alone developed into a cultural movement for both black and white. Penguin Group, , I knew I was going to go to jail or I was going to die…. I also realized I had a remarkable talent, and I was letting it go to waste.

I literally changed my life. Likewise, when presented with legitimate mogul work, Carter shrunk away from the sordid details, but preferred to act the part without living it. Though their actual net worth might be fluid and based primarily on image, the fact is, they are much better off than where they started. This level of image control marked a major element of the rap mogul. They were image conscious since that was their main product.

Once their image was lost, their entire empire could crumble. As such, they became immensely protective of it. For instance, these moguls might claim problems with the law, but rarely serve jail time. But the assumption is always that they gave it up, or redirected that energy into selling records. It was a youthful folly they gave up in order to grow up and become wealthier through the music business.

As part of this image manufacturing, rap entrepreneurs will highlight a heroic past which provides legitimacy for their current actions and lyrics. Despite the fact such a past might be wholly or partially fictious, it does not matter as long as it aids their image. Though the time period where Carter was a legitimate drug dealer is not very long, it still provides the basis for his raps and street credibility.

Truth be told, if any rapper was as successful a drug dealer as they claim they once were, they would either be in jail or have enough enemies to prevent them from coming into the public eye. Though rap music claims to be counter-cultural, the economic designs of the genre assert a much more conservative ethos. However, the matter was settled and his career not seriously affected.

In addition, there is an element of evolution or development from Simmons to Carter. The process by which they perceived themselves and utilized such image to gain wealth changed over the course of time. Simmons and Combs started out managing others in order to gain their personal wealth. On the one hand, Combs is a transitional figure since after Wallace's death, he was able to come out more into his own. Carter, on the other hand, managed himself. He manipulated his own image in order to gain wealth.

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This focus on image has developed rap music into a conservative force. Once the music became a national phenomenon the industry needed to sustain itself in order to stay relevant. Likewise, rappers were under this same pressure, and more socially conscious lyrics were abandoned in favor of items they knew would sell. The resulting music reaffirmed aspects of the American business world while bringing in a distinct urban flavor. Judging by their actions, Simmons, Combs, and Carter were not suggesting a complete overhaul of the music business, or business culture in general.

Rather, they simply wanted personal financial gain and saw such business as the manner in which to accomplish it. Once their success allowed for other business ventures, they were more than happy to put aside the music for potentially more lucrative endeavors. Since the ultimate goal of the individuals making the records was financial, it should only go to follow their product will also be financial.

This is not to suggest rap music is devoid of cultural significance, but rather it should also be looked at as a commercial property as well. Though rap purists might decry the assumption, rap music frames itself primarily as a business venture, not artistic expression. The financial end is always stated and well noted. As previously stated, the pursuit of personal fortune is not inherently American or conservative. However, the manner in which these moguls portrayed and marketed themselves suggests a style and behavior more in line with traditional American thought than purely radical.

None of these individuals were suggesting the current establishment needs to be completely changed, but rather they wished to be included in the same vein. They were not suggesting a total overhaul of the system, but rather taking it over with their own personnel. All three engaged in language and imagery supporting the ideal of the traditional mogul, even though they claimed to represent the counter-culture.

In turn, they were able to climb to the top of mainstream society. It has been said the American Dream is to come from the bottom, work hard, and eventually achieve prosperity and wealth. The rap mogul marks a new extension of this same concept; their dreams are limited only by their ambition. By vocalizing their aspirations, no matter how grandiose and self-serving it might seem, these individuals believed a self-fulfilling prophecy would occur. While rap music as an artistic genre might fall in line with older African American counter-cultural expression, the business by which it was marketed and sold falls more in line with traditional economic values.

In essence, rap music exists not in contradiction to the white mainstream, but parallel, seeking the same ultimate goal through alternate means. Because of the heavy involvement of individuals like Simmons, Carter, and Combs, the development and current incarnation of rap music and the hip hop lifestyle has more in common with their aspirations for wealth than the counter-cultural response to social conditions in the ghetto. Directed by Chris Robinson. ABC, 29 November Directed by Hype Williams.

Season Two - Uncensored. Directed by Dave Chappelle. Directed by Little X. Directed by Marty Thomas. Directed by Dave Meyers. In My Lifetime, Vol. Life and Times of S. Directed by Michael Schultz. Directed by Diane Houslin et al. Directed by Marc Forster. Hip Hop is Dead. Diddy and the Bad Boy Family.

Puff Daddy and the Family. Crown Royale Arista Records. Down with the King. Directed by Rick Rubin. Directed by Jon Small. Primary Sources Carter, Sean. The eastern part of the monument shows the persecution of Jews at the hands of the Nazi German oppressors. The Warschauer Kniefall gesture by Willy Brandt took place at the monument in From Wikipedia, the free encyclopedia. This initial incident of armed resistance was a prelude to the Warsaw Ghetto Uprising that commenced on 19 April Museum of the History of Polish Jews. The Texture of Memory, Yale , p.

Israel's Holocaust and the Politics of Nationhood.