S2S Publisher Jamie Foster Brown caught up with the hypeman- turned-TV star as he was filming his sitcom "Under One Roof" in Vancouver, Canada. Flav described this moment as a dream come true because he always wanted his own sitcom.

As he basked in his own happiness, Flav had nothing but kind words for the women he's met on the "Flavor of Love" series and others who have crossed his path. He even spoke lovingly of his brother, who recently complained to S2S that Flav never helped him get into the music business (see page 18). Flav and his manager said that's not true at all, but Flav never showed anger toward his brother; instead he questioned why his brother would say something like that.

Which "Flavor or Love" contestant makes him the most proud? What would he do differently as a parent if he could throw life in reverse? Is he really looking for love on TV? Read on to find out this and more about your boy, Flavor Flav!

***

Jamie: Finally! We got you. Finally!

Flav: Finally got me? Finally got y'all too! What's going on baby girl?

Jamie: You got a new show?

Flav: Yes, ma'am. I got a brand new show coming right about now. It's called "Under One Roof." It's a sitcom.

Jamie: What's it about? Tell me.

Flav: Well the sitcom is about an exconvict who gets out of jail, and he goes and finds his rich brother. He moves in with his rich brother; brother's wealthy, he's married, his wife don't like him. So she tries to kick him out, but brother can't kick him out because he owes him.

Jamie: Okay, now why does he owe him? Is the brother older or younger?

Flav: The brother is younger. Let me tell you this: I play the part of the ex-convict out of jail. And my rich, wealthy, Black brother, he's played by Kelly Pereen. One day when we was young, my little brother stole a car. I was riding with him. So he crashed the car. I jumped behind the wheel and I took the weight. So when I went to jail for all of these years, he finished school, went to an Ivy League college, became a wealthy, Black Donald Trump kind of guy, you know, a real estate guy. When I got out of jail, I didn't have nowhere to go. So I go and find him, and I'm like, "Yo bro, remember that favor that I did you back in the day when I took that weight? Well, I need somewhere to go." So he moved me in with him.

Jamie: How did this come about, and why did they choose you? Was this something that you thought of, or they came to you?

Flav: Honestly, they came to me with this. A couple of my friends were involved in this television show called "Dance 360." They had me come down to the set; they said, "Yo, Flav, come down to the set because the people on the set will love you." So I ended up going down to the set and I met Claude Brooks. Claude Brooks is the producer of the show. So everybody really loved Flav. I guess Claude Brooks had me on the back of his mind, and they put this project together, and I guess he said, "Well, there's no other perfect person for this part but Flavor Flav."

Flatline: You have been so incredibly creative through out your career, both musically and artistically. Where do you grab inspiraton from?

Shock G: Love. Not just as in romantic love with a woman, but love everywhere in the world around me. People making each other laugh and smile, good times with friends & family, anytime harmony's amongst me, it inspires me. Of course, being in love is the ultimate inspiration too, when I'm lucky enough to have a special someone like that.

Flatline: It's been 10 years since the last D.U. record "Who Got The Gravy?" dropped. What made you want to go one last round with this album?

Shock G: One reason is, we finally came across a good, stereophonic, soundboard recording of a D.U. show, rather than the usual camcorder versions we have so many of. The bulk of this album was recorded at a live show in the bay area. You can hear the hometown luv in the air, and both the audience and the band was in rare form. We didn't bother to include the songs in which we simply rapped over the records. I figured we all know how the records sound already. No, instead we put the "unplugged" sections on the album in which Eric "Kenya" Baker (So Many Tears) is on guitar, DJ-NuStylez is on the turns, Juan Carlos is on percussion, and I'm at my favorite place in the world, on piano. Meanwhile the entire D.U. roster is blessing the mic. All the spin-off acts were in the building too that night - Luniz, Saafir, Element, Choice Cutz, even Strictly Dope, Tupac's original group before he joined digital underground. That's reason one.

Reason two is because, those last 10 years you spoke of, since the "Gravy" album, we've been touring constantly, worldwide, and in that time it sorta seasoned us. Our live show has evolved much tighter then before, and we recruited alot of good emcees along the way too. This album reflects that growth and showcases those emcees. And there's even a third reason...

