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Brotha Lhynch Bullet Maker Reivew by First Degree The DE and Soupbone

Brotha Lynch Bullet Maker Brings Back The Sacramento Siccness


brotha lynch bullet maker

Brotha Lynch Bullet Maker Brings Back The Sacramento Siccness

By Jimmy Blog For The Fahrenheit Record

    Brotha Lynch Hung is at it again, this time back on his Madesicc label with “Bullet Maker EP”. After 25+ years in the recording industry, the question is will this album further his legacy, or demoish it?

After a private screening of the album, Fahrenheit Records recording artists First Degree The D.E. and Soupbone seem to think that Brotha Lynch’s legacy will take a step forward with this latest release. To make public their feelings on Brotha Lynch Bullet Maker  and the role the albums plays in Lynch’s legacy, the two underground rap pioneers put together a creative review of the album, now availible on Youtube HERE.

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Fahrenheit Records’ recording artist “Soubone”

    In the beginning of the reivew, questions arise like, “Does Lynch die?” and “Is Lynch alive?”. First Degree The D.E. and Soupbone go on about the definition of being alive, debate if Brotha Lynch has a soul, and the purpose of Sacramento rap music.

Once discussing album specifics, The D.E. and Soup provide more detail about Brotha Lynch Bullet Maker and what makes Brotha Lynch Hung special. Soup explains, “He has an ability to sit there and just really just take you away from your current curcumstances and just be free, where you can just let all your anger and rage go with no consequecnces, no consequecnces.” Lynch’s appeal couldn’t be summed up any better.

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“Selfie” of First Dergee, Phonk Beta, and Brotha Lynch during a private screening of Brotha Lynch Bullet Maker

    The Brotha Lynch Bullet Maker review, posted on First Degree’s Youtube page, is unique because it comes from the perspective of two men that listen to his music, are part of the Sacramento rap legacy, and that know Lynch personally. The D.E. and Soup’s personal knowledge of Brotha Lynch brings this glowing endorsement to life. “My rilla done been through so much!” states First Degree in the review.

In this review, First Degree explains that the new Brotha Lynch Bullet Maker EP had the kind of sound that made him proud to be a Sacramentian. “The kind of slaps thats claps yo blaps”, he explains.

Brotha Lynch Bullet Maker is a digital only Madesicc Musicc release, scheduled for a Feb 19th street date. Check out the audio of the  review in its entirety on Youtube HERE.

sacramento rap the come up emoe

Emoe TVee The Come Up Short Film

sacramento rap the come up emoe

Emoe TVee The Come Up

By Ricardo X For Fahrenheit Insight

The come-up was a completely random movie with plenty to offer. It has no computer animation, just a few friends that end up in the woods looking for Twenty Pounds of Marijuana. The whole movie was shot by one man (Emmanuel “E-MOE” Avery) who was simply out testing his new Video Camera Stabilizer for the day. Each character go by their real names in the movie so you really have to wonder if the production happens to real or fake the whole time.

The movie was a low-budget film in the style of an accidental documentary. In the introduction of the movie you learn that the tape was found after these three had gone missing in the forest. At first, you cant tell if its a commercial for a BBQ place or a movie but that quickly starts to change when one of the friends gets a phone call that changes their whole night. They end up in a stolen vehicle in the middle of the woods with nothing but a couple cellphone flashlights and pistols. Except in the end, they soon learn that even weapons didn’t help so much.

sacramento rap emoeEmoe, film maker

It all started from an idea originated from E-Moe of EMOETVEE who had contacted Brian at StinkyTuna Films about creating a movie. “The Come Up” was written and ready in just four hours with talk of making it an Improv movie that just needed to hit the bases of the script. June 7th 2014, The three met and set off on an adventure like no other. Before they knew it, it was midnight in the middle of the woods and they were searching for a come-up.

Only 46 minutes in length, but full of laughter and suspense. This movie is well worth the watch. So if you’re sitting online doing nothing like most Americans, go by Youtube and check out, “THE COME-UP”.

Link to the movie.

sacramento rap new edition concert

New Edition Sacramento Concert


sacramento rap new edition concert

New Edition Sacramento Concert

By NE Heartbreak Fan For Fahrenheit Insight

sacramento rap new edition show

Why I will always love New Edition…

The multi-platinum pop and R&B group New Edition wrapped up their summer tour with a West coast swing. The All Six Tour began in April 2014 in New York City and worked its way across the country over summer. I patiently waited for my concert date to arrive. I secretly burned with jealousy as friends in Atlanta, Philly and Phoenix posted their pictures online and how much fun they had. Then finally my concert date arrived. Everybody I knew had tickets: work friends, Sorors, friends from church, friends from high school, just everybody.

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Tayla Love and friend take a “selfie”at the New Edition Sacramento Concert

That morning with great anticipation I carefully planned my outfit and accessories. My girlfriends and I strategically synchronized our watches to carpool, find parking and locate our seats early. While in the stands waiting for New Edition to take the stage, the DJ got the crowd hyped by spinning on the ones and twos. Despite the 100+ degree temperature, it was already perfect. Then it happened, the DJ stopped, the lights began to flash and Ronnie, Bobby, Ricky, Mike, Ralph and Johnny took the stage. They were dressed in all white with black vests and ballcaps.

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Ms. Nicole, Fahrenheit’s Miss Tiza, and Lenette enjoy premier seating at the New Edition Sacramento Concert

Their show was culmination of New Edition songs, solo hits by Bobby Brown, Ralph T and Johnny Gill and the off-shoot trio of Bell-Biv-Devoe. With each song they performed, the original music video played on a giant screen behind them. With one eye on the video and one eye on them, I noticed their choreography was still flawless. After thirty-years in the music industry, they hadn’t lost a step. Seeing their dance moves and singing all the lyrics to their songs, I realized why I will always love New Edition. The answer was simple. They make me feel young.


Forever yours,

NE Heartbreak Fan

(Reviewing The New Edition Sacramento Concert 2014)

umoja fahrenheit insight

Seattle’s Umoja Festival, “The Mardi Gras Of The West”


umoja fahrenheit insight

Seattle’s Umoja Festival, “The Mardi Gras Of The West”

By Josh Rizeberg For Fahrenheit Insight

Seattle’s Umoja (Unity) Fest is the largest African-American Cultural Heritage celebration in the Pacific Northwest. Umoja Fest has been going on in Seattle, WA since the 1940’s! The festival and parade have grown so big and lively that the festival has been nicknamed the “Mardi Gras of the West”.

umoja seattle fahrenheit insight

Umoja Fest is full of delicious food, a skate-board competition, a basketball tournament, 2 stages of musical entertainment, venders, a parade, and children’s activities. There are nationally recognized artists selling their work and many booths full of hard to find books that will quest your thirst to know thy Self! Many families choose to have their annual family-reunions at Judkins Park during Umoja Fest – that’s how intertwined this event and the community are! The event is held at Judkins Park, in the heart of the Central District of Seattle, the Central District is historically home to the rich-history of Seattle’s African-American community.
It’s a full weekend of family-friendly fun, Saturday, August 2nd and Sunday, Aug. 3rd! The weather is scheduled to be in the 80’s for both days of the event!

Fahrenheit Records’ Josh Rizeberg & Thunderchief will be participating in Seatle’s Umoja Festival. In addition, Greg Double will be filming a video at the Umoja Festival as well.

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Josh Rizeberg’s Beanz & Rize

Early 2015

sacramento rap HISTORY 2

The History Of Sacramento Rap (Part Two, The Rise)

sacramento rap HISTORY 2

The History Of Sacramento Rap (Part Two, The Rise)

Written by First Degree The D.E. and Jimmy Blog For Fahrenheit Insight

Note: Sacramento rap history. Before writing part two of this series, The Fahrenheit Insight sat down with Black Market Records’ owner Cedric Singleton after his appearance on Fahrenheit Radio’s Fahrenheit Hour Urban Talk Show. This was to discover the truth about the peak of the Sacramento Rap Game.

