Wednesday, February 28, 2007
$hamrock: A-Town Stay Down
The Vh1 white rapper show is over, and is it any suprise that the white rapper that won happens to be from ATL. Shamrock beat John Brown in the finals, or better put John Brown lost to Shamrock. I say this only becuase John Brown was probably the better over all rapper and should have won the contest and 100,000 dollars. I was, however, some what inpressed by both of their preformances, especially seeing how for both of them came. Anyway, I only post to give a shout out to A-town and Shamrock. The next great white rapper?... nah probably not.
Tuesday, February 27, 2007
The Hip-Hop Generation
America has seen generations come and go. From the Lost Generation (WWI), to the Greatest Generation (WWII), to the Baby Boomers Generation (40’s and 50’s), to Generation X (Vietnam – 80’s), generations have often distinguish themselves by the clothes, music, art, and entertainment of the day. I believe we are currently in the “Hip Hop Generation” and have been since around 1997 (post 2pac and Biggie deaths).
The “Hip Hop Generation”, like all generations, will be eclipsed by another generation eventually. Every generation has its icons, the people who you will think of when you think of the so-called Hip-Hop generation. Who are the people who will go down as the trailblazers of Hip Hop Culture? These are the icons of the Hip Hop Generation. And I had the nerve to rank ‘em for argument’s sake.
20. Cash Money Millionaires
The simple fact that the crew from N’awlins started the phrase “Bling Bling” (B.G. to be specific) is enough to leave a mark on a generation. What Juve, B.G., Mannie Fresh, Baby, and Weezy lacked in meaningful rhymes, they made up for in Bentleys and Iced out everything.
19. Shaquille O’Neal
Every rapper wants to play ball and every baller wants to rap. Basketball and Hip Hop compliment each other beautifully. “The Big Aristotle” was an embodiment of an athlete who was very into to hip hop culture. His cocky swag, very Ali-esque, very rapper-esque, makes him an icon.
18. Dave Chappelle
The Hip-Hop Comedian. Makes jokes about the same shit rappers rap about: money, clothes, hoes, and crack. Hosts the most popular show in recent memory and ends shows with rap acts. And made the instant classic Dave Chappelle’s Block Party.
17. TI
He is the embodiment of the Atlanta culture that has become such a giant in Hip Hop today. His albums and his movie, ATL, further his claim as a permanent power player in Hip Hop Culture.
16. Nelly
No one has the crossover formula down as much as Nelly. Has found a way to be a Pop star and not be completely branded as a sell-out. Also, sells records like… well no one sells records quite like Nelly.
15. Lil Jon
Started Crunk Movement. Responsible for the majority of the songs at the club between 2002 and 2005. All the hip-hop dances that came out of the A, thank Lil Jon. Had old white ladies saying “Okaaaaaaaaay”
14. Outkast
With Speakerboxxx/Love Below, became the biggest group in the World. Even though true hip hop fans will say that album is their 3rd best, their rise to global domination will never be overlooked.
13. Ice Cube
First serious rapper/serious actor. You could give Will Smith that title, but Willard Smith never said “I’m coming straight outta Comption, crazy motha fucka named Ice Cube.” The embodiment of the crossover appeal of Hip Hop and how Hip-Hop culture is the dominant one.
12. Eminem
White rapper. Embraced by Blacks and Whites. Revolutionary. ‘Nough said.
11. Beyonce
A force to be reckoned with. Not as hood as Mary J. and still not on Mariah Carey’s level circa 1997, but well on her way.
10. Usher
The Hip-Hop generations pretty boy. The one that guys can bump in the car and women and little girls swoon over. Whenever he releases an album, you hear singles from it for two years… That’s crazy.
9. Snoop Dogg
In my opinion, one of the most recognizable people on the planet. Everyone knows and likes Snoop. If it’s not for his music, it’s for his voice, or his movies, or his short lived (but amazing) TV show, or his cameos here and there. He’s timeless… and doesn’t have to make another record ever… but we’re all glad he does.
8. Allen Iverson
The Hip-Hop Athlete. Scared as many people as rappers did. He might as well have had a parental advisory sticker on top of his corn-rows.
7. Pharrell Williams
As a member of the Neptunes, cranked out hits that will define the era. Outside of the beatmaker, Pharrell is a style icon. All the BAPE stuff that people shell out hundreds of dollars for is a result of his style.
6. Mary J. Blige
The Queen of Hip-Hop Soul. The will never be another Mary J. Her influence on hip-hop is up there with Biggie and 2pac. But she’s still going.
5. Mariah Carey
The reason rap and r&b have fused so seamlessly. By Mariah, the biggest star in the world back in 1997, putting rappers on her remixes, began the Hip Hop generation. I think 2pac and Biggie’s deaths were a turning point in hip hop, but I also think Mariah Carey is partly responsible for the genre of hip-hop that we know of today.
4. Kanye West
Revolutionized beatmaking. Will always be known as the producer of some of Hip-Hop’s most popular tracks. But will also be known as being one of the most controversial, talked about, admired, critically acclaimed, and popular rappers ever. And his preppy hip-hop style caught on with the masses.
3. Michael Jordan
I think every rapper has referenced him or his clothes at least eight times. He is the reason people will pay half of their paycheck for some shoes. Footwear is a big part of hip-hop culture and it’s because of him. If one article of clothing had to represent hip-hop, I think it would be a pair of Jordan 13s (with the hologram, you know what I'm talkin about).
2. Jay-Z
When he talked about Cristal, everyone else did. When he rocked jersey’s, everyone did. When he changed it up and said button-ups were what was up, people followed. He is the compass that everyone else uses to gauge how to act, what to say, and what to wear. Oh yea, and he’s argurably the best MC ever.
1. Sean Combs
Time will tell if Jay-Z or Diddy emerges as the dominant figure in this generation, but it’s hard to argue against Mr. Combs. He is so much bigger than music. He is an empire. He’s bigger than any kind of nickname too. That’s why I now just call him Sean Combs. Albums, Record Labels, Restaurants, Legendary Parties, Clothing Lines, Fragrances, Broadway Acting… All of that, and he still shot someone in the club. Now how’s that for a career.
The “Hip Hop Generation”, like all generations, will be eclipsed by another generation eventually. Every generation has its icons, the people who you will think of when you think of the so-called Hip-Hop generation. Who are the people who will go down as the trailblazers of Hip Hop Culture? These are the icons of the Hip Hop Generation. And I had the nerve to rank ‘em for argument’s sake.
20. Cash Money Millionaires
The simple fact that the crew from N’awlins started the phrase “Bling Bling” (B.G. to be specific) is enough to leave a mark on a generation. What Juve, B.G., Mannie Fresh, Baby, and Weezy lacked in meaningful rhymes, they made up for in Bentleys and Iced out everything.
19. Shaquille O’Neal
Every rapper wants to play ball and every baller wants to rap. Basketball and Hip Hop compliment each other beautifully. “The Big Aristotle” was an embodiment of an athlete who was very into to hip hop culture. His cocky swag, very Ali-esque, very rapper-esque, makes him an icon.
18. Dave Chappelle
The Hip-Hop Comedian. Makes jokes about the same shit rappers rap about: money, clothes, hoes, and crack. Hosts the most popular show in recent memory and ends shows with rap acts. And made the instant classic Dave Chappelle’s Block Party.
17. TI
He is the embodiment of the Atlanta culture that has become such a giant in Hip Hop today. His albums and his movie, ATL, further his claim as a permanent power player in Hip Hop Culture.
16. Nelly
No one has the crossover formula down as much as Nelly. Has found a way to be a Pop star and not be completely branded as a sell-out. Also, sells records like… well no one sells records quite like Nelly.
15. Lil Jon
Started Crunk Movement. Responsible for the majority of the songs at the club between 2002 and 2005. All the hip-hop dances that came out of the A, thank Lil Jon. Had old white ladies saying “Okaaaaaaaaay”
14. Outkast
With Speakerboxxx/Love Below, became the biggest group in the World. Even though true hip hop fans will say that album is their 3rd best, their rise to global domination will never be overlooked.
13. Ice Cube
First serious rapper/serious actor. You could give Will Smith that title, but Willard Smith never said “I’m coming straight outta Comption, crazy motha fucka named Ice Cube.” The embodiment of the crossover appeal of Hip Hop and how Hip-Hop culture is the dominant one.
12. Eminem
White rapper. Embraced by Blacks and Whites. Revolutionary. ‘Nough said.
11. Beyonce
A force to be reckoned with. Not as hood as Mary J. and still not on Mariah Carey’s level circa 1997, but well on her way.
10. Usher
The Hip-Hop generations pretty boy. The one that guys can bump in the car and women and little girls swoon over. Whenever he releases an album, you hear singles from it for two years… That’s crazy.
9. Snoop Dogg
In my opinion, one of the most recognizable people on the planet. Everyone knows and likes Snoop. If it’s not for his music, it’s for his voice, or his movies, or his short lived (but amazing) TV show, or his cameos here and there. He’s timeless… and doesn’t have to make another record ever… but we’re all glad he does.
8. Allen Iverson
The Hip-Hop Athlete. Scared as many people as rappers did. He might as well have had a parental advisory sticker on top of his corn-rows.
7. Pharrell Williams
As a member of the Neptunes, cranked out hits that will define the era. Outside of the beatmaker, Pharrell is a style icon. All the BAPE stuff that people shell out hundreds of dollars for is a result of his style.
6. Mary J. Blige
The Queen of Hip-Hop Soul. The will never be another Mary J. Her influence on hip-hop is up there with Biggie and 2pac. But she’s still going.
5. Mariah Carey
The reason rap and r&b have fused so seamlessly. By Mariah, the biggest star in the world back in 1997, putting rappers on her remixes, began the Hip Hop generation. I think 2pac and Biggie’s deaths were a turning point in hip hop, but I also think Mariah Carey is partly responsible for the genre of hip-hop that we know of today.
4. Kanye West
Revolutionized beatmaking. Will always be known as the producer of some of Hip-Hop’s most popular tracks. But will also be known as being one of the most controversial, talked about, admired, critically acclaimed, and popular rappers ever. And his preppy hip-hop style caught on with the masses.
3. Michael Jordan
I think every rapper has referenced him or his clothes at least eight times. He is the reason people will pay half of their paycheck for some shoes. Footwear is a big part of hip-hop culture and it’s because of him. If one article of clothing had to represent hip-hop, I think it would be a pair of Jordan 13s (with the hologram, you know what I'm talkin about).
2. Jay-Z
When he talked about Cristal, everyone else did. When he rocked jersey’s, everyone did. When he changed it up and said button-ups were what was up, people followed. He is the compass that everyone else uses to gauge how to act, what to say, and what to wear. Oh yea, and he’s argurably the best MC ever.
1. Sean Combs
Time will tell if Jay-Z or Diddy emerges as the dominant figure in this generation, but it’s hard to argue against Mr. Combs. He is so much bigger than music. He is an empire. He’s bigger than any kind of nickname too. That’s why I now just call him Sean Combs. Albums, Record Labels, Restaurants, Legendary Parties, Clothing Lines, Fragrances, Broadway Acting… All of that, and he still shot someone in the club. Now how’s that for a career.