Reason three for releasing "Cuz a D.U. Party Don't Stop" is because few Pac fans know that our clik wrote the music to practically all of Tupacs singles for his first 3 albums. For instance, So Many Tears was Eric Baker & I musically, I Get Around was myself, Homies Call & Brendas Got a Baby was our homie Deon Evans a.k.a. Big-D the Impossible. In a sense, we were Tupacs in-house band, and I was even supposed to be his music director on his up & coming overseas tour in the fall of 1996. Of course the tour never happened, but you could say this album is a taste of what it might've been like musically, because these are the cats that would've been there. And though Pac may've passed on, we at least have Ray Luv (of Strictly Dope and early ghost writer for Tupac) and Pacs' protege Mac Mall representing in Pacs honor. Plus they supplied me a 77-key Fender Rhodes electric piano that night, so I was in heaven. It's a beast of a recording.

Flatline: There's always talk of you working with Tupac but you worked with another lyrical giant on the last record - Big Pun. How did the two of you hook up and what was it like working with him in the studio?

Shock G: Real talk, on the day we were supposed to record, four plates of spanish food showed up at the studio before he arrived. Then the studio gets a call...it was Pun checking to make sure the food had got there before he showed up (!!!) I heard he was up around 500 pounds at the time. They put a chair in the vocal booth, he layed his verses while sitting down, and we had to punch him in every other sentence, so he could catch his breath. Jeeeesus, the poor dudes heart just couldn't take it any more. He was a great dude though, wayyyyy kool, wayyyyy chill.

I kept thanking him for showin up & fuckin wit our ol' skool asses, and ya know what he said? "C'mon, I had to. You were the first person to put Puerto Ricans on the map when you shouted us in the Humpty Dance."

And ya know what I said?

"Yeah, but you mean Doowutchyalike".

And he said.. "No, it was the Humpty Dance."

And I said.. "Naw, it was Doowutchyalike".

Then he just stared at me like he was trying to figure out whether I was serious or not, and I walked away, back to the soundboard to finish mixing the song. The next day when I woke up, I was like "Damn, he was right! It was the Humpty Dance! He must think I'm crazy!" I was so high from blazin wit him that day, I got stuck in a zone where I really remembered it to be Doowutchyalike!! DOH!

I asked for Pun cause his lyrics were sexually obsessive like mine were. Around that time, most cats rhymed about either crime or violence, but Pun was a ladies man like Humpty, so I thought he'd be a good match with me. And luckily, someone on our label (Jake Records) knew someone at his label and put a call in for us.

Flatline: What can the average listener expect to hear on the new record? Any guest spots we should watch out for?

Shock G: Yes, look out for BINC (a.k.a. Best in Northern Cali), he's hella funny. And also Liz Suwandi, a new female vocalist who's been touring with us lately. We call her "our Fergie".

Flatline: Why do you think Digital Underground isn't scooping up many awards or being recognized for the work you've put in over the years?

Shock G: "Grammys, Emmys, Dammys, nuthin 2 me, but when they rock us in the streets we say ooh-wee."

Witnessing the impact our music has out in the world & universe is like receiving 20 Grammy awards. Things like...when Jay-Z used the Humpty flow in his song, or watching the dancefloor go bananas when "I Get Around" or "Freaks" drops, or watching the girls come alive when they rock us in the strip clubs. (laughs) We're also in the wedding books and the kareoke books lately. We've done two tours a year almost every year since 1989. We may not have any special awards but we're blessed to have what we do have, and for that I'm grateful.

Flatline: Can we expect a solo album from Humpty Hump in the future or maybe an ep with Biz Markie?

Shock G: (laughs) I doubt it, but I'll ask Humpty next time I see him. Who knows, he might be into it.

Flatline: You're a group with a worldwide fan base on a smaller record label. How has the industry changed in your eyes since you came out with Sex Packets?

Shock G: When we came out, hip-hop was still a teeny-bopper (18 years old) so it was focused on all the things teenagers focus on; dancin & partying. But Hip Hop is all grown up now, so it's focused on more adult things like money & business, hence half the people in hip-hop also being business people. The artform is going through all the same changes R&B and Rock & Roll went through. Remember when it was Sammy Davis Jr, Frank Sinatra, Elvis, and Berry Gordy flashin' all the riches? Now it's 50-Cent, Jay-Z, Eminem, and Sean Combs baybay!! Jazz & Rock used to be the music with all the shocking deaths & excesses; Billy Holiday, Hendrix, Elvis, Lennon. Now it's Tupac, Biggie, Jam Master Jay & Eazy-E. Nothin's new under the sun, huh?