Sacramento Rap History, Part Five

Picture it, its 1992, and Northern California rap music was on the rise. Sacramento had it’s underground hip-hop king, DC Ray, but who would be prince?

Cedric Singleton, a young producer from Ohio, had come to Sacramento State University to play basketball. He ended up staying in Sac and setting up shop as a music manager and producer. He was hungry for the rap game, and had help. He started Black Market Records, put out Oak Park’s Homicide, and his vision was official. Through parties and the music scene, he met a young Brotha Lynch Hung and X-Raided. He heard their talent and decided to go all in. Little did he know the crazy stories he’d be a part of. Little did he know the impact he and his Black Market Records crew would have on our region, and the world.

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Homicide’s “Knockin’ Off All Weak MCs” was Black Market’s first album

By this time, Sactown rap crews, with their own sound and serious heat, carved up rap battles all throughout the region. Bloods and Crip gangs were infiltrating Sacramento streets as well. Northern California rap had become the hottest underground rap hub in the world. Northern rap pioneers E-40 and The Click, produced by Mike Mosely and Sam Bostic, had the nation appreciating the unique, Northern California hip hop culture. Street crews like The Garden Blocc’s Brotha Lynch Hung and C-Bo, Meadowview’s Be Gee, Rup Dog, and AK47, Greenhaven’s First Degree The D.E., Crucial Point and DJ Urban Thesis (MC King at the time), and Freeport’s Ace Mak (Ace Of Spades at the time) and Ms. Marvaless ran the underground through the battle rap circuit.

Sacramento’s rap sound was hard, dark, and reality based. Music producers like Phonk Beta, Mike Mosely, Sam Bostic, Ace Mak, Brotha Lynch, and First Degree The D.E. created the musical sound. It was a quality, rich sound that many had a part of. It was a sound that made Sacramento stand out.

Black Market Records owner Cedric Singleton explains on a recent episode of The Fahrenheit Hour that although everyone ended up in different crews, on different labels, everyone felt connected. In the beginning, all of the pioneers participating in the Sacramento music game were a family, working together.


Sacramento Rap History, Part Six

After meeting X-Raided at a DJ party and hearing his “Psycho Active”, Cedric knew he had a hit on his hands. On Fahrenheit Radio’s Fahrenheit Hour, “Ced Sing” as Cedric Singleton is called, remembers just finishing the X-Raided when, “I had heard about something that happened about a mile and a half away form my house.” It was the murder of Patricia Harris.

Ced then states that X-Raided came to his house and said, “Im gunna have to get outta town, something happened.” They officially signed contracts, then he was gone.

A few days later on the news, Ced heard that police in Arizona had caught someone wanted for murder in Sacramento. That’s where X-Raided had told him he was going. When Ced Sing put two and two together, he was shocked. The artist he had just signed was arrested for murder. It wasn’t the last time Ced Sing would be shocked by one of his artists.

“The media took off with it, connecting some of X’s lyrics to the killing,” summons Mr. Singleton. Although Ced owned the album, he still had reservations about putting it out. “I was conflicted about it, so I went to the house were she (Patricia Harris) got killed and I went to see Mr. Harris (husband of Patricia Harris). He told me to put out the record, siting that freedom of speech was more important than anything I can tell you.” Strong words, from a strong man, at a trying time.

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X-Raided’s “Psycho Active” was a controversial album due to the artist’s alleged participation of Meadowview’s Patricia Harris

“After that, there was nuthin’ anyone could say to me about puttin’ the record out!” exclaimed Cedric Singleton on Fahrenheit Hour. The sound of his voice had stress and experience in it. It was obvious that there was a lot of controversy he experienced with putting out the X-Raided albums. However, getting the blessing from the victim’s husband put his mind somewhat at peace.

Black Market continued to drop X-Raided albums from prison. X-Raided would get a recording device smuggled inside prison, the inmates would keep voices down, and they made hits.

Outside of Sacramento’s borders, X-Raided is a jailed hero. “Free X-Raided”, fans say. However often, the public only hears one side of a story. Within Sacramento’s borders, it is much different story. X-Raided is a controversial figure. Some love him because of his flow, Sacramento rap pioneering, and hard core reputation. Some hate him because of the woman he and his friends were convicted of killing. The woman killed in the home invasion was Patricia Harris, a kind, innocent, Meadowview grandmother.

brotha lynch 24 deep fahrenheit insight

With Black Market’s push, and a cutting edge flow, Brotha Lynch Hung’s “24 Deep” shocked the country

Sacramento Rap History, Part Seven

“He came to me with 24 Deep before we even had a contract,” Cedric Singleton reflects on Brotha Lynch on Fahrenheit Radio’s Fahrenheit Hour.

By this time, it was 1993. Black Market was a well oiled machine. Ced remembers the promotion trail, hitting 22 cities, promoting the Black Market/Sacramento rap movement. “It wasn’t work, it was fun,” describes Ced. Ced Sing and the Black Market crew were traveling the country, getting people on what was going on in Sacramento. Black Market had a serious presence on the road because of the road work they did. First Degree recalls Andre Nickatina once saying, “It was like 94, I was in Pennsylvania. I went to the record store and there was a giant display of Brotha Lynch right in the front!”

“I can remember being at Dr.Dre’s ‘Up In Smoke Tour’ in San Jose. While promoting, I noticed Black Market had 30 people in the front, picketing Brotha Lynch!” reflects First Degree The D.E. on Fahrenheit Radio’s Fahrenheit Hour. Ced then goes on to say they hit the whole tour, all 44 dates across the country. Wow.

All of the grass roots leg work paid off. Black Market dropped Brotha Lynch’s “24 Deep”. It was the first Sacramento rap album to hit the Billboard charts. It debuted at #87. This was a big deal. The combination of Brotha Lynch’s raw talent, sampled beats, and an album cover with him in a casket, made it easy for Ced Sing to promote. “Its all about the artists’ talent, a label can only lead you to the water,” Ced clarifies.

“I can remember going into Black Market back in the day, and everybody was working!” exclaims First Degree The D.E. on Fahrenheit Hour.

The success of Black Market inspired others. It let them know they could do it, too. Black Market’s success lead to the creation of other Sacramento rap labels. The main two labels spawned by Black Market’s success were AWOL Records and Death Trap Records.

 c bo Gas_Chamber_Fahrenheit insight

C-Bo’s “Gas Chamber” was AWOL’s first big release

Sacramento Rap History, Part Eight

AWOL Records was owned by Freddie T Smith. Freddy and Cedric Singleton were friends. “To this day, Freddie is like a little brother,” reveals Ced Sing. Their artists included C-Bo, Ms. Marvaless, Pizzo, and Lunisicc. Freddie and AWOL Records followed the same blue print as Black Market; grass roots, taking it to the people in their city. Bobby Grey was also a big part of AWOL’s success. He died at a young age from a heart attack. Despite the loss, AWOL was a very successful record label.

“AWOL was able to put out three, four, five C-Bo albums, it was a consistent machinery that was building both the artist and the label.” Ced explains. When speaking on Freddy Smith, Mr. Singleton elaborates, “There was never any animosity, jealously or anything like that. A couple times Freddy went to jail he would call me, and I would do what I could to help him in whatever the situation that he needed.” Black Market and AWOL weren’t competitors, they were an alliance. An alliance with the purpose to nationally represent the Northern California region, and make money doing it. C-Bo’s peak was an appearance on 2Pac’s “All Eyes On Me”, released by Death Row Records. AWOL’s baby brother in the Sactown music game was Death Trap Records.