CD Releases: Feb 27
Enjoy:
Slim Thug - Serve & Collect
Mile Davis – E Must-Have Miles: The First Quintet
Billy Paul – E Collection
Fergie – Dutchess [bonus dvd]
Joss Stone – Tell Me Bout It
Isaac Hayes – Love Collection
B.G. – We Got This
AZ – Sit Em Back Slow/ This Is What I Do
Fabulous – From Nothin’ to Something
Gang Starr – Mass Appeal: The Best of Gang Starr
Lil’ Jon – Act A Fool
RJD2 – The Third Hand
Lloyd Banks – Money in Da Bank, Vol. 5
The Game – The Fifth Element: G-Unit Radio, Pt. 8
I do not endorse these CD’s and have not heard them, just thought I would give you the heads up.
Full list of Releases
Slim Thug - Serve & Collect
Mile Davis – E Must-Have Miles: The First Quintet
Billy Paul – E Collection
Fergie – Dutchess [bonus dvd]
Joss Stone – Tell Me Bout It
Isaac Hayes – Love Collection
B.G. – We Got This
AZ – Sit Em Back Slow/ This Is What I Do
Fabulous – From Nothin’ to Something
Gang Starr – Mass Appeal: The Best of Gang Starr
Lil’ Jon – Act A Fool
RJD2 – The Third Hand
Lloyd Banks – Money in Da Bank, Vol. 5
The Game – The Fifth Element: G-Unit Radio, Pt. 8
I do not endorse these CD’s and have not heard them, just thought I would give you the heads up.
Full list of Releases
Monday, February 26, 2007
Former Fat Man vs. White Man
First listen: TO THIS
Ok now, this is f'ing ridiculous. I thought beef was already out of hand by the number of low level low life's who use it as a means to generate interest for their wack album/mixtape/ringtone. Since when did producers beef with each other????
Now for those who don't know what's goin' on, apparent Timbaland and Scott Storch have beef with each other. Their history together starts over the fact that the both of them co-produced Justin Timberlake's "Cry Me A River" together. Of course there is no way to really figure out how that creative process worked and who really produced what, but ever since then, there has been a constant competition about who is better, and a whole bunch of other meaningless s**t. Folklore says that Scott started feelin' salty when Justin basically gave Timbaland all the credit for the song. Now this begs the question, why on earth would two grown men argue over Justin Timberlake?? Very suspect to me, but I digress.
The beef continued on the first single "Give It To Me" of Timbaland's upcoming album Shock Value, which features both Justin and Nelly Furtado (why does she have a career?). On that song, Timbaland calls Storch just a "piano man" and gives all sorts of BS reasons why he's better than Storch. Even though I completely agree with Timbaland, nobody cares enough for them to be makin' songs about one another, and this new Storch response just makes it all seem that much more ridiculous.
Hip Hop can be really stupid at times...
Ok now, this is f'ing ridiculous. I thought beef was already out of hand by the number of low level low life's who use it as a means to generate interest for their wack album/mixtape/ringtone. Since when did producers beef with each other????
Now for those who don't know what's goin' on, apparent Timbaland and Scott Storch have beef with each other. Their history together starts over the fact that the both of them co-produced Justin Timberlake's "Cry Me A River" together. Of course there is no way to really figure out how that creative process worked and who really produced what, but ever since then, there has been a constant competition about who is better, and a whole bunch of other meaningless s**t. Folklore says that Scott started feelin' salty when Justin basically gave Timbaland all the credit for the song. Now this begs the question, why on earth would two grown men argue over Justin Timberlake?? Very suspect to me, but I digress.
The beef continued on the first single "Give It To Me" of Timbaland's upcoming album Shock Value, which features both Justin and Nelly Furtado (why does she have a career?). On that song, Timbaland calls Storch just a "piano man" and gives all sorts of BS reasons why he's better than Storch. Even though I completely agree with Timbaland, nobody cares enough for them to be makin' songs about one another, and this new Storch response just makes it all seem that much more ridiculous.
Hip Hop can be really stupid at times...
Friday, February 23, 2007
VH1: Bling'd, Blood, Diamonds and Hip-Hop
VH1 takes a break from finding New York a lover and the next great white rapper, to tackle a very serious issue… They recently aired a documentary (Bling'd: Blood, Diamonds and Hip Hop) covering Blood Diamonds, Sierra Leone and the bling bling culture surrounding hip-hop. I don’t really get VH1, and think they could do a better job of not sucking, but applaud their attempt at addressing something real and doing something positive.
The show does not blame hip-hop artists for anything going on in Africa surounding blood diamonds, nor do they suggest they are responsible for solving it… but it simply address the issue in Africa and tries to bring the issue to light. So why then should hip-hop be more closely linked with Sierra Leone and blood diamonds. (In the words of VH1… )
But it does suggest that because many black American artists have ancestors who were exploited as slaves, they should be concerned when ornaments of their success come from a system built on similar exploitation.
VH1 takes Paul Wall (grill master and bling connoisseur), Raekwon and Tego Calderon to Seierra Leone to show them atmosphere and some of the horrors that exist, and then film their reactions. Much like taking Jay-Z to Africa to address clean water issues… the show clearly attempts to do two things. 1) Ask for help and donations to aid the areas visited in the documentary. 2) Raise awareness about the issues. But its also raises a serious debate about hip-hop’s responsibility and relationship with “bling bling” and blood diamonds.
I don’t want to even pretend like I am an expert in the surrounding issues… but I will say one thing. It will be interesting to see how (if at all) the hip-hop community reacts to or is affected by the VH1 documentary and the recent spot light placed on them.
Final Thought:
Does hip-hop’s emphasis around “bling bling” even affect Sierra Leone and blood diamonds, or is it simply the symbolic relationship between the two. If you want to think about it like this, the hip-hop community accounts for less then a fraction of all diamonds sold.
The show does not blame hip-hop artists for anything going on in Africa surounding blood diamonds, nor do they suggest they are responsible for solving it… but it simply address the issue in Africa and tries to bring the issue to light. So why then should hip-hop be more closely linked with Sierra Leone and blood diamonds. (In the words of VH1… )
But it does suggest that because many black American artists have ancestors who were exploited as slaves, they should be concerned when ornaments of their success come from a system built on similar exploitation.
VH1 takes Paul Wall (grill master and bling connoisseur), Raekwon and Tego Calderon to Seierra Leone to show them atmosphere and some of the horrors that exist, and then film their reactions. Much like taking Jay-Z to Africa to address clean water issues… the show clearly attempts to do two things. 1) Ask for help and donations to aid the areas visited in the documentary. 2) Raise awareness about the issues. But its also raises a serious debate about hip-hop’s responsibility and relationship with “bling bling” and blood diamonds.
I don’t want to even pretend like I am an expert in the surrounding issues… but I will say one thing. It will be interesting to see how (if at all) the hip-hop community reacts to or is affected by the VH1 documentary and the recent spot light placed on them.
Final Thought:
Does hip-hop’s emphasis around “bling bling” even affect Sierra Leone and blood diamonds, or is it simply the symbolic relationship between the two. If you want to think about it like this, the hip-hop community accounts for less then a fraction of all diamonds sold.
Wednesday, February 21, 2007
As Good As It Gets
As a lover of hip-hop, I have listened to thousands of rap verses. Certain rappers, especially, Andre 3000, 2pac, Common, have spit verses that have made me sit and think about what they just said. These are the verses that you listen to over and over again... the verses that uplift you and remind you of your life: past, present, and future. With that said, I think there is a verse out there that I believe is the closest thing to pure, English class poetry. This verse, given to us by Pretty Flaco a.k.a Mos Def on "Thieves in the Night", is the single most beautiful 2 minutes of rap I've ever heard.
Yo, I'm sure that everbody out listenin agree
That everything you see ain't really how it be
A lot of jokers out runnin in place, chasin the style
Be a lot goin on beneath the empty smile
Most cats in my area be lovin the hysteria
Synthesized surface conceals the interior
America, land of opportunity, mirages and camoflauges
More than usually -- speakin loudly, sayin nothin
You confusin me, you losin me
Your game is twisted, want me enlisted -- in your usary
Foolishly, most men join the ranks cluelessly
Buffoonishly accept the deception, believe the perception
Reflection rarely seen across the surface of the lookin glass
Walkin the street, wonderin who they be lookin past
Lookin gassed with them imported designer shades on
Stars shine bright, but the light -- rarely stays on
Same song, just remixed, different arrangement
Put you on a yacht but they won't call it a slaveship
Strangeness, you don't control this, you barely hold this
Screamin brand new, when they just sanitized the old shit
Suppose it's, just another clever Jedi mind trick
That they been runnin across stars through all the time with
I find it's distressin, there's never no in-between
We either niggaz or Kings. We either bitches or Queens
The deadly ritual seems immersed, in the perverse
Full of short attention spans, short tempers, and short skirts
Long barrel automatics released in short bursts
The length of black life is treated with short worth
Get yours first, them other niggaz secondary
That type of illin that be fillin up the cemetary
This life is temporary but the soul is eternal
Separate the real from the lie, let me learn you
Not strong, only aggressive, cause the power ain't directed
That's why, we are subjected to the will of the oppressive
Not free, we only licensed
Not live, we just excitin
Cause the captors.. own the masters.. to what we writin
Not compassionate, only polite, we well trained
Our sincerity's rehearsed in stage, it's just a game
Not good, but well behaved cause the ca-me-ra survey
most of the things that we think, do, or say
We chasin after death just to call ourselves brave
But everyday, next man meet with the grave
I give a damn if any fam' recall my legacy
I'm tryin to live life in the sight of God's memory
Like that y'all
That's beyond rap. That's prose. That's a Ph.D. dissertation. That is a complete critique of Black culture in 1 minute and 53 seconds. That's beautiful.
Yo, I'm sure that everbody out listenin agree
That everything you see ain't really how it be
A lot of jokers out runnin in place, chasin the style
Be a lot goin on beneath the empty smile
Most cats in my area be lovin the hysteria
Synthesized surface conceals the interior
America, land of opportunity, mirages and camoflauges
More than usually -- speakin loudly, sayin nothin
You confusin me, you losin me
Your game is twisted, want me enlisted -- in your usary
Foolishly, most men join the ranks cluelessly
Buffoonishly accept the deception, believe the perception
Reflection rarely seen across the surface of the lookin glass
Walkin the street, wonderin who they be lookin past
Lookin gassed with them imported designer shades on
Stars shine bright, but the light -- rarely stays on
Same song, just remixed, different arrangement
Put you on a yacht but they won't call it a slaveship
Strangeness, you don't control this, you barely hold this
Screamin brand new, when they just sanitized the old shit
Suppose it's, just another clever Jedi mind trick
That they been runnin across stars through all the time with
I find it's distressin, there's never no in-between
We either niggaz or Kings. We either bitches or Queens
The deadly ritual seems immersed, in the perverse
Full of short attention spans, short tempers, and short skirts
Long barrel automatics released in short bursts
The length of black life is treated with short worth
Get yours first, them other niggaz secondary
That type of illin that be fillin up the cemetary
This life is temporary but the soul is eternal
Separate the real from the lie, let me learn you
Not strong, only aggressive, cause the power ain't directed
That's why, we are subjected to the will of the oppressive
Not free, we only licensed
Not live, we just excitin
Cause the captors.. own the masters.. to what we writin
Not compassionate, only polite, we well trained
Our sincerity's rehearsed in stage, it's just a game
Not good, but well behaved cause the ca-me-ra survey
most of the things that we think, do, or say
We chasin after death just to call ourselves brave
But everyday, next man meet with the grave
I give a damn if any fam' recall my legacy
I'm tryin to live life in the sight of God's memory
Like that y'all
That's beyond rap. That's prose. That's a Ph.D. dissertation. That is a complete critique of Black culture in 1 minute and 53 seconds. That's beautiful.