Flatline: Any thoughts on the candidates and the election this year?

Shock G: Yeah, I hope the most hicky backwoods republican wins, just to make everything worse so we can finally move on to the next system of government. Capitalism obviously doesn't support the human population very well, or the earths' resources. So it's capitalism itself I'd like to see lose. I guess Obama looks good, he offers a glimer of hope, but we all know ain't nuthin really gonna change with the american mindset unless a major revolution of some kind happens. GC for president!! Clinton or Carlin, take your pick!

Flatline: If Tupac were still alive, do you think he would have left the rap game alone and maybe entertained the idea of politics?

Shock G: I'm not good at the "what if" game, who knows what he may have done? Anything's possible. Hmm, what I do know is, he's NEVER leaving the rap game now, and his art & poetry has always been involved in politics.

Flatline: Will you be taking the new record out on tour?

Shock G: There will be no D.U. tour as we just recently disbanded. 2008 marks our 20-year anniversary (signed our first contract, and recorded our first single in 1988, Underwater Rimes) so we recently did our final show in Vegas, and have disbanded to take a much needed hiatus from the road, our first break in TWENTY YEARS! (20!!!!) Hoorayyy!!

Flatline: Yo! MTV Raps recently celebrated their 20th anniversary and you were there for that amazing period in time. What are some of your memories from doing the show and just that time period in general?

Shock G: I can't remember anything, I did too much ecstacy in the 90's.

Flatline: (laughs) Do you have a particular D.U. album or song that you are most proud of?

Shock G: I like "Sons of the P" with George Clinton and Pee Wee from the Dangerous crew. We freaked that shit!! Um..."digital Lover" is pretty cool too. Lots of open space in that song, just like Snoop's new jam.

Flatline: What does the future hold for Digital Underground?

Shock G: Can't know untill it happens. In the words of the immortal Fiona Apple...

"If there was a better way to go, it would find me.

I don't know, the road just rolls out behind me."

The new Digital Underground album will be available May 27th on iTunes, Amazon.com, CDbaby.com and stores everywhere! Go get that!

myspace.com/therealshockg myspace.com/humptyfunk

- Flatline for Rapstation.com

Chuck D. and PE producer Gary G-Wiz picked the winner of the Public Enemy Remix Project! The remix will be featured on SLAMjamz.com, Public Enemy's official website www.myspace.com/publicenemyofficial. Reason also received a limited edition portable media player from Mediastreet and a copy of the album signed by Chuck D. Congratulations, Reason!

Check it out!

http://www.jamglue.com/mixes/700939-Amerikan-Gangster-Reasonmix

Instead of peace the police just wanna wreck and flex/ On the kid, What I did was try to be the best! - Public Enemy, Anti-Nigger Machine

I got my first car when I was 18. "Now when you get pulled over, its a serious thing" my dad said to me before he handed me the keys to a brown Toyota Celica. "You keep your hands on the wheel if you get stopped. Move slowly. If you are going to reach for anything, like a wallet, you tell him what you are going to do- and do it slow. If you move too fast they will kill you."

There was a seriousness in his eyes and his tone, that I knew better to ignore. But a part of me, in my head said "All right Pop slow down. This ain't the deep South where you are from. We live in the Bay and its the 1980's."

The first time a gun was put in my face, it was the SFPD. A cop drew a 9 mm pistol to my face for wearing a red and black jacket with the words PARIS (the pro-Black rapper not the chick) across the back. They said I looked like a gang member from Pinole, CA. They said I made an illegal u-turn to get a parking space. They were physically smaller than me (the one with his gun on me was trembling- he was scared of me) and I knew they would not hesitate to put a bullet through my eye socket if I did anything but breathe.. .My hands were in my pockets. All of my fathers advice crystalized in the moment. I spoke slowly and clearly as they made eye contact. I explained I had no weapons, that I was unarmed and that I had broken no laws.

It took him some seconds to hear me through his fear. Eventually he put the gun down. He smiled and said "Gangs in the area are wearing your colors". Funny, being a 6 foot tall Black man, I'm always in gang colors. I wake up in gang colors. I got to bed in gang colors. I walk to the corner store in gang colors. I was born in gang colors- I'm Black.

Twenty years later I'm 38, I have a son and in 10 years, I will have to have the same conversation with him. How can I not?