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Death Trap Records’ Be Gee, First Degree The D.E., and owner Dalvin Pipkins at #Be40

Death Trap Records was owned by youngster Dalvin Pipkins. During Be Gee’s recent “Be40” event, Dalvin explained to Fahrenheit Insight that City Hall Records’ Walter Zelnick once called Dalvin, “the youngest in the game.” Dalvin started Death Trap Records at age 22. The Death Trap stable included Be Gee, First Degree The D.E., Phonk Beta, Young Joker, and many more. “Being part of the Death Trap crew, making hits in Davlin’s garage, was a good, pivotal period in time,” comments First Degree The D.E.

“I remember Dalvin and Death Trap. Dalvin was just a cool guy. I never looked at him as competition.” analyzes Ced Sing. This goes back to the mood that all the labels were working together for the sake of their own label, and the city. “My thinking was more like that, if we are able to elevate this region, its better for everybody,” wisely explained Ced Sing. “We were doing interviews with The Source, why?! Because people were curious on what was going on in Sacramento.”


BeGee - Ya Gotta BG fahenheit insight

Be Gee’s “Ya Gotta Be Gee”, released by Death Trap Records in 1993, is arguably the best rap album to drop out of Sacramento 

However, “Of the labels, Black Market was the most organized. top to bottom,” Ced Sing admits.

Ced sites that the unity was one of the main reasons it was all working. “Following the same stream, you know who your fans are. Theres a familiarity with that old school machinery.”

Sacramento Rap History, Part Nine

Eventually, all of the street buzz Black Market created got the attention of major labels, including Priority Records. Other Sacramento artists, like R&B artists D.R.S. (Dirty Rotten Scoundrels) and hip hop’s Funky Socialistics had made a name for themselves as well. Black Market had been distributing many successful albums, including Master P’s first group album, “TRU”. “Master P wouldn’t sleep for three, four, five days,” remembers Ced Sing, siting Master P’s motor and mind.

Hundreds of thousands of dollars were flying around by this time. The majors, particularly Priority Records, desperately wanted in.

Once the Northern California rap game blew up, the majors wanted a piece of the action. Priority had a strategy, sign all of these Northern California labels to label deals, taking over the competitors. Current Strange Music Vice President David Weiner was working at Priority Records at the time. He is the one responsible for bringing Black Market to Priority Records. It was a game changing event. Sacramento music had hit the national scale. Their first album together was Brotha Lynch Hung’s “Season Of The Siccness”, a raw, horrorcore, gang-banging tour through the streets of South Sacramento. It had a mild sales start, however, it was extremely consistent, selling 5,000 copies a week for several years! Once again, the combination of Lynch’s shocking, real life, meticulous, sick flow, combined with Black Market’s work, was making history. This time on a national level. “Season” hit #26 on the Billboard charts. Season Of The Siccness has since gone platinum, one million units sold.

David Weiner and Priority Records then went to sign J.T. The Bigga Figga of Get Low Records, and Master P of No Limit Records to lucrative label deals, ranging from (tune in to Fahrenheit Hour for numbers!). These deals paved the way by Black Market’s more humble deal.

Brotha Lynch season of the siccness fahrenheit insight

Brotha Lynch Hung’s “Season Of The Siccness” has gone platinum

During this time, C-Bo and AWOL Records had also reached a national audience. The AWOL sound was hard core , produced by E-40 producer, Mike Mosely. C-Bo, Ms. Marvaless, and Lunisicc were doing the rap game big, 100%. It was fun to watch both Black Market and AWOL Records try to out do each other. It was more like brotherly encouragement, then competition.

First Degree The D.E. - Southbound Fahreneit Insight

First Degree The D.E.’s “Southbound” (cassette version) continued the Death Trap history of hits

Death Trap Records was in full swing as well. Although Death Trap didn’t have the notoriety on Black Market and AWOL, they were gaining ground in the West coast underground. The first Death Trap release was Be Gee’s “Ya Gotta Be Gee (1993)”. Be Gee was one of the champion of the Kennedy rap battle circuit. With Phonk Beta playing live keys, the sound was classic, and the album was a serious hit. It was arguably the best album to come out of Sacramento. The next album was Young Joker “Who’s Laughin At Cha (1994)”, and next was First Degree The D.E.’s “Southbound (1995)”. The combination of live keys, live bass, and a hard-core edge made Death Trap unique, but still Sacramento. A Latin rap pioneer named M Sane was also hitting the scene. It was the best of times.

It is important to mention that there were other labels and artists putting in work in Sacramento at this time. Marv Mitch and Lemay and Out Tha Drout Recordz were putting’ it down. Big Rock and T Nutty were getting themselves situated for their campaign, and from the north side of Sacramento, Hollow Tip, Dangerous Dame and High Side Records were also gaining attention. Gangsta Dre and Big Hollis were making Sacramento rap history as well. There are other house hold rap names that got their start in Sacramento as well.


Sacramento Rap History, Part Ten


mac dre fahrenheit insight

Mac Dre, once released from prison, started Thizz Entertainment in Sacramento

Although Mac Dre is from Vallejo, once he got out of prison for bank robbery, he started Thizz Entertainment in Sacramento. “Mac Dre is not from Sacramento, but he was based here in Sacramento. Got got started about the same time we got started. He was in Vallejo when all that stuff happens, but when he was Thizz Entertainment, all that stuff was Sacramento based.” Ced informs. As mentioned, Master P had Sacramento roots as well.

“I remember seeing Mac Dre at my local liquor store, and him tellin’ me I was in his movie (Treal TV)!” First Degree proudly reflects.

Big Lurch, was another Black Market artists that sold a lot of units. He is serving a life sentence for murdering 21-year-old female roommate Tynisha Ysais and eating parts of her body while under the influence of PCP in April 2002. Many Black Market artists have crazy stories.  Amazingly, Brotha Lynch Hung would end up being one of Black Market’s most normal stories. Which leads us to Mr. Doctor from the Garden Blocc.

Mr. Doctor was a half Black, half White, young OG from South Sacramento’s Crip lead Garden Blocc. “When we were making the album, Mr. Doctor got shot,” Ed Sing recalls. “We were in the middle of finishing that album up, he ended up surviving, and we went on to finish the album, and that album was an incredible album.” Ced reflects on Mr. Doc. on The Fahrenheit Hour. First Degree The D.E. proclaims that Mr. Doctor’s first solo, released in 1995, was his favorite Black Market album. He asks Ced to give more details.


Mr doctor fahrenheit insight

 Garden Blocc’s Mr. Doctor was all about that gangsta life

“What happened with Mr. Doctor, after ‘Setrippin Bloccstyle’ came out, Mr. Doctor was one of those cats that was in these streets bout it bout it, there was no playin’, no fakin’ with that cat.” Ced reflects. “Someone shot his house up. Some guys came out from his neighborhood and shot those guys up, and somebody ended up getting killed. Everybody went to jail, Mr. Doctor was the last one to get arrested,” Ced offers. “People sayin’ that he was a snitch and all that, I don’t know the true about that.” Mr. Doctor ended up  spending two years in jail while Black Market Records took care of his family. Once out, Mr. Doctor continued to release albums, “but had lost that edge because he matured in jail,” Cedric Singleton rationalized. Also Brotha Lynch had stopped making his beats. “I think he was scared,” offers Ced Sing.

By this time, deals were being made for hundreds of thousands of dollars. To hear actual amounts, listen to The Fahrenheit Hour #26, coming in August on YouTube.

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Ms Marvaless’ first solo “Ghetto Blues”, released by AWOL Records, established her as the Queen of Sacramento rap

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Brotha Lynch Hung’s “Loaded” turned the rap game upside down

Sacramento Rap History, Part Eleven

In 1996, the Sacramento sound was played and admired in every ‘hood in America, from L.A. to New York. It was time for a new Brotha Lynch album. Things were on the up, and Brotha Lynch and Black Market signed a lucrative contract for five years. Want to know for how much? Tune into Fahrenheit Hour’s Ced Sing appearances.