Dr. Dre In Rehab
...Or at least Dre needs to be in rehab, 'cause it seems like he been smokin' so much that he forgot that in order to "Detox" you must first STOP SMOKIN'. I say this because this fool Dre musta forgot that he said he was puttin' out an album in the first place. We first heard of "Detox" back in 2000 right after he dropped "2001". Now to put this into perspective for you, in the year 2000, I was like a sophomore in high school. I'm about graduate from college this comin' May, that's MAADDDDDD long. Now I'm a music groupie, so anytime I heard any news about the production on "Detox" or the guests that were supposed to be featured on the album, I got ill excited. But around 2002, I stopped givin' a f**k 'cause I don't care who you are, you ain't that special to have ppl waitin' around 4 a damn album 4 damn near a decade.
I got to thinkin' about this subject again because of Bishop Lamont's MySpace page. Bishop is a new Cali artist on Aftermath (a futile attempt to replace The Game), and he has a YouTube video with Dr. Dre sayin' that "Detox" is comin' out in September of '07. I started gettin' pissed again, because half of me wants to get excited and the other half of me is like "F you Dr. Dre". The material he has been puttin; out recently all sound the same, which makes me question if he still got it anyway, so to wait all dem years and then put out a wack album, he would completely tarnish his legacy, and GOOD 4 him.
Call me a hater if you want, but part of me wants his music to suck just so he knows he can't have loyal fans waitin' that damn long 4 an album...
Who am I kiddin', I hope that shit is bangin'...
I got to thinkin' about this subject again because of Bishop Lamont's MySpace page. Bishop is a new Cali artist on Aftermath (a futile attempt to replace The Game), and he has a YouTube video with Dr. Dre sayin' that "Detox" is comin' out in September of '07. I started gettin' pissed again, because half of me wants to get excited and the other half of me is like "F you Dr. Dre". The material he has been puttin; out recently all sound the same, which makes me question if he still got it anyway, so to wait all dem years and then put out a wack album, he would completely tarnish his legacy, and GOOD 4 him.
Call me a hater if you want, but part of me wants his music to suck just so he knows he can't have loyal fans waitin' that damn long 4 an album...
Who am I kiddin', I hope that shit is bangin'...
The Man Malcolm X
As I was driving to lunch today listening to one of ATLs few independent radio stations, WRFG 89.3, an interesting panel of hip-hop enthusiasts, artists, and critics were discussing if hip-hop would be different if Malcolm X was alive today. In case you didn't know, today is the anniversary of his assassination in Manhattan's Audubon Ballroom. The conversation was up and down, filled with the usual 'hip-pop' discussion and how the music today lacks soul and humanity. But more interesting to me, is not the question of would hip-hop be different with Malcolm around, but what in hip-hop carries the vein of the black revolutionary ideal of Malcolm? What about hip-hop inspires masses of young and old, white, latino and black, to question the status quo of success and culture of white america? And last, how can hip-hop carry on the legacy of social and racial revolution, throwing off the yoke of poverty and declaring a new sense of pride and self in the inner city that Malcolm X championed in such an eloquent and powerful manner?
I in no way mean to answer all of these questions. They are far to large and complicated issues for this medium. Furthermore, I wouldn't really even know where to begin. But hip-hop is a culture unlike many before it, even unlike many musical forms created by previous generations of black americans. Hip-hop is or should be about real life and its struggles. Hip-hop is violent. Hip-hop throws down a gauntlet, and says 'If you don't like me, then fuck you.' Hip-hop is attitude and worldview. Hip-hop doesn't have black people trying to dress and look like white people, but has whites doing there damnedest to look like blacks. I think Malcolm X would love these things about hip-hop. But I also think that he would see missed opportunity for education and outreach within this most popular and serious of cultures. My only point here, is that I believe that we need to begin thinking about hip-hop as a political and social force again. These questions should be discussed and the meaning deliberated. This culture created by black americans in poor urban areas has traveled across the globe and become bigger than most could ever imagine. We shouldn't forget where it came from.
You grow in the ghetto, living second rate
And your eyes will sing a song of deep hate
-Grandmaster Flash, 'The Message' 1982 (Check out the whole song's lyrics, if i had the space i would have put them all there, this is just a taste.)
I in no way mean to answer all of these questions. They are far to large and complicated issues for this medium. Furthermore, I wouldn't really even know where to begin. But hip-hop is a culture unlike many before it, even unlike many musical forms created by previous generations of black americans. Hip-hop is or should be about real life and its struggles. Hip-hop is violent. Hip-hop throws down a gauntlet, and says 'If you don't like me, then fuck you.' Hip-hop is attitude and worldview. Hip-hop doesn't have black people trying to dress and look like white people, but has whites doing there damnedest to look like blacks. I think Malcolm X would love these things about hip-hop. But I also think that he would see missed opportunity for education and outreach within this most popular and serious of cultures. My only point here, is that I believe that we need to begin thinking about hip-hop as a political and social force again. These questions should be discussed and the meaning deliberated. This culture created by black americans in poor urban areas has traveled across the globe and become bigger than most could ever imagine. We shouldn't forget where it came from.
You grow in the ghetto, living second rate
And your eyes will sing a song of deep hate
-Grandmaster Flash, 'The Message' 1982 (Check out the whole song's lyrics, if i had the space i would have put them all there, this is just a taste.)
Tuesday, February 20, 2007
Paying Respect
Many of you may know who he is, even more of you may not, but in a word GENIUS describes the late great J DIlla. In my opinion he is one of the best producers in the history of the game. He's worked with all your favorite artists Common, Busta Rhymes, Guilty Simpson, Ghostface, The Roots, Hi-Tek, and others. So even if you may not know him by name you might have heard him spit or heard one of his tantalizing beats. Last February J dilla unfortunately passed away, but will always be remembered and celebrated through the gift of his music he left to us all. Recently I have been bumpin the Shining, and Donuts. The Shining his last release is crazy to say the least. I mean who else but J dilla could place quotes from the classic film " The Shining" seamlessly into the background of a song. Jack Nicholson Samples??? thats just sick, and much better than the proverbial gun shot, crying baby, police siren, or made up words by camron that are rap ad lib cliches at this point. "Donuts" was released 3 days before he passed away, and much of the album was created from his hospital bed. "Donuts" is a collection of 31 tracks the longest only 2:57 in length. Crazy CRazy instrumentals. If you have bought any of Pete Rocks last releases you will enjoy "Donuts". Dilla makes introspective zone out music, that moves the mind and spirit and will continue to do so as long as there are those who knew him out there remembering, and those who didn't out there discovering. I'm Leaving Links to BUY yes BUY his Music. I know this practice of actually purchasing CD's seems old fashioned or maybe even foreign to some of you but give it a try. I promise you won't be dissapointed.
J-Dilla - Shining
J-Dilla - Donuts
J-Dilla - Shining
J-Dilla - Donuts
Tuesday: Nudie Magazine (CD) Day
Most people know that Tuesdays are “the day of the CD release.” I am going to start posting weekly what CD’s you might want to check out. I have not heard them, because they have just been released, so don’t blame me if they suck.
AZ presents Begetz – Ghetto Pass
Rza Presents Free Murda – Let Freedom Reign
Jill Scott – Jill Scott Collaborations
Richie Spice – In the Streets To Africa
Young Buck – Bullys Wit Fullys
halla
AZ presents Begetz – Ghetto Pass
Rza Presents Free Murda – Let Freedom Reign
Jill Scott – Jill Scott Collaborations
Richie Spice – In the Streets To Africa
Young Buck – Bullys Wit Fullys
halla
Monday, February 19, 2007
Class of 3000
Andre 3000, along with Tommy Lynch (creator of several kids shows), has created the show “Class of 3000.” You may or may not have seen or heard of the show, but by no means is this NEW news… the show came out in Nov 2006, and has already aired 10 episodes. However, it has just recently gotten my acute attention… and might deserve yours as well.
The show (for those of you who have not seen it) is about a music superstar “sunny” (closely resembling and played by andre 3000) who didn’t like the Hollywood attention and retired from the music industry to his home town, “A-town,” only to become a music teacher at a very diverse gifted arts school… sound like anyone you know?
The show is probably targeted towards a younger demographic, and every show has a lesson occasionally addressing issues like race, tolerance and understanding. The deliberately psychedelic show, not really targeting adults, shows why Andre 3000 is so much more then an MC. He is a poet, writer, student, musician, fashion icon, painter, vegan, atlien, I believe he is composing a symphony, and now recently added co-creator of a cartoon to his resume. (A few years of culinary school and he will have quite literally “done it all”)
Though the show would probably be more entertaining after a handful of mushrooms, it is still enjoyable for no other reason then the shows funkadelic soundtrack. Every show has a music video segment where all hell breaks loose and andre 3000 displays why he is possibly the most experimental musician on this funky planet. So sit back (possibly with a J), watch and listen to Andre 3000’s cartoon creation.
I believe there are two more episodes this season, and if you get a chance check them out stay for the music… Andre 3000 is truly doing some amazing things, and though he started out in hip-hop as a rapper, he has transcended the genre to simply become an icon and an artist. I anticipate everything he does and hope he continues to innovate and beat his own path.
Class of 3000: Cartoon Network, Friday 8:00 eastern
... or have fun making your own song at the Class of 3000 Website I know I did.
(sorry if it sounds like I am Andre’s PR agent… but he is my mother fucker)
The show (for those of you who have not seen it) is about a music superstar “sunny” (closely resembling and played by andre 3000) who didn’t like the Hollywood attention and retired from the music industry to his home town, “A-town,” only to become a music teacher at a very diverse gifted arts school… sound like anyone you know?
The show is probably targeted towards a younger demographic, and every show has a lesson occasionally addressing issues like race, tolerance and understanding. The deliberately psychedelic show, not really targeting adults, shows why Andre 3000 is so much more then an MC. He is a poet, writer, student, musician, fashion icon, painter, vegan, atlien, I believe he is composing a symphony, and now recently added co-creator of a cartoon to his resume. (A few years of culinary school and he will have quite literally “done it all”)
Though the show would probably be more entertaining after a handful of mushrooms, it is still enjoyable for no other reason then the shows funkadelic soundtrack. Every show has a music video segment where all hell breaks loose and andre 3000 displays why he is possibly the most experimental musician on this funky planet. So sit back (possibly with a J), watch and listen to Andre 3000’s cartoon creation.
I believe there are two more episodes this season, and if you get a chance check them out stay for the music… Andre 3000 is truly doing some amazing things, and though he started out in hip-hop as a rapper, he has transcended the genre to simply become an icon and an artist. I anticipate everything he does and hope he continues to innovate and beat his own path.
Class of 3000: Cartoon Network, Friday 8:00 eastern
... or have fun making your own song at the Class of 3000 Website I know I did.