This past Friday, the police that murdered Sean Bell, were acquitted. So many were surprised. I wasn't. Surprised at what?

The same courts that let Rodney King's video taped beating walk, the same courts who set up the three strikes and Rockefeller Drug Laws , the same courts that let Amadou Diallo die in cold blood gave no justice to Sean Bell and people are surprised? Our system is failing us on so many levels.

No rational human being with knowledge of the American justice system could really be shocked. This is America and American courts have never made justice for Black men a priority. The mere fact that they allowed his parents to file anything in court, is just a hollow ritual to give the illusion of American democracy.

When N.W.A. dropped "Fuck The Police" in the late 1980's so many in American media attacked them. Even the F.B.I. saw fit to write them a threatening letter about how inappropriate the nature of the song was. Shortly after, the release of Paris' "Coffee Doughnuts and Death" and Ice T's "Cop Killer" had created a firestorm of controversy in the media. Hip-Hop music has documented racial and systematic injustice more effectively than any other art form to date. This has been in large part because of the fact that much of what America has tried to sweep under the rug, rap music has been fast to highlight.

So many questions were asked. Why would Black men write songs against the police? Who could write, let alone SELL music advocating police murder? Why do Black men hate cops so much?

But nobody asked if some of the accusations of police brutality being made had any remote basis? How could so many rappers, from so many different parts of America, be so unified in their feelings about the same subject? I was told by a white college student in the 1990's the at the original police forces were bands of slave overseers "policing" the plantations of rich Whites after Lincoln signed the Emancipation Proclamation. He said that their job was to keep free Africans afraid to rebel against their former masters.

I never looked up to see if his historical take on police departments was accurate. However, based on what I have seen in the courts, on TV, and my own personal experiences being terrorized and falsely accused by police officers since my early teen years- it sounds legitimate.Rap music is a billion dollar industry for some. It is a way out the ghetto for many. But for me, rap is the real time barometer of what is going on in the minds hearts and souls of Black men. If you are attuned to what is going on outside the mainstream, you can see that young Black males have been trying to bring attention to their struggle against police brutality for decades.

Their pleas for help went ignored by not only the courts, but Black and White media outlets and most regrettably the old civil rights leadership. The Black intellectuals we're too busy studying to fight for the people they claimed to be representing- so typical. Bill Cosby said nothing. Theo Huxtable never had to deal with what my friends and I had to deal with.

A few years before Sean Bell was murdered, rapper Talib Kweli wrote about the pain of having to pass on the torch of teaching his son about the reality of police brutality.

Niggaz with knowledge is more dangerous than than niggaz with guns

They make the guns easy to get and try to keep niggaz dumb

Target the gangs and graffiti with the Prop 21

I already know the deal but what the fuck do I tell my son?

I want him livin right, livin good, respect the rules

He's five years old and he still thinkin cops is cool

How do I break the news that when he gets some size

He'll be percieved as a threat or see the fear in they eyes

It's in they job description to terminate the threat

So 41 shots to the body is what he can expect

The precedent is set, don't matter if he follow the law

I know I'll give my son pride and make him swallow it all

I sadly must have the same conversation with my son. I hate this fact. Yet it is something I must do. But no one should ever ask again why any rapper speaks against the American police departments or the American justice system. They have been trying for decades to tell the world how corrupt and broken this nations courts have become. Many times their language was harsh, the visuals are ugly and the subject itself painful to digest. But ignoring the voice of the youth has not helped the situation. The embers of racial injustice, covered by the ashes of hollow democracy don't make the nation any safer from the flames. Only honoring truth does. The truth is we can do so much better than we are.

Let me be clear. I have family members that are cops. Some of the friends I grew up with listening to N.W.A. with are now police officers themselves. I know that they are good hearted, well intended police men and women of all races out there. Victims of police brutality also come in all races and creeds. Many of them have been denied justice as well. Unfortunately, the most horrific cases of police brutality rest on the shoulders of the African American community. But the system is broken and the good cops cannot have a clean lane to work in, with rogue cops killing unarmed citizens at will. I find killer cops, just as disgusting and appalling as cop killers. I am a committed advocate for non-violence. Yet I do not want to be here ten years from now writing about the murder my son, or my neighbors son, or your son. I don't want any more American parents feeling the pain that the Bell family is feeling today.