By this time, Brotha Lynch had reconnected with producer genius, Phonk Beta. In turn, Phonk Beta brought his long time Death Trap running mate, First Degree The D.E. into the picture. The scene was set for excellence, and excellence happened. With a professional, dark, cutting edge, lyrical, live keyboard, rubber bass sound, Loaded was enjoyed by underground rap lovers world-wide. Some were expecting the more street gang-banging style Lynch displayed in Season, but most were ready for the maturation of their favorite underground artist. Loaded was Sacramento’s rap momentum peak. Many argue it is the greatest piece of art the region has ever produced.

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C-Bo’s “The Autopsy” kept the AWOL hits coming

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First Degree The D.E.’s “Planet Zero” was Fahrenheit Records’ first official release

After Loaded, it was time for First Degree The D.E. to release an album, “Planet Zero”, which is his most popular to date. Once completed, with help from Phonk Beta and Brotha Lynch, First Degree The D.E. went to long time label partner, Dalvin Pipkins to put the album out. Once Dalvin met with City Hall Records’ Walter Zelnick, it was on, and Planet Zero hit the shelves. However, as soon as Planet Zero was released, Dalvin allegedly got high on drugs and rammed a cop car. Once released, he did it again a few weeks later! He was destined to be locked up a long time after that.

Davlin’s mishaps prompted the birth of Fahrenheit Records. First Degree visited the Sacramento jail of several occasions dealing with contract issues, but eventually got full rights to Planet Zero and has gone on to release over 40 more albums, including D.E.’s next album “Damn That D.E.” and “FU1”. Mr. Pipkins remembers, “Walter said Planet Zero had the most buzz of anything he had at the time!” The Fahrenheit crew included First Degree The D.E., Soupbone, an OG rilla from Freeport rap circles, and M Sane, a terror smashing pimp from the streets of L.A. Like Black Market, Death Trap, and AWOL, Fahrenheit Records had its own, world-wide, cult-like following.

“Does Brotha Lynch real eat scabs” First Degree recalls The Click’s B-Legit once asking him. “And yes, he was serious.” At this time, stars and the streets alike were fascinated with Sacramento music. This was also the time, an underground community based around Sacramento rap started by Roloc, was born.

With all of the success, wonderful music, money, fame, and unity in the Sacramento rap game, what could possibly go wrong? Find out! The History Of Sacramento Rap Part Three, The FALL coming soon to Fahrenheit Insight!

Lynch & DE Cover Upload-2First Degree The D.E. “Fahrenheit Collectibles, Brotha Lynch Hung & First D.E.” Out Now Digitally, In Record Stores 11.18.14

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United Nations 8.19.14

Oji 9.16.14

Royal Krown 10.21.14

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Free Palestine fahrenheit insight

A Jewish Voice For Peace


Free Palestine fahrenheit insight

A Jewish Voice For Peace

By Josh Rizeberg For Fahrenheit Insight

I am Jewish. I have only been to Israel/Palestine twice in my life. There I learned that the African/Ethiopian darker-skinned Jews suffered from the same white-supremacy that there is in AmeriKKKa. The Ethiopian Jews were mistreated, oppressed, kept in poverty, and demonized with unfair stereotypes. The middle-eastern Jews & Sephardic Jews who look Arab, were also treated lower than the Ashkenazi or European-White looking Jews. The Sephardim & Middle-Eastern Jews have less power in the Israeli government & in society in general. The lighter-skinned, white-looking Jews of European/Ashkenazi descent are on top of the food-chain. They control the government & are the higher-income Jews of Israel.

The Palestinians are Arab/Middle-Eastern descent & are darker-skinned than the Ashkenazi/European Jews. So basically, white/Ahskenazi-Jews from Europe have colonized the land and the people. They are imperialists. They are the minority but they control the resources of the region. I ask my fellow Jews, how do ya’ll fucking ignore that! How can ya convince yourselves that Zionism is not part of global White-Supremacy! Wake the fuck-up my Jewish Brotha’s & Sista’s. The proof is in the pudding. White-looking Jews are capitalizing off the poverty of darker-skinned people. Not to mention only a dozen + Israeli Jews have died in the last “conflict” compared to hundreds of Palestinians. It is an unfair fight.


beanz n rize fahrenheit insight


Josh Rizeberg’s “Beanz N Rize” coming February 2015 on Fahrenheit Records


The History Of Sacramento Rap (Part One, The Beginning)

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The History Of Sacramento Rap

Written By First Degree The D.E. & Jimmy Blog For Fahrenheit Insight

Note: Sacramento rap history. After talking with Sacramento’s real rap pioneers, First Degree The D.E. and Fahrenheit columnist Jimmy Blog document the truth about the history of the Sacramento rap game for Fahrenheit Insight in this three part series. For the people!


Sacramento Rap History, Part One


Break dancing was the first Sacramento urban hip hop expression


First there was dance, then there was rap.

In the late 70’s, early 80’s, when hip hop as being created at block parties in Brooklyn, New York, Sacramento had break dancers. This was a time that created funky-fresh clothing, break dancing, electric keyboards, boom boxes, heavy drum tracks, and other roots of the hip hop culture. This era gave eventually gave birth to the “Breakin’” movie series, “Krush Groove”, and many more. To be the king of Sacramento in those days, you had to not only know how to pop, but survive and control a dance battle. The main DJ in town was DJ Darryl Dennis, pumping up local events. DJ Darryl was the local star, that was until The Triple Threat Three, which was DC Ray, Mike C and Captain K hit the scene. They were rappin’.



DJ Darryl Dennis & Captain K’s dance single “Sweat”. Check it out here


For the record, DC Ray was the first Sacramento rapper, and The Triple Threat Three was the first Sacramento rap group.

Around 1980ish, East Coast pioneers like The Sugar Hill Gang, Grandmaster Flash, Afrika Bambaataa, and Run DMC were creating a genre, defining a culture. Their messages were about fun, respect, and what was going on in the hood. DC Ray and The Triple Threat Three started around this time. As there was high school dance battles, South Sacramento became known for intense rap battles as well. “Burbank was the main battle spot, then MCs from everywhere started comin down,” reflects DC Ray on Fahrenheit Radio’s Fahrenheit Hour Urban Talk Show. Eventually, Sacramento’s unique hip hop style was on display in alleys, house parties, DJ parties, high schools, and dance clubs in the form of freestyle rap. It was pure, urban expression. It was the stuff that created what Sacramento is now known for; hard edged, in your face reality. When the dust settled, DC Ray and the Triple Threat Three became our Sactown representatives. They were 16.



Fahrenheit graphic artist E-Moe getting down with DC Ray in Sacramento


During DC Ray’s recent appearance on Fahrenheit Radio’s “Fahrenheit Hour”, First Degree The D.E. mentioned the Rakim show and story they were writing for Fahrenheit Insight. “I was before Rakim!” includes DC Ray. Wow. “Back then, you had to sell your music out the trunk like Too Short,” remembers DC Ray.


Sacramento Rap History, Part Two

Once DC Ray became the King Of Urban Sac, the buzz exploded past our Sacramento borders and reached the Bay area and eventually, Los Angeles and New York. It was at this time that Russell Simmons’ Def Jam Records and new rap group Run DMC were blowing up on the East Coast. Run DMC decided to take their block party on the road. That road lead to Sacramento, and in 1983, The Triple Threat Three, Whodini, and Run DMC did a show at The 2nd Level in Sacramento. It was Sacramento’s first big rap show. A 13-year-old Kevin Mann (Brotha Lynch Hung) was front row, and all the local up-and-coming MCs were in the building. The Triple Threat Three turned the party out, getting the attention of Russell Simmons. After the show, Russell Simmons told The Triple Threat Three crew about their new label, Def Jam Records. Russell Simmons offered them a contract with one catch, they had to move to New York. Two of the Triple Threat Three were in, one was out, citing the mystery of Def Jam Records. At the time, Def Jam was still an up-coming label from a coast far away. Since the members of the Triple Threat Three were a group, they stuck together and declined Def Jam’s offer. On the Fahrenheit Hour, First Degree and DC Ray reflect on how the Sacramento rap game could have been much more had they gone to New York.


russell simmons on fahrenheit insight

Russell Simmons brought his Def Jam crew to Sacramento in 1983 in rap’s beginnings, also offering Sactown’s Triple Threat Three a contract

run dmc on fahrenheit insight

Run DMC, Whodini, and The Triple Threat Three set the Sactown rap scene ablaze with Sacramento’s first big rap show.