(sorry if it sounds like I am Andre’s PR agent… but he is my mother fucker)
Exclusive New RJD2 Song / Tour & Album info
RJD2, one of my favorite current producers, has a new album, The Third Hand, coming out March 6th on the British label XL Recordings and is about to embark on his North American tour to celebrate it. In the meantime, check out his new song, "Get It." It's not quite RJ at his best but it's definitely vintage RJ. Can't wait for this one to drop...
Friday, February 16, 2007
Lil Wayne the best rapper alive?
Of late it seems that everyone’s favorite rapper might just be the boy young weezy, known to the public as Lil’
In the last two weeks or so hype on Weezy’s next album has increased, and two decent mixtapes have dropped feat the young stunner himself ( Check out http://www.hiphopdx.com/index/mixtape/id.122/title.lil-wayne-the-best-rapper-alive and http://www.hiphopdx.com/index/mixtape/id.125/title.dj-trigga-jay-z-vs-lil-wayne ). Just like everyone else I’m feeling the swagger and flow of Lil’ Wayne, but there is an argument for and against him being the best rapper alive. In my mind the argument against and for go something like this.
Why
No understand flow like
He’s the artist that your favorite artist wants on his track. Self explanatory, but if you have questions then just listen to Fat Joe’s “Make it Rain”. The song is good, but the short hook from
Why
Cause
Cause
Cause at the end of the day hoes, drugs, and guns can only go so far. Longevity is found by artists who show complexity. As of now,
You Wonder Why They Mad
To tell you the truth, in the beginning, every time I heard an artist on Def Jam complainin' because they don't like havin' Jay-Z as a president, I wanted to tell them to quit their bitchin'. But then I got to thinkin' about it. For every LL Cool J and Method Man who refuse to except fault for the fact that their shit is garbage now and blame it on Jigga, there are ppl like Redman and Joe Budden who are trapped in label limbo, and will probably NEVER get an album out on that label again. I mean damn Redman ain't had an album out since 2001!!!!! That's six years dawg!!! How you got somebody like Redman waitin' six years to drop an album, and I doubt it's 'cause he ain't got no material, these bastards at Def Jam ain't puttin' it out.
Then you got Joe Budden. Now before I start, I guess I should say that I have a strong Joe Budden bias 'cause he is nicer than whoever you think is nice: his mixtape Mood Muzik 2 is better than whatever wack ass album you were playing the last 3 years. But anyway, I agree that his first album wasn't all that (he could have done much better), but damn does that mean he gotta wait 4 yrs just to get another shot. Ghostface got 2 albums out in '06, and my dude can't get ONE!!!
The icin' on the cake came when findin' out that Jigga spent $15 mil on his marketing campaign while Young Jeezy and Nas each got $5. All that money and Akon has sold more records than Jigga. Jay, you should be ashamed of urself...
Then you got Joe Budden. Now before I start, I guess I should say that I have a strong Joe Budden bias 'cause he is nicer than whoever you think is nice: his mixtape Mood Muzik 2 is better than whatever wack ass album you were playing the last 3 years. But anyway, I agree that his first album wasn't all that (he could have done much better), but damn does that mean he gotta wait 4 yrs just to get another shot. Ghostface got 2 albums out in '06, and my dude can't get ONE!!!
The icin' on the cake came when findin' out that Jigga spent $15 mil on his marketing campaign while Young Jeezy and Nas each got $5. All that money and Akon has sold more records than Jigga. Jay, you should be ashamed of urself...
Thursday, February 15, 2007
Beef is back!!! 50 strikes again and in record time
meant to post this while ago following the discussion of camron and 50's brewing beef. As if we all didn't know it already 50 is nuts and following the interview on the Angie Martinez show where he and camron got a little heated it only took him ONE WEEK to respond in the best fashion he knows how....http://www.youtube.com/watch?v=b8ntuEH-Z_Y take a look for yourself. To give old dude some credit Cam was the one actin a fool on the air, and did start callin old boy by his government name toward the end of that interview.
The Second Coming
I am sure by now you have seen the Nike “Second Coming” commercial (if you haven’t hit the link). And assuming your human, you probably like the commercial as much as I do. It is an intense commercial with some of the best players in basketball: kobe, LJB, nash, marion… and some other suns. And since I am about to go to Vegas for the all star break this commercial is that much better.
The commercial is fire and so is the song… Juelz Santana – The second coming. Check it out in full if you haven’t heard it. What a good way to introduce the nike air force 25's.
“United we form Voltron and take on all”
The commercial is fire and so is the song… Juelz Santana – The second coming. Check it out in full if you haven’t heard it. What a good way to introduce the nike air force 25's.
“United we form Voltron and take on all”
Wednesday, February 14, 2007
When did we take the P. out of R.I.P.??
In Talib Kweli and HI-Tek's new video for their song "More or Less," Kweli spits a line very tangential to the remainder of his song. Now don't get me wrong I think the song is dope and has a real social conscious about it, but since this "Hip-Hop is Dead" buzz word is jumping out of everybodys lips these days, I'd better touch on this before the moment passes.
In the middle of his first verse Kweli spits the line,
". . . more originality, less bitting off Pac and Big . . ," which got me to thinking.
How many new rappers can you think of who either
1) shout out Mr. Wallace or Mr. Shakur,
2) say they are best next thing since them, or
3) bit one of their beats for their own song.
Granted, after the tragic passing of these 2 rappers back in '96 & '97, the hip-hop community had a kind of a collective, "what the f' do we do now??" Most of you I'm sure are up on your Hip-Hop knowledge so I won't waste your time with the impact and implications of their deaths, but it still remains,
when will we let that part of Hip-Hop die?
Many people say hip-hop is in a rut, it's dead, in hibernation, malnourished, homesick, whatever. Pick you're metaphor. (I like underfed personally)
But I think the problem is that back in the '90s, every new M.C. was trying to find their own niche in the game, not just trying to be a carbon copy of Sugar Hill Gang, Rakim, EPMD, or any other successful artist from the '80's before them. Hip-Hop was looking forward, towards the future. But ever since Pac, and B.I.G. passed a large part of the hip-hop community is still staring in their graves with their black suits on at the funeral. Looking back at the past for how to be Hot today.
Maybe the only way we can revive hip-hop, is by accepting that part of our past is dead, moving on, and accepting it can never be brought back no matter how much it is missed
by truly saying rest in peace.
In the middle of his first verse Kweli spits the line,
". . . more originality, less bitting off Pac and Big . . ," which got me to thinking.
How many new rappers can you think of who either
1) shout out Mr. Wallace or Mr. Shakur,
2) say they are best next thing since them, or
3) bit one of their beats for their own song.
Granted, after the tragic passing of these 2 rappers back in '96 & '97, the hip-hop community had a kind of a collective, "what the f' do we do now??" Most of you I'm sure are up on your Hip-Hop knowledge so I won't waste your time with the impact and implications of their deaths, but it still remains,
when will we let that part of Hip-Hop die?
Many people say hip-hop is in a rut, it's dead, in hibernation, malnourished, homesick, whatever. Pick you're metaphor. (I like underfed personally)
But I think the problem is that back in the '90s, every new M.C. was trying to find their own niche in the game, not just trying to be a carbon copy of Sugar Hill Gang, Rakim, EPMD, or any other successful artist from the '80's before them. Hip-Hop was looking forward, towards the future. But ever since Pac, and B.I.G. passed a large part of the hip-hop community is still staring in their graves with their black suits on at the funeral. Looking back at the past for how to be Hot today.
Maybe the only way we can revive hip-hop, is by accepting that part of our past is dead, moving on, and accepting it can never be brought back no matter how much it is missed
by truly saying rest in peace.
Tuesday, February 13, 2007
Rap vs. Pop
Rap music, like it or not, from 2002 to the present, has been the equivalent of boy band and teen pop music of our elementary days. It is the life blood and the most “popular” music in the industry. Top 40 stations have become solely hip-hop stations. If you’re from Atlanta, you remember when “95.5 the beat” used to play bad pop and now plays solely Jibbs and Chingaling. It’s the music that gets played in the clubs and the music you listen to when you drive, when you’re studying, and when you’re sleeping. I mean, just look at this glaring stat: Between December 22, 2001 and today, February 13, 2007, there have only been 8 non-hip hop artists that have had #1 hits. Those 8 artists have had number one hits for a combined 16 weeks. That’s 16 of 117 weeks. That means hip hop has been dominated the airways for 101 of the past 117 weeks. To make that stat even more glaring, of those 16 weeks, 7 of those weeks are songs from American Idol contestants. The point is clear. Hip Hop = Pop.
I struggle with this, because Hip-Hop and Rap Music are, to me, so anti-establishment, whereas pop is the establishment… “the man”, if you will. I like a lot of the songs that are very popular, partly because so many of them are from the A, and also many of them are quite catchy. But with that said, yes, I think it is making “good” lyrical masterpieces a rarity these days. The good thing that has happened, though, is that even though almost every rapper has dabbled in the quick-fix pop-rap hit, the solid ones tend to come back to the dark side and release more classic music.
I mean, let’s look at who is back in old form. Nas is Back. “Hip Hop is Dead” is a classic. The opening track, Money Over Bullshit, takes me back to “Illmatic” and “It Was Written”, but with better production. Common is Back. “Be” is the perfect record. Common found a way say what I have always wanted to say in 2 bars: “Never lookin back, or too far in front of me/the present is a gift, and I just want to be.” There are others, such as Andre Three-Stacks and Big Boi (on remixes), TIP, and Weezy, who are all making great music. So I think Rap is in a good place right now. There is a weed-out stage going on, and the cream of the crop is starting to rise to the top. Hell, Andre is rapping again, and riding the beat like the greatest rapper alive that he is.
If 1994(the greatest year in rap history), was 5th grade(the year when you were the coolest kid in school), and 1998(bling bling era) was the awkward, pubescent phase, 2007 is the mid-life crisis stage. Rappers are finding themselves. All the new, young rappers are riding the pop train, and it’s not a bad thing. We gotta dance/walk it out/snap/throw some d’s/lean wit it/do da heizman/beat that bitch wit a bottle, but we also gotta have some music that goes down as art. And those artists that have gone through their awkward phases are blossoming again and giving our ears and our souls what we need. So, Hip Hop Ain’t Dead, It’s just maturing.
chuuuch
-Rem
I struggle with this, because Hip-Hop and Rap Music are, to me, so anti-establishment, whereas pop is the establishment… “the man”, if you will. I like a lot of the songs that are very popular, partly because so many of them are from the A, and also many of them are quite catchy. But with that said, yes, I think it is making “good” lyrical masterpieces a rarity these days. The good thing that has happened, though, is that even though almost every rapper has dabbled in the quick-fix pop-rap hit, the solid ones tend to come back to the dark side and release more classic music.
I mean, let’s look at who is back in old form. Nas is Back. “Hip Hop is Dead” is a classic. The opening track, Money Over Bullshit, takes me back to “Illmatic” and “It Was Written”, but with better production. Common is Back. “Be” is the perfect record. Common found a way say what I have always wanted to say in 2 bars: “Never lookin back, or too far in front of me/the present is a gift, and I just want to be.” There are others, such as Andre Three-Stacks and Big Boi (on remixes), TIP, and Weezy, who are all making great music. So I think Rap is in a good place right now. There is a weed-out stage going on, and the cream of the crop is starting to rise to the top. Hell, Andre is rapping again, and riding the beat like the greatest rapper alive that he is.
