“Drugs became his escape hatch and his prison. As his In Our Lifetime so brazenly articulates, the devil was after his soul and damned if he wasn’t determined to win”

“Too many people who profess to like rap don't distinguish among its many historic and stylistic differences. Only by placing Ra­kim in context do you appreciate his mastery”

Randolph smacked the pink projectile way up in the air, over the asphalt infield, over the fence that was an automatic double, over the alley that was a triple, and —crash!­ — right up against the fence over the 16th floor.

"More than any other contemporary African-American athlete, his ability to thrive in the pressure cooker of corporate America, while never making any embarrass­ing 'I’m not black, I’m universal' comments or selling his soul rather than just his visage, makes him a role model"

“He doesn’t battle other rappers or spinners for rec­ord sales. Instead he engages wily, older businessmen in treacherous battles for survival. Russell’s not going bald ’cause it’s been easy."

From ‘Sweet Sweetback’s Baadasssss Song’ in 1971 to Spike Lee’s ‘Malcom X’ in 1992.

“It’s clear to me that four new African American character types have been crucial in shaping this country over the last 20 years — types that began germi­nating in the ’70s and blossomed in the ’80s.”

“New York rapped and America listened. Now Amer­ica is rhyming back.”

In 1992, the Voice gave readers a powerful, insightful essay and seventeen pages of kick-ass graphics