In time, DC Ray and The Triple Threat Three’s battle-proven style, grit, and lyrical emphasis had made its way to Cletus Anderson and Saturn Records in Los Angeles. Saturn Records signed The Triple Threat Three and released “Scratch Motion”. Scratch Motion was Sacramento’s first official single in stores! It was 1984. An up-and-coming DJ named Dr. Dre was on the scratch! Yes, THE Dr. Dre scratches on Sacramento’s first rap record, Scratch Motion. There were records, and they were in stores. Sacramento had a hero, much earlier in the rap game than many are aware of.


triple threat three on fahrenheit insight

Sacramento’s first rap song, Triple Threat Three’s “Scratch Motion” You can hear it on Youtube here

dr dre on fahrenheit insight

 Dr. Dre of the World Class Wreckin Crew scratched on Sacramento’s first single, “Scratch Motion”


On the Fahrenheit Hour episode with DC Ray, First Degree offers, “If you ever get Brotha Lynch real drunk, he’ll tell you the story about how the Triple Threat Three/Run DMC show got him in the rap game for real! Haha. He was in the front row, yada yada yada, he fell in love with the rap game”

“I remember when he was Kevin Ice Cold, what he was going by at the time. C-Bo was just comin up, he’s always been reppin’ that name.” DC Ray recognizes. “I like Brotha Lynch cuz he always gives props bout where it all came from. Its good that there are people like yourself, D.E., to document our history.”


Sacramento Rap History, Part Three

After rocking Scratch Motion for a couple years in clubs in town and on the road, the Triple Threat Three crew needed another single. They hit the studio and created a tribute to Marvin Gaye called “We Love You Martin”. It was 1985, and The Triple Threat Three was traveling the coast, turning out shows. Other Sacramento MCs, like Oak Park’s Homicide, The Godfather, Bad Mouth C, and Young Dre D were making names for themselves as well. By this time, the hip hop culture had taken over the city. The hero of the city was on records in stores. DC Ray also had a TV show on Public Access, interviewing stars.

While DC Ray was expanding expectations with his TV show, the next generation of rappers was chiseling their rap skills at the local high schools and street corners. This time, the young generation was mainly battling at Kennedy High in South Sacramento, aka The K-House. As with the generation before it, this next breed of rap battlers would engage after school and the best from other schools would come to test their skills in the arena. Familiar names like Brotha Lynch Hung, C-Bo, Triple Sicx, Luni, Marvaless, First Degree The D.E., Be Gee, AK47, and many more were free-styling their way into Sacramento notoriety.



Sacramento’s Luni Coleone pays respect to DC Ray at a local event

The main hoods contributing to the new underground rap movement was Meadowview, The Garden Blocc (Florin Road), Greenhaven, Oak Park, Del Paso Heights, and Freeport. The Freeport area became a serious rap proving ground. Sac pioneer Ace Mak (Ace Of Spades at the time) was a producer and influenced many of the household names you know of today. “Ace Mak taught me to make beats,” First Degree exclaims. Freeport groups like Black Rage (Ace, AK, and Marvaless) and The Wicked lead the new generation rap underground. The town had something special on the bubble, their own sound, their own buzz, their own chip.


Sacramento Rap History, Part Four

In the late 80’s, DC Ray was introduced to Cedric Singleton, a young strategist from Ohio, equally hungry for the game. “Ced Sing” was starting a new label with Robert Foster called Black Market Records. DC Ray and Black Market Records came together and released Black Market’s first single, DC Ray’s “What’s The Matter With Your Life?”. At this time, DC Ray was still the only Sac rapper in stores. Black Market and DC Ray’s relationship eventually got complicated and the two moved on. To this day, there are a few things DC Ray would like to hear Ced Sing say.


dc ray fahrenheit insight

Black Market’s first single was DC Ray’s “What’s The Matter With Your Life?”

During the recording of The Fahrenheit Hour, DC Ray states that he would like Ced to clean up the mess he made, admit some of his wrongs, and move forward. “I can see he is trying to make everything right now,” DC Ray defends. “But I could have signed with Atlantic Records!” He then goes on stating that Atlantic Records was interested in him. Atlantic was told DC Ray wasn’t interested. DC Ray suspects someone at Black Market told Atlantic that he wasn’t interested. “We could have done a better job with ‘What’s The Matter With Your Life’,” DC Ray also realizes out loud.


dc ray drawing on fahrenheit insight


By the early 1990’s, Black Market Records was preparing a take over, They released Homicide and was building their brand. It was then that a young Dalvin Pipkins (eventual owner of Death Trap Records) walked newbies X-Raided and Brotha Lynch Hung into the Black Market office. Also during this time, Bobby T and C-Bo, affiliates with Vallejo underground up-comers E-40 and The Click, were getting their situation together and had big plans of their own. Dalvin, Be Gee, First Degree The D.E., Young Joker, and Phonk Beta were on the verge of making history as well. Colossal things were on the horizon for these rap pioneers and the city of Sacramento.

The actions of these young trailblazers later started the Sacramento rap era you think you know. Do you really know? Find out on part two of “The History Of Sactown Rap”, here on Fahrenheit Insight!

You can hear this interview with DC Ray in its entirety soon on Fahrenheit Radio and Youtube.


First Degree The D.E.

Lynch & DE Cover Upload-2

“Fahrenheit Collectibles, Brotha Lynch Hung and First D.E.”
Out Now Digitally, In Stores November 18, 2014!

fah movement

United Nations 8.19.14

Oji 9.16.14

Phonk Beta 10.21.14

fah movement back


Introducing Mathmatix Of United Nations

ad00007088103163a1aea816eaea81af_hws2Introducing Mathmatix Of United Nations

By Jimmy Blog For Fahrenheit Insight


Q – We all know you been rhyming for a while, but why is that people are just now catching up to you?

A – Well probably because of how i went about making music. Even from the beginning hiphop has been theroputic and I never made a single track with intent of getting noticed or getting a record deal or any of that. I just loved the culture and wanted to express myself and my thoughts. But I guess with time more people got their hands on my stuff so you know. Things grow.
Q – You don’t sound at all like most mcees that come from Sac, how would explain that?

A – I’ve always taking the “Thelonious Monk” approach. Either you get it or you don’t, I’ve never made music for anyone but myself, even now. So that has allowed me the freedom to not feel forced into rapping about money, guns, drugs and all the other commercial directions rappers take to get noticed. I’ve done tracks about Burger King and stuff that only makes sense to me, and maybe the people that know me.
Q – Tell us about this collaboration with Crucial Point that’s got heads turning the volume up again.

A – Well long story short, my boy Crucial was going in for a while, but more publicly, and the whole time I was doing my underground thing. I was always wanting to get down with him and do a group project. He’s done stuff on my projects before as a feature but I honestly just think I wasn’t seasoned enough back then. But you know, beats got way better, rhymes got nicer and I think he just started taking notice. I always thought he was nice, but one day he was like, I’ll come down and well spend a weekend making beats, and that turned into a full album. Without question the best work I’ve done to date.
Q – You seem to be more of a conscious rapper. So is it safe to say that you keep up with current and world events?

A – I try to be very informed. I don’t watch the news or read as much as you would think, but I had a network of very worldly people around me. Different cultures and view points so that by default keeps me drowning in conspiracy theories, world politics and things like that. I do my research, but I’m not fanatical about things. I’m just smart enough to know that I don’t everything and just because things my seems unbelievable doesn’t mean is not happening.
Q – How do you feel about the state of hiphop today?