If 1994(the greatest year in rap history), was 5th grade(the year when you were the coolest kid in school), and 1998(bling bling era) was the awkward, pubescent phase, 2007 is the mid-life crisis stage. Rappers are finding themselves. All the new, young rappers are riding the pop train, and it’s not a bad thing. We gotta dance/walk it out/snap/throw some d’s/lean wit it/do da heizman/beat that bitch wit a bottle, but we also gotta have some music that goes down as art. And those artists that have gone through their awkward phases are blossoming again and giving our ears and our souls what we need. So, Hip Hop Ain’t Dead, It’s just maturing.
chuuuch
-Rem
Ludacris thanks Bill O'Reilly and Oprah
Ludacris won the 2007 grammy for best rap album… though I enjoyed Release Therapy, I do not think that it should have even been nominated for best rap album, but that’s another story… what I want to talk about is how Ludacris thanked Bill O’Reilly and Oprah, and why.
Ludacris apparently thanked Oprah because the show he was on for “crash,” was edited. And also she supposedly doesn’t like rap/ hip-hop music... here is the problem, if anyone has beef with Oprah, they got beef with me… I don’t know anything about the show that was edited, but I am sure she has people to do edit the show for her (because she is too busy giving money away and saving peoples lives) and doubt she purposely edited something special out of the show to insult someone…. And does Oprah (or anyone else) have to like rap music, NO. No one “has” to like any kind of music. I don’t like country music and I doubt you could convince me why I should. You generally like the music you grew up listening to, and I doubt Oprah grew up listening to hip-hop. I actually know she didn't, cause rap wasn't really even around then.
Then you have Bill (the cocksman) O’Reilly. You will have to search long and hard to find someone who likes Bill less then myself, but to feed my anger for him and out of shook and disgust I occasionally watch his show. It is no secret that Bill doesn't like rap music, and has on more then one occation personally called out a several rappers, including ludacris. Last night he addressed Ludacris’s acceptance speech and rap music, specifically the profanity in rap music. Listening to Mr. Bill actually speak about hip-hop music made me realize one important thing.... He has absolutely no idea what he is talking about. Bill is so detached from reality and youth culture that he honestly and simply doesn’t understand what he is talking about. He brought two other people on the show, with a similar lack of knowledge, to agree with him and further justify his opinions.
It got me thinking, Bill isn’t special. Bill represents thousands of older men and women in the US that want an easy answer for all problems, and blame Rap and Hip-Hop music for the problems surrounding the youth culture. However, the problem is with Fox, and Rupert Murdoch, because they gave him a show and soap box to rant and rave from. At home Bill can be as stupid and harmless as possible, but on TV he is dangerous.
Ludacris apparently thanked Oprah because the show he was on for “crash,” was edited. And also she supposedly doesn’t like rap/ hip-hop music... here is the problem, if anyone has beef with Oprah, they got beef with me… I don’t know anything about the show that was edited, but I am sure she has people to do edit the show for her (because she is too busy giving money away and saving peoples lives) and doubt she purposely edited something special out of the show to insult someone…. And does Oprah (or anyone else) have to like rap music, NO. No one “has” to like any kind of music. I don’t like country music and I doubt you could convince me why I should. You generally like the music you grew up listening to, and I doubt Oprah grew up listening to hip-hop. I actually know she didn't, cause rap wasn't really even around then.
Then you have Bill (the cocksman) O’Reilly. You will have to search long and hard to find someone who likes Bill less then myself, but to feed my anger for him and out of shook and disgust I occasionally watch his show. It is no secret that Bill doesn't like rap music, and has on more then one occation personally called out a several rappers, including ludacris. Last night he addressed Ludacris’s acceptance speech and rap music, specifically the profanity in rap music. Listening to Mr. Bill actually speak about hip-hop music made me realize one important thing.... He has absolutely no idea what he is talking about. Bill is so detached from reality and youth culture that he honestly and simply doesn’t understand what he is talking about. He brought two other people on the show, with a similar lack of knowledge, to agree with him and further justify his opinions.
It got me thinking, Bill isn’t special. Bill represents thousands of older men and women in the US that want an easy answer for all problems, and blame Rap and Hip-Hop music for the problems surrounding the youth culture. However, the problem is with Fox, and Rupert Murdoch, because they gave him a show and soap box to rant and rave from. At home Bill can be as stupid and harmless as possible, but on TV he is dangerous.
Monday, February 12, 2007
Can Rawkus make a real comeback?
(Exclusive: newest Rawkus release included below.)
Anyone who calls himself a hip-hop fan today knows Rawkus Records. In the late 90s, when it seemed hip-hop was doomed to drown in the bling/plastic rap of Bad Boy and Cash Money, among other gold-grill and sequin-suit icons, Rawkus emerged as a commercially viable salvation to the industry. They helped break and distribute artists like Talib Kweli, Mos Def, Company Flow, Pharoahe Jurassic 5, Hi-Tek, and Big L.
But soon after the name Rawkus established itself through multi-volume compilations Soundbombing and Lyricist Lounge, the label encountered typical difficulties that an independent success faces. Their parent label, MCA, fell apart, and when Interscope/Geffen bought them out, they turned the brand in a different business direction, one that matched Interscope’s grander goal of mainstream profit. In 2004 they split with Geffen, and in 2005, under RED Distribution, Rawkus released Best of Decade 1: 1995-2005 in an effort to remind the hip-hop world of their accomplishments and suggest a return to their glory day philosophy of artist control and “true hip-hop” product.
Rawkus’s credibility and reputation plummeted in the 2000s, and it seemed we would only see the iconic Rawkus logo again in the form of a tombstone. Company Flow MC and underground giant El-P openly condemned the label in his first solo album: “Sign with Rawkus?/ I’d rather be mouth-fucked by Nazis unconscious” (from “Deep Space 9mm" on Fantastic Damage). They let highly anticipated MC Last Emperor’s debut album fizzle and leak onto the internet. Most troublingly, their staple artists have moved on, many to OkayPlayer, where they seem content, and the new-age underground scene is saturated by bigs Rhymesayers Entertainment, Chocolate Industries, Definitive Jux, and Babygrande, among others.
But the company is active again, and clearly is making an effort to re-market itself as the independent force it once was. But is this return feasible? They are yet to shake the scene with that contemporary, groundbreaking release that the old Rawkus could be trusted to provide.
My take is that, yes, it’s possible – shit, if R. Kelly could do it, anyone can – but I think it’ll be extremely difficult. To recreate the elite status Rawkus once held, it will have to reconnect with the savvy audience it used to reach through grassroots marketing, word-of-mouth promotion, both things that seem ridiculously difficult when I consider Rawkus’s current image. Their trademark artists – Talib, Mos Def, and Pharoahe Monch – are long-gone and would need a solid reason to return, or at least endorse their former label. They’ve signed the acclaimed group The Procussions, who have released their single, Miss January featuring Talib Kweli (.mp3), which is a step in the right direction, but I think that brings them only a foot closer in the miles they’ll have to walk to reinstate their dominance over conscious hip-hop. The question is, will hip-hop fans forgive their turn to the dark side and embrace their new efforts, or have their faulty business turns buried the Rawkus brand?
According to HipHopSite.com, Rawkus is currently working on a project to promote the next 50 up-and-comers in the hip-hop world, called the “Rawkus 50.” This will be an interesting test to see if the world – artists included – is ready for a new Rawkus.
2007 Grammy's: The Rick Rubin Show
A lot could be said of the Grammy’s last night…but an underlining theme of the 2007 Grammy’s was undoubtedly Rick Rubin…and of course Justin Timberlake. Rick won the 2007 Producer of the Year Award (no contest), an award that had previously been awarded to the likes of: Pharrell, Dr. Dre, Quincy Jones and Babyface. However, possibly the most impressive aspect of Rick Rubin’s accomplishments, that separates him from many other producers, is that he has been successful in just about every genre known to man.
Rick Rubin, who is possibly most known as the Co-Founder of Def Jam with Russell Simmons. But he actually started Def Jam by himself in high school and was introduced to Russell Simmons while at NYU by DJ Jazzy Jeff. Rick Rubin, and Def Jam, are largely responsible for the extended success and introduction of NY hip-hop to the mainstream, and is one of the reasons why NY is considered the mecca of hip-hop. Since then Rick Rubin has worked in every genre from Metal-to-Country-to-Rap.
Rick Rubin probably should have won the Producer of the Year Award before 2007, but truly had a remarkable year in 2006. This past year he worked with The Dixie Chicks, Justin Timberlake, Red Hot Chili Peppers, U2 and Johnny Cash (just to name a few). And it just so happen that his work won: Album of the Year, Song of the Year, Record of the Year (all of which went to the Dixie Chicks) and Rock Album of the Year (Red Hot Chili Peppers)…and of course because of that, Producer of the Year.
All I can say is “hats off.” I have a tremendous amount of respect for Rick Rubin and hope he continues to do his shit for a long time.
Rick Rubin, who is possibly most known as the Co-Founder of Def Jam with Russell Simmons. But he actually started Def Jam by himself in high school and was introduced to Russell Simmons while at NYU by DJ Jazzy Jeff. Rick Rubin, and Def Jam, are largely responsible for the extended success and introduction of NY hip-hop to the mainstream, and is one of the reasons why NY is considered the mecca of hip-hop. Since then Rick Rubin has worked in every genre from Metal-to-Country-to-Rap.
Rick Rubin probably should have won the Producer of the Year Award before 2007, but truly had a remarkable year in 2006. This past year he worked with The Dixie Chicks, Justin Timberlake, Red Hot Chili Peppers, U2 and Johnny Cash (just to name a few). And it just so happen that his work won: Album of the Year, Song of the Year, Record of the Year (all of which went to the Dixie Chicks) and Rock Album of the Year (Red Hot Chili Peppers)…and of course because of that, Producer of the Year.
All I can say is “hats off.” I have a tremendous amount of respect for Rick Rubin and hope he continues to do his shit for a long time.
Saturday, February 10, 2007
The Ringtone Takeover
What is your ring tone? Chances are it’s not the standard “ring ring ring” … I am going to go on a limb and say you have a 10-20 second clip of a song… probably, especially since you are reading this blog, it is a hip-hop song.
What has the ring tone done to the hip-hop music industry? Has it done anything at all…? Well if you have watched BET, MTV or VH1 (or countless other channels) lately you probably have not been able to avoid the ridiculously bland and monotonous commercials asking you to “text 54555 for the Stay Fly ring tone.” This along with the obvious fact that what was once, not so long ago, a novelty (having a music ring tones) it is now becoming the norm… still not convinced the ring tone is having an effect on the hip-hop industry, lets look at the financials for you accounting junkies.
In 2005, ring tone sales reached 600 million dollars, which exceeded expectations by 20% and was twice as large as the 2004 sales. The growth of ringtone sales are tremendous and show no signs of slowing. Ringtone sales were 4.4 billion worldwide in 2005 with a majority of those sales coming from the hip-hop industry.
So I guess the question is…so what? Well…with ringtone sales and digital music singles on the rise, along with the decline of full CD sales…if you think about it in terms of “what sells,” (and that’s what record labels will promote and push) it becomes quite clear where hip-hop is headed. It may be me just being paranoid, but doesn’t it seem as though there is a much stronger emphasis on hooks now-a-day, as opposed to really fire verses back-in-the-day. This would make since if you thought about it as a business. Artists are being rewarded for catchy, repetitive hooks and have little monetary incentive to create a full album of “good” music. How many: Nas, Talib Kweli, Little Bother or Roots ringtones do you hear? You would hate to think that artists are creating music specifically for ringtone use… but you can see why they would… there is a lot of money to be made.