Malcolm X said before he was murdered, that he planned to file a suit against the United States for denial of human rights in the courts of the United Nations. I believe it is time to pick that torch up now. Starting with the senseless murder of Sean Bell, African American's can document our case all the way back to the Lincoln signing the Emancipation Proclamation of systematic judicial injustice. I believe there is no other solution than making a case at the U.N. on the basis of human rights violations.

The time is now. If we neglect to solve the problem in the world courts, I fear that too much blood will continue to run in the streets. America cannot benefit on any level from an escalation of violence. It never has. Black people in America have never had a greater opportunity to balance the scales of police brutality and injustice. American citizens of other racial and cultural make up have never had a more excellent moment to help refine the American judicial system for all of its citizens. Sean Bell cannot be just another victim of senseless police brutality. He must be the last.

Adisa Banjoko author of Lyrical Swords Vol. 1 & 2 and co-founder of the Hip-Hop Chess Federation. He can be contacted directly at bishop@lyricalswords.com By: Adisa Banjoko, The Bishop of Hip-Hop

Flatline: Who approached who for your move over to Def Jux for the new album? It seems like a match made in heaven since they heavily promote loads of creativity.

DEL: Well, I guess you could say that I was looking for a home to launch this 11th Hour project from, and they had an opening. I know El-P from a ways back, we cool. I really respect his artwork and also his drive that got him where he is now with his Def Jux thang. Plus I know Mr. Lif too, that's my folks, and he seems to be doing good with Def Jux so that kinda let me know that was a safe bet. And so far so good, I'm loving it, they looked out and I been doing what I can to make their job of getting 11th Hour out there to the people easier.

Flatline: Who are some of your favorite emcee's?....particular artists that you listen to, as an emcee, that completely blow your mind lyrically.

DEL: Right now? Well, there's alot of them, for different reasons, but I would have to say that, outside of Hiero, Redman is someone who particularly speaks to my demo graph. Also cats like De La are all time favorites, Q-Tip, the JB's, these are cats who constantly I can count on. But I like other stuff too, for instance, The LOX and especially Styles P have been one of my favorites for years. All of the Wu of course I love, Ghostface of course as well as Raekwon always kills it. But I also love Pete Rock as an emcee, too. Diamond D is one of my all time faves on the mic, always witty and always drops a gem or two. Andre The Giant is a favorite, matter of fact just say DITC. But Lakim Shabazz is one of my favorites too, as well as JustIce. KRS ONE of course and Chuck D as well. It's too many to name, I love all the raw dope emcees who keep it really fly with the lyrics for different reasons, but the main reason is the funkiness and the ability to spit something real every once in a while.

Flatline: I know you weren't happy with "The Best Of..." that Elektra put out a couple years ago - but getting to finally hear "The Undisputed Champs" with Q-Tip and Pep Love was amazing. What was it like getting down with Tip in the studio?

DEL: Q-Tip is truly one of my favorite dudes, man. I'll never forget how cool he was to me when we first met, he really embodied that spirit of HipHop that I thought EVERYBODY in HipHop would be like before I got into the game and really peeped it ain't all like that. Tip is someone whom I've always related to very closely. We have similar paths and I could always tell from listening to his lyrics, but when we hung out the few times that we did I could see that it was a vibe that was all over, they just did it in a NYC style, we did it in a Oakland Bay Area style. But it was all peace and I think we were both starting to just get a feel of that.

Tip actually was real cool, cause he would look out for me. That's why anytime dudes try to say he ain't the shit no more or try to call him out, say whatever about whatever without even listening to the shit...actually, by watching him, I knew how some dudes would just turn on you. Cause I seen people do it with Tribe before even listening to their new material. Their album was the Love Movement, the LOVE MOVEMENT how could people front on that? And the music was a new direction, J-Dilla included in it. Some dudes fronted and now look, J-Dilla is they hero now that he's dead. But when he was alive they were frontin, without even a listen really to base they hate on. I'm goin off, but I got respect for Tip, man. Cause he a real artist and he tries things, even when it turn out sometimes dudes front at first, he still willing to try.

Now, about the studio session. I actually was so obliterated I don't remember much. I drank basically some concoction consisting of 2 40 oz, mixed with gin and orange juice. Don't ask. Anyway, I was obviously dumb loaded, but Tip didn't badger me about it. I had a box of SP1200 disks I brought out. I was letting cats peep what I could do production wise. Tip dug it. Busta Rhymes came in, I know him from Elektra, LONS, Dinco was my man, he was dumb cool too, as well as Busta. But anyway, Busta is like peeping my heaters and he like nodding, like "Yo, these are pretty good, son!" It was nice to get that love from the East Coast cats cause it started there. They made me feel like "Ok you ill, we'll accept you into our shit."