A – I’ll be honest, I don’t hate it like most people. All things have to change, if it doesn’t change it dies out. And it’s been hiphop’s ability to grow and change with the generations that keeps it relevant. So even though I can’t say I think it’s changed for the better or that I even like most of it for that matter, I will say I’m not against it. Like my man Sadat X said, I you aren’t out there making that good music or contributing in some way, you got not say in the matter. Don’t sit on the sidelines hating and complaining, get up and do something. Give the people options. Otherwise, shut the “F” up.
Q – Sacramento has a lot of talented mcees, how come we don’t see more collaborations?

A – Well, Sac has a strong gang history so a lot of the music/artists are separated by neighborhoods. Sometimes they see passed it and get down and make music but most times it’s just people running with their homies or the people they know. I’ve never really tripped off it but I think once cats get passed the old ways, they will start linking up to get this money. Instead of beef’n, just attack the game together. Their’s strength in numbers right?
Q – How do you play into this Sacramento movement to push the music forward?

A – Hahahh, the only movement I know about is the Fahrenheit movement, so if you not talking about that I don’t know what to tell you. We trying to make people think again, ask questions again you know? We’ve all done that “i’m tight and better than you” rap. I’m passed that now and the people around me are too. It’s about balance and options. I’m not the one to beat you over the head with non-sense and formula. My music should take you on a trip through the mind and soul, a lot like good jazz does. Mathmatix is like the knuckleball of rap. The rest of these dudes are still throwing you fastballs and the occasional curve. Get at me.


United Nations Aug 19, 2014

UNcover 2

Meet Oji

381aaaf488f9003b957a53434c6a487c_imbsMeet Oji

By Jimmy Blog For Fahrenheit Insight

Q: So, where do we start Oji “The Gift Bearer”?

A: It all started for me with a self empowering initiation of what many call a “kundalini awakening”. When I was around 20yrs old, one day in my studio, while making a beat for a drug dealer from the old neighborhood. I was spontaneously rocking back and forth in the chair, breathing deeply. Suddenly, I felt the energy building up and I started shining. I could feel my cells opening in that moment. So then I asked the creator, what to do with all this energy within me. The answer it seems is too focus it like a laser beam into the future.
This experience allowed me too know another dimension of life. Which is very paranormal and “reality” altering without any drugs. Though it also alienated me because its hard to explain to folks if they have not experienced it. Its a freedom you reward yourself with. This supernatural energy is like an extra and inner terrestrial force.

Q: I see, very interesting. How did this experience effect the people around you?

A: Well as far as I could see sometimes people only love the fruit of a tree. Or they need more proof to take it serious. Though its the same yet different from the holy ghost. The rush of enlightenment could also be like a drug. Though I am addicted to God and that is where I found it. It strengthened my relationship too music as well.

Q: How long have you been making music?

A: I started back in 1987. With just a karaoke machine and then graduated to a four track to a digital recorder, then to computer. I wrote and recorded my first rap at my uncles studio when I was 12yrs old. His name is Mark Elliott. He also inspired me to be a producer because he’s a great r&b and funk hip hop producer, writer and dancer. He had a strutting dance group in the late 70’s called The “Close Encounters of The Funkiest Kind”.

Q: Alright, what other artist inspired you growing up?

A: The first record I bought was Run DMC Raising Hell, which helped mold my sound. Then I got into Michael Jackson, Stevie Wonder, Prince, the early Mac Dre, Too Short, N.W.A., J.T. The Bigga Figga and San Quin, R.B.L., E-40, Supa Nova Slom, C- Bo, Marveless, Dre Dog, Bone, Lynch, Sicx and Raided, The D.E., Bjork, Badu, Zap Mama, Tricky, Declaime, Georgia Anne Muldrow, D’Angelo, Marilyn Manson, Timbaland, etc.

Q: Wow, that is a primordial soup of influence.

A: That’s also including the music my mom introduced me too. Like Anita Baker,etc. I was also negatively influenced by music growing up. I was a huge fan of Lynch until I became a father. I grew up in Bayview Hunters Point in S.F. Where I was surrounded by violence and ignorance. Though I did get awarded artist in residence in a studio in an artist colony at the naval shipyard. That helped me learn that the art that I make, draw, paint, and sculpt have value to other people and made me take it more serious..

Q: Wow, you also do graphic arts?

A: Yes. I started drawing at a really young age. Now I consider myself a color and sound alchemist. I do it first to inspire others like other artist inspired me. I recently learned how to animate, so now I see how color and sound work together for the better.

Q: What would you do if you where not an artist?

A: If I where not an artist, I would be either a martial artist or quantum physicist.

Q: Quantum Physicist?

A: Yes. Although I feel I already am. Rhythm and tone are two simple places to start. Are bodies are advanced spiritual technology. Heart beat and voice was used by our ancestors to communicate too the Earth and universe. Especially the shamans who’s job is too see and feel the oneness. I am working on a documentary about my personal paranormal experiences with sound and color. Its called “Rhythmic Cognition Theory”.

Q: You also have an album coming out next October right?

A: Yessir! Its titled “Speak N’Tones” Which is about teaching children self empowering tones and vowels of the chakras, or healing overtones in an experimental and unconventional way. It features different artist that I collaborated with including my children, Mzee Divine, Luziluu from Germany, Royal Immortal from Brooklyn, and Amun Ra from Atlanta,etc. I did all of the production and mastering. Since our voice can be used as a weapon, it should also be used to heal and build with. There will also be a video game of the same name.

Q: Astounding! Do you sample too?

A: Yes, I started making beats by sampling. I’m very much a scientist when it comes too anything creative. So what ever I can get my hands on too record, I do. I have played and recorded live violin, piano, synth, tabla, finger harp, guitar, etc. H

Q: Where do you see yourself in the near future?

A: Healthy and wealthy! Hopefully in the near future I will be doing a whole lot more live performances, lots more production, lots more writing, art, animation, healing and building. Though I do feel like a time traveler. My future self is “converting black holes into stargates”. Quantumly speaking turning the negative in positive. Our cells become black holes that feed on negative energy if we are too stressed out. In a healthy state we shine and our cells are like stargates that keep an open communication to the creator.

Q: I see… What genre would you say categorized your sound?

A: Genre bending psychedelic hip hop. For fun I write in my own language. It feels like abstract painting. I would like to invent my own genre.

Q: Do you freestyle?

A: No. I grew up in freestyle cyphers, though whenever I try I speak in another language that feels ancestral. Its like an alter ego that was birthed out of anger, pain and self discovery. I know the most high comprehends and know I have the best intentions.

Q: Wow. What would be your dream collaboration?

A: It would be a dream come true for me too produce a song with Georgia Anne Muldrow and the D.E. on it together. Another goal I have is to produce a song with Bjork.

Q: That is something else. Is there anything else you would like too say?

A: I would like to thank you D.E. for this opportunity to show what I am artistically capable of.
I am on a mental treasure hunt, on the map of the brains maze…


Oi And The Ascension Team “Speak N Tones” Sept 2014


First Degree The D.E. and Cold 187 Talk Dr. Dre, Religion, And More

Cold 187 On Fahrenhie tCold 187 On The Fahrenheit Insight

By Jimmy Blog For Fahrenheit Insight

Any true fan of rap music knows about the notorious rap group, Above The Law. Starting in 1989, Above The Law’s (Cold 187um, KMG, Go Mack, and DJ Total K-oss) were pioneers of West Coast rap and invented the G Funk rap era, which was later copied by Dr. Dre’s for “The Chronic”. Backed by Eazy E’s Ruthless Records, Above The Law released hit after hit, creating a world-wide fan base with their real, rap-funk sound. Their most popular albums, “Livin Like Hustlers”, “Black Mafia Life”, and “Uncle Sam’s Curse” carved the West Coast rap scene from within. Above The Law worked with rap legends 2Pac, N.W.A, Kokane, Suge Knight, and many other pioneers. Hits like “Black Superman”, “The Last Song”, and “Murder Rap”, to name just a few, communicated what was going on in Los Angeles at the time. Though his music, Cold 187um because a voice for the inner city Black, West Coast community. As a group, Above The Law released eight albums.