With ringtones sales exponentially rising and pushing the sales of singles (and vise versa), it will be interesting, and extremely unfortunate, to see if hip-hop gets increasingly focused in creating catchy 20 second hooks and sound clips designed to sell ringtones and singles.
What has the ring tone done to the hip-hop music industry? Has it done anything at all…? Well if you have watched BET, MTV or VH1 (or countless other channels) lately you probably have not been able to avoid the ridiculously bland and monotonous commercials asking you to “text 54555 for the Stay Fly ring tone.” This along with the obvious fact that what was once, not so long ago, a novelty (having a music ring tones) it is now becoming the norm… still not convinced the ring tone is having an effect on the hip-hop industry, lets look at the financials for you accounting junkies.
In 2005, ring tone sales reached 600 million dollars, which exceeded expectations by 20% and was twice as large as the 2004 sales. The growth of ringtone sales are tremendous and show no signs of slowing. Ringtone sales were 4.4 billion worldwide in 2005 with a majority of those sales coming from the hip-hop industry.
So I guess the question is…so what? Well…with ringtone sales and digital music singles on the rise, along with the decline of full CD sales…if you think about it in terms of “what sells,” (and that’s what record labels will promote and push) it becomes quite clear where hip-hop is headed. It may be me just being paranoid, but doesn’t it seem as though there is a much stronger emphasis on hooks now-a-day, as opposed to really fire verses back-in-the-day. This would make since if you thought about it as a business. Artists are being rewarded for catchy, repetitive hooks and have little monetary incentive to create a full album of “good” music. How many: Nas, Talib Kweli, Little Bother or Roots ringtones do you hear? You would hate to think that artists are creating music specifically for ringtone use… but you can see why they would… there is a lot of money to be made.
With ringtones sales exponentially rising and pushing the sales of singles (and vise versa), it will be interesting, and extremely unfortunate, to see if hip-hop gets increasingly focused in creating catchy 20 second hooks and sound clips designed to sell ringtones and singles.
Wednesday, February 7, 2007
Big Pun 4eva
Today marks the anniversary of the death of the illest lyricist (yes i said it) ever to put out an album. It's crazy in today's rap world where most MC's are either braggin' about livin' after bein' shot, or actually dyin' from bein' shot, that somebody of the talent level and street cred of Big Pun died from simply bein' too damn big.
When he came out, he gave hope to both Latinos and fans who wanted lyricism to be brought back to the forefront of the music. He made heavyweights like Nas, Jadakiss and Raekwon spit some of their hardest verses just to be able to hang with them on Fat Joe's "John Blaze", and then when his debut album 'Capital Punishment' came out, he made your favorite MC's look madd amateur whether it was Black Thought on "Super Lyrical" or Prodigy and Inspektah Deck on "Tres Leches". Even though I personally thought his second album was wack, his first album and countless show stealing guest appearances made me proud to be from the Bronx again, during a time where NOBODY was really reppin' the boro like that.
You'll never be forgotten Pun, and I wish you were steal around to eat these wack ass rappers nowadays (no pun intended)...
When he came out, he gave hope to both Latinos and fans who wanted lyricism to be brought back to the forefront of the music. He made heavyweights like Nas, Jadakiss and Raekwon spit some of their hardest verses just to be able to hang with them on Fat Joe's "John Blaze", and then when his debut album 'Capital Punishment' came out, he made your favorite MC's look madd amateur whether it was Black Thought on "Super Lyrical" or Prodigy and Inspektah Deck on "Tres Leches". Even though I personally thought his second album was wack, his first album and countless show stealing guest appearances made me proud to be from the Bronx again, during a time where NOBODY was really reppin' the boro like that.
You'll never be forgotten Pun, and I wish you were steal around to eat these wack ass rappers nowadays (no pun intended)...
Tuesday, February 6, 2007
new common
Common has a tight song with Bilal on the new Smokin' Aces soundtrack called "Play your cards right". I don't know if the movie is good but I know the song is so check it out. Time for both these guys to drop something new on us. Rap needs common, R&B needs Bilal, the world needs them both
Hip Hop Ain't Dead It's just Hibernating
Nas, countless others, and even myself at times have claimed that hip-hop as we know it is dead. I think I may have even uttered the words as recently as 3 or 4 days ago. Fact of the matter is, as much as I yearn for the days of groups like A Tribe Called Quest, Leaders of the New School, or Brand Nubian there are still cats out there grinding and scraping expressing their interactoin with the world through the vessel we call hip-hop.
My outlook has changed cuz for some reason while listening to cuts off the new Mos Def album, "perfect timing" to be exact, it made me go back and listen to some LoneCatalysts, J-Live, Main Source and even some Teriyaki Boyz who I know my man mike has on love for. I was reminded of being a kid 9, 10, 11 years old staying up late at night, boom box by my bed makin my own mix tapes from the late night underground radio shows in Atlanta. The feeling of being up late at night hearing insightful lyrics with crazy word play. I couldn't help but feel like I was the only one in the world listening to that song, at that exact moment. Thats what hip-hop means to me. finding the new group, new artist no one in your cirlce as heard of and possibly never will. Finding music that is not necessarily run of the mill top 40, but nonetheless meaningful to you on a personal level. The old school term DIGGIN IN THE CRATES, has never applied more than it does today. So if you really love the art form quit crying about the state of rap, and find your group, your artist, your sound and support them. Hip-Hop ain't dead it's just hibernating...And it won't wake up until it's so called fans stop being lazy.
My outlook has changed cuz for some reason while listening to cuts off the new Mos Def album, "perfect timing" to be exact, it made me go back and listen to some LoneCatalysts, J-Live, Main Source and even some Teriyaki Boyz who I know my man mike has on love for. I was reminded of being a kid 9, 10, 11 years old staying up late at night, boom box by my bed makin my own mix tapes from the late night underground radio shows in Atlanta. The feeling of being up late at night hearing insightful lyrics with crazy word play. I couldn't help but feel like I was the only one in the world listening to that song, at that exact moment. Thats what hip-hop means to me. finding the new group, new artist no one in your cirlce as heard of and possibly never will. Finding music that is not necessarily run of the mill top 40, but nonetheless meaningful to you on a personal level. The old school term DIGGIN IN THE CRATES, has never applied more than it does today. So if you really love the art form quit crying about the state of rap, and find your group, your artist, your sound and support them. Hip-Hop ain't dead it's just hibernating...And it won't wake up until it's so called fans stop being lazy.
VH1: White Rapper Show
VH1 has taken it upon themselves to find the next GREAT white rapper, and the competition is heating up…or has VH1 created the most ridiculous and irresistible show ever... If you have not seen the show, ill give you a hint…(in a competition: They are on the stoop of the “white” house, while they are given topics to rap about on “white” bread with the word “white” in every topic, they have to write the rhymes in an Ice Box, and use “white” ink on “white” sheets of paper while wearing “white” socks…. And yeah they are all white) VH1 has tried everything in its power to make this show as “serious” and “real” as possible, but they have failed in every attempt.
Host:
Its host M.C. Search was a white rapper (who's rap cataloge is not very impressive) and every show insists that “this is not a game.” When in reality, that’s exactly what “this” is… it is a game. They have managed to find the most motley crew of white “rappers” on the planet. (the term “rapper” used liberally in this case). Lets briefly look at some of the best characters:
You have Shamrock, the Paul Wall southern rapper, who could not be more southern if he wore a fried chicken suit… yeah and he has a weird face.
Then you have or have Jon Boy, who has quickly become one of my favorites after his antics in this past episode. I Explain… so they went out shopping in teams for a fashion contest, and when confronted by a fellow shopper, who noticed the cameras, proceeded to sign the shoppers shoe box for his daughter… which in turn will lower the value of the box itself, make it non returnable and only confuse the daughter as to who in the world Jon Boy is. When interviewed about the incident he said… “More then likely we will all end of being celebrities…So we have to get used to this kind of stuff!?!?!?!” - Jon Boy
Then to make matters much better he when outside the shoe store and started freestyling in front of a small to very small sized crowd…because he is “proud of what he can do” and “wanted to show off his craft.” Hats of to you Jon Boy…you are highly delusional.
But the Best Character on the Show Award goes to Jus Rhyme, who wins by a landslide. This guy is a real trip. Imagine if you can the looks, lyrics and talent of LFO (lyte funky ones), the sensitivity and weird facial expressions of Richard Simmons (guy workout guru) and the acute awareness of a five year old child (no idea whats going on in the world). If you can do that you have Jus Rhyme… who feels “there are much bigger issues then this show,” like what you ask… “white supremacy.” Way to look at the big picture Jus Rhyme. VH1 really lucked out with this guy… I hope he wins.
Final Thought:
Though the show doesn’t come close to presenting or finding talented white rappers. And you would be a fool to think that is what they sought out to do, though a few of them show rare glimpses of lyrical talent (most of them gone now)… this show is meant to entertain and nothing more (and it hits dead on). What the show in turn does show… is the strong disparity between white and black that still exists in hip-hop today. I would not say that hip-hop is a black or white thing, because it is a music and culture that is embraced by all races across the world, myself included. However, the white rapper show only shows goofy ass white rappers that would seem to represent what is still a strong divide in how blacks and whites interact with and are viewed within hip-hop.
I only wish this show actually did represent the unsigned, white hype in the world today; it would be an entirely different show, one in which the word “white” didn’t revolve around everything they do.
Host:
Its host M.C. Search was a white rapper (who's rap cataloge is not very impressive) and every show insists that “this is not a game.” When in reality, that’s exactly what “this” is… it is a game. They have managed to find the most motley crew of white “rappers” on the planet. (the term “rapper” used liberally in this case). Lets briefly look at some of the best characters:
You have Shamrock, the Paul Wall southern rapper, who could not be more southern if he wore a fried chicken suit… yeah and he has a weird face.
Then you have or have Jon Boy, who has quickly become one of my favorites after his antics in this past episode. I Explain… so they went out shopping in teams for a fashion contest, and when confronted by a fellow shopper, who noticed the cameras, proceeded to sign the shoppers shoe box for his daughter… which in turn will lower the value of the box itself, make it non returnable and only confuse the daughter as to who in the world Jon Boy is. When interviewed about the incident he said… “More then likely we will all end of being celebrities…So we have to get used to this kind of stuff!?!?!?!” - Jon Boy
Then to make matters much better he when outside the shoe store and started freestyling in front of a small to very small sized crowd…because he is “proud of what he can do” and “wanted to show off his craft.” Hats of to you Jon Boy…you are highly delusional.
But the Best Character on the Show Award goes to Jus Rhyme, who wins by a landslide. This guy is a real trip. Imagine if you can the looks, lyrics and talent of LFO (lyte funky ones), the sensitivity and weird facial expressions of Richard Simmons (guy workout guru) and the acute awareness of a five year old child (no idea whats going on in the world). If you can do that you have Jus Rhyme… who feels “there are much bigger issues then this show,” like what you ask… “white supremacy.” Way to look at the big picture Jus Rhyme. VH1 really lucked out with this guy… I hope he wins.