Flatline: You've rhymed on side projects with Handsome Boy Modeling School, Gorillaz and Deltron 3030...any other super group plans in the works? I heard the sequel to Deltron will be coming out in 08 as well.

DEL: I don't know if I like the title of "super group"...seems to set up alot of anticipation only to be ultimately let down because for some out there the expectations will never be met. COULDN'T be met, it would be impossible to live up to the fantasy conjured up by some dudes. BUT...I am always trying to collaborate with real cats when I got the time to. El-P and Tame One are two that I'm working on getting crunk. A-Plus as well. Dave from De La, Prince Paul. Another Deltron of course. But also I'm working with D-Stroy, working something out with my man Pumpkinhead...alot of things, but you know, it takes time and some things are first priority. There's a Hiero album being finished up now. Basically I never stop working on stuff, I even have instrumental dance albums, funk stuff, rock stuff, punk stuff, I stay making stuff.

Flatline: "11th Hour" was produced almost entirely by yourself. How long did it take for this album to finally come together after all this time?

DEL: Once I was able to raise up out the game of the mentally insane (those who look around in the streets for someone to blame), it actually didn't take that long, but I must admit I was conceptualizing this LP for quite awhile, ever since Both Sides had ran it's course. I knew I had to learn more about music in order to take it to the next level, whatever that may be. And I worked on my Funkentelechy so I would be able to funk harder than before.

Flatline: Back around 96 or 97 I saw you and the whole Hiero crew tear it up live. Is the art of performance dead in hip hop these days?

DEL: I wouldn't exactly say that, because HipHop IS performance, it's based upon how well you perform. The live setting is where it all starts and it looks like where it will end up in this era of record labels finally losing almost all of their power over consumers. It's anarchy right now, and there's alot of jaded people who feel they been burned and won't even give anything new a chance, it's too late. It's that game again that I was talking about earlier. But all the doper cats know: you gotta be able to command attention. No matter if you got dancers and mega-props on stage or you just standing there streetsweeping with the lyrics. People wanna be entertained, how we as artists get to that point is all up to our preference and what we are best at. But the presentation we deliver will be judged based upon our personal performance, HOPEFULLY, anyway.

Flatline: Were you a fan of Radiohead before Amplive came along and got you to spit on "Videotapez"? The end result is really dope.

DEL: I have a few Radiohead LPs, I have always dug their bag, man. They do what they do and they do it well, you can't really front on them for any other reason except you just don't like them. Because they are doin it. Videotapez I did for Amplive primarily cause he asked me to be down with the project, but I also knew that it could get me a little pub. But really I did it cause Amp is my patna and he asked me to.

Flatline: It's been an interesting road for you since you debuted back in 1991. What keeps you motivated musically and lyrically?

DEL: Musically the curiosity that leads me to continuously try to explore new ways to organize music is motivation enough in itself. But also the personal feeling of gratification and achievement I feel from being able to do something well and being able to see my own growth on a continuous basis is motivational for me, and I would assume for anyone else in a similar dimension.

Lyrically, the motivation is primarily the need to speak about things that I can't get anyone to listen to any other way BUT in a rap. I'm a funky dude, meaning that I walk around in a funk alot of the time. I don't bug cats with it, I'm not a drag, you dig? I just put it away. Rapping is one of the ways I can let some of that funk free, and it's a safe way, a creative way that'll entertain people who feel the funk like I do. It also lets me aim that funk at targets in a basically harmless manner, it's just a rap dig? If it get people to pay attention then fine, and that may hurt some people's feelings but there's no name tag on the rap. If it's dug it's dug. Music is the other way I can express funky feelings in a way that lyrically I can't do. So lyrics and music work hand in hand.

- Flatline for Rapstation.com

Only in its second year, the AFI Dallas International Film Festival's already acting like a real film fest -- which is to say, plenty o' post-screening parties are being planned in and around Victory Park, home to the host hotel, the W. Public Enemy will perform at Ghostbar on April 1 which special guest DJ Lord and and Professor Griff, following the Dallas debut of the doc Public Enemy: Welcome to the Terrordome, a 20-year-look at rap's most influential act.