In 1999, Above The Law’s main vocalist, Cold 187um went solo. Know for his aggressive style and stylish, high pitched voice, Cold 187um, aka Big Hutch continued his career with eight more independent albums, including an ill-fated stint with Insane Clown Posse. Cold 187um has continued to be a voice of reason for the West Coast rap game.

On Saturday, May 10th, Cold 187um aka Big Hutch sat down with First Degree The D.E. on The Fahrenheit Hour Urban Talk Show on Fahrenheit Radio. Cold 187um shared his thoughts on racism, current events, major labels, and the state of the rap game.

Cold 187um started the discussion on race and Clippers owner Donald Sterling. He started by explaining that slavery wasn’t that long ago, and that we’re all slaves to something. “I remember being called nigger, by White folk”, he remembers. He goes on to explain that slavery wasn’t that long ago, and the people that were around when the Jim Crow laws were active, are still alive today. He then moves on to Donald Sterling. Sterling is the Clippers own caught on tape making racist comments to his girlfriend. Big Hutch explains that Sterling is just a simple man that is a slave to his environment, adding that if you listen to the whole tape, Sterling is answering to his racists peers, “You’re part of something that’s racist!”. “We’re all slaves to something.” he reiterates. Hutch explains that we need to look towards each other for healing. “We’re the first people that never look at the man in the mirror”.

The Above The Law head man then gets to sharing his experiences with major labels. He has been on Ruthless Records, Tommy Boy Records, Death Row Records, and more. When First Degree The D.E. askes him if good or bad Jews own the major labels, Cold 187um explains that there are both. “Everyone wants to get caught up with calling them devils”. He clarifies that the people that own the major lables (and the fame) are opportunists selling a product. “They lookin at you like you a bag of Doritios! They not lookin at you like you put your heart and soul into somethin!” Cold 187um has hasd many experiences with the majors, but now likes it just where he is, independent with Big Shot Records.

Big Hutch also had something to say about Dr. Dre. Dr Dre is in the mists of becoming hip hop’s first billionaire by teaming up with Apple for his Beats headphones and streaming service. However, Dr Dre got famous from his music, some of which (the g funk) was stolen from Above The Law and Cold 187. “Someone hears that you got a great theory, it’s very innovative, and they know they can go to the next level with it, they take that, and done give credit to the person that created it.” Its all about money Hutch explains. In the end, he and the Above The Law members (RIP KMG) just want the recognition they deserve. Considering Dr Dre is making billions off his legacy now, asking for credit is a reasonable request.

Cold 187 chose not to get into the Illuminati talk, “…because its just that, talk!” Big Hutch would like our urban communities to get real and help each other. “I’m not anit-anything, I just pro doin me!”

Why I’m In The Rap Game

1403167_616578755052190_2077850533_oWhy I’m In The Rap Game

By Shawn Thunderchief For Fahrenheit Insight

To tell my reason for doing music and more particularly rap I’ll have to borrow a quote from one of my dear friends and fellow musician Jasia One-O “There’s music in my message” meaning I have a message to get out and it’s going to get out one way or another. It just so happens to be that music is the mode in which I use to get that message out. Why music? Music itself is a universal language and play huge role in various cultures around the world which in effect makes music one of the most effective methods for communicating and conveying a/your message. In short I use music as a tool to share information, teach others, express personal thoughts, views, beliefs and ideas, to inspire, empathize, and spread the message of love and oneness. Though it seems that many others who share that same message, people like Bob Marley, John Lennon, Michael Jackson, Mac Dre, Bradley Noell, Layne Stayley, Ol Dirty Bastard, and 2pac to name a few, ultimately have their life’s cut short from some unforseen and unfortunate “accident” or “tragic event” that I simply call murder, I’ll still will continue carrying that same torch with that same message no matter how little or big of a role I play in it.



A Letter From A Hiltop Resident



A Letter From A Hilltop Resident

By Josh Rizeberg For Fahrenheit Insight


I am a resident of the hilltop area that is deeply concerned with the current development of this area. My biggest concern is that housing will no longer be affordable for me and quickly displace my family. The city has adopted a view that “affordable housing” is based on a person/family making 80% of the county-wide median income, specifically $40,150 for a single person and $57,350 for a family of four. The number of people who currently live in this area that meet that income level is extremely low. Additionally, the city is choosing to adopt the very minimum goal of 25% allocation of new units to meet this idea of “affordable” as set forth by the Pierce County Regional Council, which seems to be in direct conflict to what I understand as Tacoma’s goals and image. This approach to “affordable housing” is very unacceptable to me. The hilltop area has always been culturally diverse and vibrant with minorities, and the current development plans undertaken by the city will ultimately push all of these people out, only to make way for more affluent individuals. As new units are built they will be at market rate prices, intended only for those that exceed the “affordable housing” income levels. This will quickly increase the rental- rates of the current units, and I believe the goal of 25% of “total housing units in Hilltop shall be affordable to households earning up to 80 percent of the countywide median income” (Hilltop Subarea Plan) will be reached and surpassed relatively fast.
The Hilltop Subarea Plan suggests establishing an “affordable housing monitoring system for the Hilltop Mixed-Use Center,” and exploring the “creation of a system that activates policies and regulations designed to promote the production of new affordable housing when affordability trends project a future shortfall,” which I believe to be of extremely high importance as the city is increasing its development activities within this neighborhood. It is also important who leads these projects and the representation of a diverse selection of current residents within the organization itself, not the business interests or outside entities.
The Hilltop Subarea Plan contains directives for establishing “effective public information and feedback materials and conduct frequent town halls, public open houses, and other events at locations in the Hilltop Subarea to encourage public access and facilitate dialogue on Hilltop Subarea Plan implementation priorities, policies, programs, projects, and budgets” and I believe it is important to make this happen immediately. The outreach conducted in preparation of the Hilltop Subarea Plan was noted to “reflect more of the ideas of people who live outside of the area that the plan is trying to attract rather than current residents” (Tom Beckwith, MLK Subarea Plan and EIS Working Group Meeting – November 8, 2012) so I have very deep concerns about whether the city is genuine in addressing the concerns of the current residents.
The groups such as Hilltop Business District Association, Central Neighborhood Council, and Hilltop Action Coalition that the city currently works with represent the needs of a very small selection of residents in the community with interests other than affordable housing, and I think the planning commission needs to do much better at getting more fruitful input from the actual residents of Hilltop.

Tacoma Gentrification Update



Tacoma Gentrification Update

By Josh Rizeberg For Fahrenheit Insight

     The new development is we’ve actually already seen the city require our 12.5% of new home/apartment/condominium construction be affordable to those making $18,000/year. Even expensive waterfront property in the richer Tacoma suburbs are being required to meet this goal!

The paragraphs of relevance are the minutes form the last City Council meeting… “We also heard comments from a commenter, who didn’t identify her affiliation, on the addition of the Point Ruston Mixed-Use Center, which she described as “a different animal” from some of the other MUCs in Tacoma, in light of both the extensive environmental cleanup undertaken there, and the LIDs in place to pay for some of the infrastructure to support the development. Those constraints, according to the commenter affect the range of price points available in the development. The MUC designation, she said would enable the developers to complete the project in a more timely manner, and that Point Ruston is committed to including affordable housing within its waterfront development, within the financial constraints inherent in the project, and closed by asking for “parity” with other mixed-use centers in Tacoma.