Final Thought:
Though the show doesn’t come close to presenting or finding talented white rappers. And you would be a fool to think that is what they sought out to do, though a few of them show rare glimpses of lyrical talent (most of them gone now)… this show is meant to entertain and nothing more (and it hits dead on). What the show in turn does show… is the strong disparity between white and black that still exists in hip-hop today. I would not say that hip-hop is a black or white thing, because it is a music and culture that is embraced by all races across the world, myself included. However, the white rapper show only shows goofy ass white rappers that would seem to represent what is still a strong divide in how blacks and whites interact with and are viewed within hip-hop.
I only wish this show actually did represent the unsigned, white hype in the world today; it would be an entirely different show, one in which the word “white” didn’t revolve around everything they do.
hollywood divorce incorporated
An interesting side note/response to 'Hollywood Divorce' by mr. buttercups.
I was talking to my buddy wig, an audio engineer, who relayed a conversation he had with one of his bosses, a seasoned vet of the studio game. This guy, i'll call him joe, said that one of the reasons that hip-hop took off like it did was that the big wigs of the music business saw how little money was needed up front and, accordingly, how much profit could be had.
After hearing that, it sounded like this could be an instance of the chicken and the egg syndrome: was it that hip-hop showed serious promise in its ability to make money and then the execs grabbed a hold, or was it as joe described. Either way, from a business standpoint, hip-hop his straight buttah. you don't have to pay musicians or studios like you would in a rock, country, r&b or band from any other genre that is recorded live. producers, who do get paid a good bit, come to the studio with their beats in a midi, the rapper spits a few verses and a hook, and your done. you can pop out a new album in breakneck speed, as we have seen from the likes of nas, jay and others who give us one a year.
couple that with hip-hop's enormous popularity throughout the planet, and you got the billion dollar industry that it is today.
and this is not to say that their is a lack of genuine artistic talent/creativity, its presence is the anchor of the biz. however, the ceiling for profit, the ability to bash out one hit wonders with little/unknown rappers and big/bigger named producers (like 'throw some d's on that bitch'), along with just enough incredibly talented performers/writers/musicians holding it down consistently, has definitely pushed hip-hop forward at its breakneck pace.
sadly, hip-hop has become pop or is at least in its pop stage (?'hip-pop'?). little kid rappers are being churned out like boy bands, top 40 playlists spin the same fergi songs over and over, and the biz is ready and willing to run hip-hop into the ground. however, hip hop has put its footprint on music for good, and even when its dead and gone (if that ever happens) there will be innumerable genre's that come out of it and new styles incorporating hip-hop within genres already founded. but ya know, even with all of this, i still love it and rarely want to listen to anything else...so it sure as hell ain't dead yet.
I was talking to my buddy wig, an audio engineer, who relayed a conversation he had with one of his bosses, a seasoned vet of the studio game. This guy, i'll call him joe, said that one of the reasons that hip-hop took off like it did was that the big wigs of the music business saw how little money was needed up front and, accordingly, how much profit could be had.
After hearing that, it sounded like this could be an instance of the chicken and the egg syndrome: was it that hip-hop showed serious promise in its ability to make money and then the execs grabbed a hold, or was it as joe described. Either way, from a business standpoint, hip-hop his straight buttah. you don't have to pay musicians or studios like you would in a rock, country, r&b or band from any other genre that is recorded live. producers, who do get paid a good bit, come to the studio with their beats in a midi, the rapper spits a few verses and a hook, and your done. you can pop out a new album in breakneck speed, as we have seen from the likes of nas, jay and others who give us one a year.
couple that with hip-hop's enormous popularity throughout the planet, and you got the billion dollar industry that it is today.
and this is not to say that their is a lack of genuine artistic talent/creativity, its presence is the anchor of the biz. however, the ceiling for profit, the ability to bash out one hit wonders with little/unknown rappers and big/bigger named producers (like 'throw some d's on that bitch'), along with just enough incredibly talented performers/writers/musicians holding it down consistently, has definitely pushed hip-hop forward at its breakneck pace.
sadly, hip-hop has become pop or is at least in its pop stage (?'hip-pop'?). little kid rappers are being churned out like boy bands, top 40 playlists spin the same fergi songs over and over, and the biz is ready and willing to run hip-hop into the ground. however, hip hop has put its footprint on music for good, and even when its dead and gone (if that ever happens) there will be innumerable genre's that come out of it and new styles incorporating hip-hop within genres already founded. but ya know, even with all of this, i still love it and rarely want to listen to anything else...so it sure as hell ain't dead yet.
Monday, February 5, 2007
Hollywood Divorce
Hollywood divorce (link to lyrics) has already been mentioned in this blog, but I think the song does a great job of entertaining and addressing a serious topic at the same time, and deserves some attention (of which I will give it right now).
To me the song with: Andre 3000, Lil’ Wayne, Big Boi and Snoop, though it might be stating the obvious to some, does a beautiful job of showing how trends (music, clothes or otherwise) start and are destroyed by Hollywood and $$$. In a way its capitalism and entrepreneurship, what our country was built on, rapped into one. (People/Businesses capitalizing on opportunity) It’s a cycle that can’t really be stopped, and explains why Hip-Hop as we knew it is gone forever and is constantly changing... Its trying to stay one step ahead of Hollywood.
Once a trend becomes popular enough in the streets, Hollywood will cash in on it…turn it into or incorporate it into their business…water it down so that it appeals to the masses, and destroy anything original or artistic that may have exsisted when the trend started… when that happens the trend (music, fashion or otherwise) becomes “wack” “played out” or “tish-tish” (pick your favorite.) But like andre3000 says “it's cool, we just keep it goin' make new shit.” And new trends arise.
Andre3000
“Hollywood divorce. All the fresh styles always start off as a good lil' hood thang. Look at Blues, Rock, Jazz, Rap. I ain't even talkin' about music, everything else too. By the time it reach Hollywood it's over. But it's cool, we just keep it goin' make new shit”
What is funny to me is the repetitiveness of it all. You can see it every year, and throughout the short history of Hip-Hop…But what you can’t do is blame anyone for making money on their music or name. What you have to understand is that Music is a business and everyone is trying to eat, so you can’t blame someone for cashing in on what they do to make money. If they don’t cash in on it, Hollywood will use it anyway, give you no credit and take all the money.
If there were no possibility of making it big and cashing in on the Rap Game, there wouldn’t be a Rap Game, or any fraction of the Rap Game we know today… and half the rappers you know of would be doing something else… If you want to know what they would be doing, listen to their songs.
Outro-Snoop
“Take our game, take our name, give us a little fame, and then they kick us to the curb that's a cold thang.”
To me the song with: Andre 3000, Lil’ Wayne, Big Boi and Snoop, though it might be stating the obvious to some, does a beautiful job of showing how trends (music, clothes or otherwise) start and are destroyed by Hollywood and $$$. In a way its capitalism and entrepreneurship, what our country was built on, rapped into one. (People/Businesses capitalizing on opportunity) It’s a cycle that can’t really be stopped, and explains why Hip-Hop as we knew it is gone forever and is constantly changing... Its trying to stay one step ahead of Hollywood.
Once a trend becomes popular enough in the streets, Hollywood will cash in on it…turn it into or incorporate it into their business…water it down so that it appeals to the masses, and destroy anything original or artistic that may have exsisted when the trend started… when that happens the trend (music, fashion or otherwise) becomes “wack” “played out” or “tish-tish” (pick your favorite.) But like andre3000 says “it's cool, we just keep it goin' make new shit.” And new trends arise.
Andre3000
“Hollywood divorce. All the fresh styles always start off as a good lil' hood thang. Look at Blues, Rock, Jazz, Rap. I ain't even talkin' about music, everything else too. By the time it reach Hollywood it's over. But it's cool, we just keep it goin' make new shit”
What is funny to me is the repetitiveness of it all. You can see it every year, and throughout the short history of Hip-Hop…But what you can’t do is blame anyone for making money on their music or name. What you have to understand is that Music is a business and everyone is trying to eat, so you can’t blame someone for cashing in on what they do to make money. If they don’t cash in on it, Hollywood will use it anyway, give you no credit and take all the money.
If there were no possibility of making it big and cashing in on the Rap Game, there wouldn’t be a Rap Game, or any fraction of the Rap Game we know today… and half the rappers you know of would be doing something else… If you want to know what they would be doing, listen to their songs.
Outro-Snoop
“Take our game, take our name, give us a little fame, and then they kick us to the curb that's a cold thang.”
Saturday, February 3, 2007
Favorite Hip-Hop CD's of 2006?
Is it too late to look over the past year and the CD's that came out?...no, or at least i hope not. 2006 was a great year, at least for me it was, and during that time some new music came out, some of which was good and some was not so much.
I am going to make a list of the top 5 Hip-Hop CD's of 2006. Not necessarily in order, these are my picks.
1) Gnarls Barkley - St. Elsewhere (its hard to put this CD in a genre, but to me those are the best kind of CD's. Cee-lo, my good friend, and danger mouse connect in an ATL fashion to create some pretty diverse and fantastic music. Even if you don't like rap or hip-hop, you will still like this album, it has a universal sound that reaches out to so many different kinds of people...like Jeff Holtz)
2) The Roots - Game Theory (The Roots to me can't really go wronge, or at least they haven't yet. With questlove at the wheel and Black Thought on the mic, The Roots are possibly the best group in hip-hop not only currently, but of all time)
3) Lupe Fiasco - Food & Liquor (This CD took a few listens to grow on me, but this CD has now made its way to the top of my play list. The production is great and Lupe manages to incorperate a marvulous combo of Andre-esque type of cleaver and entertaining rhymes.)
4) Nas - Hip-Hop is Dead (A controversial album title that has sparked some debate, but beyond that Nas comes correct. Some songs are better then others, but the CD as a whole is well put together. If Nas and Jay-Z were still arguing about who wears the crown all Nas would have to do is compare Kingdom Come to Hip-Hop is Dead, and that would be that)
5) T.I. - King (Ok, So I don't like anyone claiming they are the "king" of rap...In a world that still has Andre 3000. But once I got past that, T.I. came out with the best southern CD of the year, and until Andre decides to rap agian T.I. can talk all the smack he want. This CD is pretty nice from front to back...well played T.I. who if you ever see, is one of the crunckest MOFO's in concert)
Well thats my take on it...Disagree? think i left some CD's out? or hate everything about what I said? let me know in the comments.
I am going to make a list of the top 5 Hip-Hop CD's of 2006. Not necessarily in order, these are my picks.
1) Gnarls Barkley - St. Elsewhere (its hard to put this CD in a genre, but to me those are the best kind of CD's. Cee-lo, my good friend, and danger mouse connect in an ATL fashion to create some pretty diverse and fantastic music. Even if you don't like rap or hip-hop, you will still like this album, it has a universal sound that reaches out to so many different kinds of people...like Jeff Holtz)
2) The Roots - Game Theory (The Roots to me can't really go wronge, or at least they haven't yet. With questlove at the wheel and Black Thought on the mic, The Roots are possibly the best group in hip-hop not only currently, but of all time)
3) Lupe Fiasco - Food & Liquor (This CD took a few listens to grow on me, but this CD has now made its way to the top of my play list. The production is great and Lupe manages to incorperate a marvulous combo of Andre-esque type of cleaver and entertaining rhymes.)