Deputy Mayor Woodards asked a follow-up question to the comments relating to the request for parity for the Point Ruston mixed-use center. The staff response was that a requirement has been proposed that an affordable housing element be included in the development before a multi-family tax exemption could be used for the project. This requirement would be the first requirement of its kind. It was added based on a desire to see affordable housing in the project which is intended to be “live-work-play,” and a concern that it might otherwise not happen for all income levels. This is the first mixed-use center to be developed since evolving affordable housing conversations have begun to put in place specific goals (think the affordable housing targets included in the Hilltop Subarea Plan); it’s also unique in that it is a ground-up development, rather than an area starting with an existing base of affordable housing stock.” The Hilltop Subarea Plan is where our #’s came from…
Here’s the minutes from the last City Council meeting,

State Of the Black Man In Washington State


State Of The Black Man In Washington State

By Shawn Thnderchief For Fahrenheit Insight


The Current state of the black man in Washington State is a bit on the dismal side. One important thing to realize is that in an area like Western WA which is considered to be one of the more diverse regions on the planet, the 2 most populous counties which have the highest concentration of black people both have an African American population under 7.5% (Pierce & King Counties). That’s roughly 150,000 blacks out of roughly 2.5 million people, that’s a pretty small number in my opinion. Especially since blacks make up the second highest percentage of any non-white race in the state second only to Asians. In total both King and Pierce Counties are roughly 70% white and 30% every other race combined. Washington State is also largely segregated in the residential areas as workplace/industry areas as well. Some melting pot if you ask me.
When I graduated from college in 2008 I realized something very interesting and saddening. What I realized stemmed from something I first started noticing while attending community college and was a continuing trend at the university level and definitely in the work place and that was the further or higher I got the fewer minorities and more specifically fewer black people there were. And there where many of times that I was the lone black representative in both classroom and workplace.


Post graduation and upon entering the caucasian dominated workplace of Washington State and the United States as a whole I started thinking to myself “I bet that I’m one of no more than 30 black men, from the City of Tacoma, under 30 years old, with a Bachelor’s Degree from a D-1 School, currently employed full-time with an elite caliber and career type organization, and no children.” One may think so what, who cares, and why does it matter and to them I say it matters because there are probably at least 20,000 white men who boast the same credentials and are also from Tacoma. That’s a huge discrepancy and one that translates into so much more and so many other aspects of life and the living conditions for Black people.


It is definitely easier for blacks to rise amongst the ranks in WA State than it is in other areas of the country and that’s due to several reasons including but not limited to it being less violent than other metropolitan cities of similar size and demographics in other states, it’s also not as segregated as other comparable areas of the U.S., it’s also not as impoverished as other comparable areas. I mean there are no housing projects or areas throughout the state that resemble in any way the horrid living conditions that blacks and minorities are subjected to in other states. Pretty much the most run down residence has running water and working heat and electricity or the ability to have that so long as your bill is paid. There are plenty of places in the U.S. where that isn’t the standard and adequate living conditions are non-existent. While it may be less difficult for blacks in WA State than other areas it’s still not easy by any means. Most employment opportunities available to blacks are in the hospitality, child care, retail, and customer service industries as can be seen by the huge lack of presence of blacks in the above $50,000/year income bracket and by the lack of black representation at the corporate and government career level as well as in leadership type positions.
We still have a long way to go as for as racial, gender, social, financial, and spiritual equality go and that’s world wide……..No time like the present to start the forward progressing trend of human greatness that we have the potential to and will ultimately reach, no matter how many haters try to foil the plot!!!

Rare Interview With Phonk Beta of Fahrenheit & Madesicc


Phonk Beta on T

Rare Interview With Phonk Beta

Interview by Jimmy Blog For Fahrenheit Insight

     Every once in a long while, an album comes out that defines a time, defines a city. Here in Sacramento, California,  that album was Brotha Lynch Hung’s “Loaded” album, an album so rich with time, talent, and soul, it will never be duplicated. This album, and many more, was produced by the legendary Phonk Beta. Phonk Beta recently connected with First Degree The D.E. on the Fahrenheit Hour Urban Talk Show to talk Loaded, Fahrenheit, Symplex, Brotha Lynch, Death Trap, his beginnings, purpose in music and much more.

“I can’t remember when I first touched the pianos, 3 or 4 maybe, and I’ve been lovin’ um ever since!” Beta clarifies. Phonk Beta was born in San Francisco. He has also lived in Sacramento and New York. He has produced on over 75 albums, put out 2 solos, and is known world-wide for his jazzy, dark soulful sound. He is the creator of the “Sacramento Siccness” sound.

The conversation with First Degree and Phonk Beta started with Beta’s jazz roots. First Degree inquires where Beta got his talents from and Beta explains that by emulating jazz greats like Miles Davis and Count Basie, he was able to create and perfect the sound known as Phonk Beta. “My first love is jazz, a lot of people don’t know that.” Beta also goes on to explain, “I used to always know how to touch the ivories, and Brotha Lynch taught me how to program drum beats.” Phonk Beta and Brotha Lynch became friends in high school in South Sacramento. They then teamed up to create one of the greatest rap albums of all time.

“I didn’t even know what we was doin back then,” Beta explains while talking about the creation of Loaded. His and First Degree detail how back then, beat making was a community event. First Degree then talks Planet Zero and tells that Brotha Lynch, Beta, and himself made the beat to Blackula together. First Degree also goes on to remind the people that Beta was the producer of the early Death Trap albums. Death Trap was Phonk Beta, First Degree, Be Gee, and Dalvin Pipkins.

D.E. and Beta’s long musical history is all on wax. “Phonk Beta has produced on every First Degree album from Southbound all the way to FU4!” First Degree The D.E. boasts.

While in conversation, First Degree The D.E. reveals to Beta, “the rap game is too easy for you know, no one’s doing anything that’s beyond anything you can do.”

“I kinda lost love for the music cuz of the Black Market,” Beta explains, “I’m getting the love back, I’m a lot better than I was back then.” The D.E. later includes that if the Brotha Lynch and Ced Sing (Black Market) relationship worked, Sacramento would have been a top 3 rap hub. Beta then goes on to gush about the Symplex series. Symplex, The Complex And Simple World Of Phonk Beta Jazz, is Phonk Beta’s jazz collection he puts out on Fahrenheit Records. The first Symplex album was received well by the rap audience, and was some fans first exposure to jazz music. The second edition comes out November 18, 2014. The third, which is already done, comes out 2015. The Symplex series promises to change the game!

“You’re the only one that can bring jazz to the rap world!” First Degree tells Beta. “The best thing about Symplex, is that you get credit for your genius.” D.E. paraphrases.

Besides the Symplex series, Phonk Beta is working on a compilation called “The Containment Unit” with Madesicc Musicc. Beta reports that this comp will be produced by him and have a bunch of upcoming Sacramento talent. Beta also explains that the Reloaded album is full speed ahead. At this point, le Phonkster is the only human on Earth that can make that happen.

When asked about his legacy, Beta states, “I want to leave something for my future family, I’m teaching my son how to makes beats.” For the love of the rap game, let’s hope he learns!

On a personal note, Phonk Beta has been torn between the Brotha Lynch  and First Degree beef. Over the past year, Brotha Lynch and First Degree have had a very public altercation that thousands of fans have chimed in on. “Let’s get the record straight,” explains First Degree The D.E., “I’ve been working with Phonk Beta before anyone ever heard of a Brotha Lynch!” Although Beta had nothing to do with the beef with Lynch and D.E., his name has been flying around it’s discussions. Within the storm, Phonk Beta has been a calming, neutral force that all parties respect. Because of his affiliation with Lynch and D.E., he has taken beef from friends and fans, but to Beta’s credit, he stays even keel and will eventually be the glue that ties everything back together.

You can hear this interview in its entirety on Fahrenheit Hour on Fahrenheit Radio. You can check it out on demand on Youtube by searching “Fahrenheit Hour 23”. Symplex 2 comes out November 18, 2014. Phonk Beta beats for sale can be heard at Phonk Beta also has a hot T shirt line he has started. Get up on Shlangz!


Phonk Beta “Symplex 2” Nov 18, 14


Symplex 1 out now!