4) Nas - Hip-Hop is Dead (A controversial album title that has sparked some debate, but beyond that Nas comes correct. Some songs are better then others, but the CD as a whole is well put together. If Nas and Jay-Z were still arguing about who wears the crown all Nas would have to do is compare Kingdom Come to Hip-Hop is Dead, and that would be that)
5) T.I. - King (Ok, So I don't like anyone claiming they are the "king" of rap...In a world that still has Andre 3000. But once I got past that, T.I. came out with the best southern CD of the year, and until Andre decides to rap agian T.I. can talk all the smack he want. This CD is pretty nice from front to back...well played T.I. who if you ever see, is one of the crunckest MOFO's in concert)
Well thats my take on it...Disagree? think i left some CD's out? or hate everything about what I said? let me know in the comments.
Friday, February 2, 2007
Hip Hop ain't dead; it's just missing Andre 3000
All of your favorite hip-hop songs from the south have been graced with Andre 3000. One listen to songs like the newly released “Throw Some D’s (rmx)” (check out http://www.hiphopdx.com/index/audio/id.1243/title.rich-boy-f-andre-3000-lil-flip-jim-jones-murphy-lee-the-game-throw-some-ds-rmx ) let us all know that Andre 3000 still has arguably the best combination of flow and lyricism in hip hop. On the classic Love Below/Speaker Box album Andre 3000 still hit with classic after classic song, but it missed that raw atliens type lyricism and style that so many of us (myself included) wanted. Fast forward a year or two to their Idlewild cd and with one listen to “Hollywood Divorce” (check out http://www.nobodysmiling.com/hiphop/play-audio.php?rid=86535&path=Outkast_HollywoodDivorce ) you start getting flashbacks to the Andre of old.
Andre ain’t a conscience rapper, he ain’t a gangsta rapper, but he is a rappers rapper because he is REAL. REAL don’t have to do with sellin’ grams, it don’t have to be about bangin’ “bitches” or “hoes” (I use this language cause that’s what these ignorant brothas still use), it don’t have to be asocial and “hard”. With Andre nothing is forced, and everything is about the music and less about the bull. Hip-Hop needs someone who can say, “ I like this beat here and the way it make the party hype, but at the same time let me flip it and add some knowledge to it”. A song like “walk it out” (check out http://www.google.com/search?hl=en&q=%22Walk+it+Out+%28rmx%29%22+%2B+Lyrics ) is the perfect example of adding substance in a cleaver way to a harmless and fun song. Andre is the only rapper that can talk about the same people probably dancing to that song by telling them to “take that T two sizes down” and get away with it.
Hip hop doesn’t need the next Jay-z or Nas. Hip Hop needs some creativity and originality that can resonate with those looking for a way to pay their light bill, with those in corner offices, and with those who simply need to get away for a short time . In a hip hop world where originality is something of a commodity Andre is a breath of fresh air. Hip Hop ain’t dead, it’s just missing the likes of Andre 3000. I hope that the latest appearances by Andre 3000 stand for something more to come. Word on the street is that he is writing for a new album, I can only hope that this is true.
Andre ain’t a conscience rapper, he ain’t a gangsta rapper, but he is a rappers rapper because he is REAL. REAL don’t have to do with sellin’ grams, it don’t have to be about bangin’ “bitches” or “hoes” (I use this language cause that’s what these ignorant brothas still use), it don’t have to be asocial and “hard”. With Andre nothing is forced, and everything is about the music and less about the bull. Hip-Hop needs someone who can say, “ I like this beat here and the way it make the party hype, but at the same time let me flip it and add some knowledge to it”. A song like “walk it out” (check out http://www.google.com/search?hl=en&q=%22Walk+it+Out+%28rmx%29%22+%2B+Lyrics ) is the perfect example of adding substance in a cleaver way to a harmless and fun song. Andre is the only rapper that can talk about the same people probably dancing to that song by telling them to “take that T two sizes down” and get away with it.
Hip hop doesn’t need the next Jay-z or Nas. Hip Hop needs some creativity and originality that can resonate with those looking for a way to pay their light bill, with those in corner offices, and with those who simply need to get away for a short time . In a hip hop world where originality is something of a commodity Andre is a breath of fresh air. Hip Hop ain’t dead, it’s just missing the likes of Andre 3000. I hope that the latest appearances by Andre 3000 stand for something more to come. Word on the street is that he is writing for a new album, I can only hope that this is true.
A sleeping giant
Ok, so I read this exact text on XXL's blog (Easy, watch the plagarism), but I don't think the beef is the most important aspect of this whole arguement. Ok, we all know that Game shitted on these cats and ever since, G-Unit has been scrambling to regain respect. Mobb Deep flopped, Yayo is wack, Olivia ("I heard that bitch as was man") sucks, and their prized lyricist, Lloyd Banks proved he got way too much credit on his first disc with the extremely-terrible, Rotten Tomatoe.
On the other side of the fence there is Dipset. I love me some Cam' and I agree with critics who call "We Fly High" one of the most addictive tracks to hit '06. Cam is right about taking Jim Jones' sales more serious than that of Lloyd Banks in terms of whose 300,000 deserves more bragging rights (Banks through major distriubution and Jim Jones through his independent label). Also, 50 calling Koch a label where cats go when they can't land a major is so fucking hypcritical it's rediculous. Don't let your own artists (Prodigy) fuck with them then. If they are indeed "a graveyard," and Prodigy is your artist, then you must be saying that Prodigy and the group Mobb Deep are dead to you. The group's poo-ass sales and lack of promotion is proof enough. But 50, I think this whole mess is the best thing for you as an artist.
Think about it. Get or Die Tryin' smashed every club, radio station, and record store from Queens to fucking Tibet (ok, so they might not have record store selling mass 50 albums in Tibet, but you know what I mean). To call 50's first album a hit, is an obvious understatement. Then there was The Massacre, a more mushy, self-loathing effort than the previous project. Yeah it sold some records, but that shit wasn't seeing Get Rich or Die Tryin' and was far cry from his true classic, Power of the Dollar (fellas if you don't know, up your mixtape game). To make things worse, the most talented of all G-Unit's artists, The Game took off and before he completely made an exit he took the liberty to personally shit on every member of G-Unit, including 50, with the whole G-Unot campain. Throughout all of this shit, the real question is when is 50 Cent going to come back with the heater and just how hot will this album be?
I'd like to thank Camron for giving 50 a little wake up call. Hopefully, he realizes that when a franchise sees it's role players fucking up, the best way to get back to speed is for the franchise player to get his shit together. G-Unit has got some talent, but 50 is the go-to-guy without a doubt. %0, now that Camron and the industry have your attention, I have one thing to say to you...Now that you're awake, you've got to fix what you broke i.e. make another album that makes G-Unit relevant again.
PEACE!
On the other side of the fence there is Dipset. I love me some Cam' and I agree with critics who call "We Fly High" one of the most addictive tracks to hit '06. Cam is right about taking Jim Jones' sales more serious than that of Lloyd Banks in terms of whose 300,000 deserves more bragging rights (Banks through major distriubution and Jim Jones through his independent label). Also, 50 calling Koch a label where cats go when they can't land a major is so fucking hypcritical it's rediculous. Don't let your own artists (Prodigy) fuck with them then. If they are indeed "a graveyard," and Prodigy is your artist, then you must be saying that Prodigy and the group Mobb Deep are dead to you. The group's poo-ass sales and lack of promotion is proof enough. But 50, I think this whole mess is the best thing for you as an artist.
Think about it. Get or Die Tryin' smashed every club, radio station, and record store from Queens to fucking Tibet (ok, so they might not have record store selling mass 50 albums in Tibet, but you know what I mean). To call 50's first album a hit, is an obvious understatement. Then there was The Massacre, a more mushy, self-loathing effort than the previous project. Yeah it sold some records, but that shit wasn't seeing Get Rich or Die Tryin' and was far cry from his true classic, Power of the Dollar (fellas if you don't know, up your mixtape game). To make things worse, the most talented of all G-Unit's artists, The Game took off and before he completely made an exit he took the liberty to personally shit on every member of G-Unit, including 50, with the whole G-Unot campain. Throughout all of this shit, the real question is when is 50 Cent going to come back with the heater and just how hot will this album be?
I'd like to thank Camron for giving 50 a little wake up call. Hopefully, he realizes that when a franchise sees it's role players fucking up, the best way to get back to speed is for the franchise player to get his shit together. G-Unit has got some talent, but 50 is the go-to-guy without a doubt. %0, now that Camron and the industry have your attention, I have one thing to say to you...Now that you're awake, you've got to fix what you broke i.e. make another album that makes G-Unit relevant again.
PEACE!
50 Cent vs. Cam'ron
First listen to: http://www.hiphopdx.com/index/audio/id.1256/title.50-cent-vs-camron-live-on-air-hot97
It was only a matter of time before these brothas just started wilin' out on each other. Recently 50 Cent was on the Angie Martinez show on NY's Hot 97 radio station, where 50 Cent made several comments about how he can stop projects from comin' out on Koch Records. Cam'ron wasn't feelin' those comments, so he calls into the radio show and precedes to lose his damn mind, shoutin' all sorts of random shit, some makin' perfect sense, and others makin' him look like the ignorant individual we all know and find amusin' about that fool.
Cam touched on the fact that 50 calls Koch Records a graveyard, yet he just let Prodigy do a solo album deal over there and then Jim Jones, also on Koch, sold as much as Lloyd Banks despite the fact that Lloyd Banks is signed to 50's major label. I was waitin' 4 50 to start spazzin' out, but I guess he been takin' some anger management classes or somethin' 'cause he was just calmly makin' remarks back at a shoutin' Cam. He probably ain't say nuttin' back 'cause Cam got a good ass point. How the hell Jim Jones sellin' as much as Lloyd Banks on an independent label? You know what that means, the Game successfully 'Ja-Ruled' the whole G-Unit crew. Ever since Game went on that rampage, not a damn person on that team has sold anythin'. Only person that can probably still sell a record on that label is 50, but shit nowadays who knows, 50 might end up on Koch too.
It was only a matter of time before these brothas just started wilin' out on each other. Recently 50 Cent was on the Angie Martinez show on NY's Hot 97 radio station, where 50 Cent made several comments about how he can stop projects from comin' out on Koch Records. Cam'ron wasn't feelin' those comments, so he calls into the radio show and precedes to lose his damn mind, shoutin' all sorts of random shit, some makin' perfect sense, and others makin' him look like the ignorant individual we all know and find amusin' about that fool.
Cam touched on the fact that 50 calls Koch Records a graveyard, yet he just let Prodigy do a solo album deal over there and then Jim Jones, also on Koch, sold as much as Lloyd Banks despite the fact that Lloyd Banks is signed to 50's major label. I was waitin' 4 50 to start spazzin' out, but I guess he been takin' some anger management classes or somethin' 'cause he was just calmly makin' remarks back at a shoutin' Cam. He probably ain't say nuttin' back 'cause Cam got a good ass point. How the hell Jim Jones sellin' as much as Lloyd Banks on an independent label? You know what that means, the Game successfully 'Ja-Ruled' the whole G-Unit crew. Ever since Game went on that rampage, not a damn person on that team has sold anythin'. Only person that can probably still sell a record on that label is 50, but shit nowadays who knows, 50 might end up on Koch too.
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