STRAIGHT OUTTA HIP HOP

Should Mixtapes Factor Into Legacy? Pt. 1

2012-02-14T01:51:26Z

Today, most MCs use mixtapes as a way of both creating and maintaining buzz, exposure, and relevance in the hip hop community. They've always been around in some form, but 50 Cent claims to be the one to have taken it to new heights and then Lil Wayne, specially with his "Dedication" series, used them to propel him into super stardom. Since then, the mixtape has served as a platform for nearly all rappers (especially newer artists trying to establish themselves) to showcase their talents, promote upcoming albums, or just make sure they're still relevant in the mind of the public. So, with the mixtape becoming so prevalent in hip hop today, it begs the question: should we consider mixtape work when it comes to artists legacies?

With so many artists now being discovered thanks to their mixtapes (many of which have become the equivalent of free albums), it's hard to see how you can't. Where would Lil Wayne be without Dedication, J. Cole without Warm Up, Big Krit without Return Of 4eva? The list can go on and on. With the exception of Lil Wayne, the artists named above, and most of the artists people might name as having established a career thanks to mixtapes, are relatively new comers. It would seem like their future is bright if they continue making music that matches the quality of music produced on those free projects. However, maintaining a healthy career can't be done solely on mixtapes. You also have to drop a few albums along the way and here's where the discussion really begins.

In sports, most of the greatest athletes are known not only for their superior skill set, but also, what they're able to do in crunch time. When we look at the legacy of many athletes (particularly basketball and football), we usually put them in two categories: the ones that were great but never won it all or those that were great and led their team to the promised land. In layman's terms, even some of the greatest athletes have "tainted" legacies because they could not deliver in the playoffs/championship games. The problem is, hip hop doesn't have a regular season and playoff season. There is no championship. There are no two distinguishing elements to a career. Perhaps that is exactly what the mixtape represents.

Before mixtapes, the majority of an MCs career was based on the albums they produced. You could have as much skill on the mic as anybody, but some artists just have a hard time creating quality albums. Historically, battle rappers and true freestylers tend to have the most difficulty with this. For example, there is absolutely no denying how good Canibus is on the mic and his battle with LL Cool J has definitely helped add to his reputation, but few have been very impressed by his overall catalog, which some could argue hurts his overall legacy in hip hop. There are many artists like this that, whether due to label pressures or just trying to conform to pop culture, aren't able to create whole bodies of work that capture the masses. However, maybe mixtapes will change how we view artists overall.

Perhaps, even in some lackluster album performances, we will look back on careers and say "His/Her albums weren't that good, but those mixtapes..." Maybe having another body of work to point to can help establish an artist's career and their legacy. Not only do mixtapes prevent them from going off the grid - so to speak - after an official album release, but it's also another body of work to point to, that can really help showcase how talented an artist really is. Even free projects, if constructed right, can penetrate the culture in much of the same manner that an album release would. And if so, then maybe the question isn't if we should factor mixtapes into an artist's legacy, but how much do they count towards and artist's legacy? We'll tackle that in Part 2.

What are your thoughts? Should mixtapes factor into an artist's legacy? Is it even possible to talk about legacy without mentioning mixtapes? Look out for Part 2 when we discuss how much mixtapes should count toward an artists legacy. Leave all comments below.

Peace.

Respect Due: Prince Paul

2012-01-30T23:29:34Z

Great producers do more than just make beats. They help give the artist and song direction. They help the listener understand the emotion and concept behind the music/song. There are few producers you could point to that do this better than Prince Paul. From his beginnings with Stetsasonic to working with hip hop legends such as Big Daddy Kane, MC Lyte, and Queen Latifah (to name just a few), Paul's style has become well respected and mimicked throughout the years.

Paul's big break came when he produced one of hip hop's most groundbreaking albums - De La Soul's "3 Feet High and Rising". Most notably, as can be seen throughout "3 Feet High and Rising", Prince Paul is credited with being the first to sample TV commercials, skits, and many other sounds outside of the standard funk records. These samples helped to establish what songs were about and provided comedic relief. This new style of sampling opened hip hop to a new world of possibilities and sounds. Even as part of the group Gravediggaz (which also featured members RZA, Frukwan, and Too Poetic), Prince Paul's sense of humor is often displayed in his music.

Without Paul's innovation, the art of producing and sampling would have been greatly stunted. He has influenced several of the best producers in hip hop today and has helped elevate hip hop to another level. So, for his humor, creativity, and influence, we say to Prince Paul... Respect Due.

What are your thoughts on Prince Paul? Do you have a favorite track produced by him? Leave all your thoughts and comments below. You can send any e-mails to straightouttahiphop@gmail.com.

Peace.

Based On A True Story

2012-01-17T04:56:54Z

Contradictions in hip hop are nothing new, however, there seems to be one that plays out more than any other. Artists tend to boast about how real they keep it in their music and how they speak on the reality of everyday life. Yet, when faced with criticism about certain lyrics or content, they often change their tune and question the criticism, stating that (in the word's of Jay-Z on "Ignorant Sh*t"), "It's only entertainment".

There are plenty of times that artists get creative and use their words to do nothing more than entertain their audience. This is especially true when artists tell stories that may contain images of violence, sexual escapades, crime, and any other "unspeakable acts". Usually, these tend to be funny and lighthearted, sometimes they can be more graphic, but with the intention of warning about certain perils of life. Other times, they might tell stories about what goes on in their neighborhoods and what they grew up around. Some of these stories are real, as well. Other times, artists insert themselves into the third person to depict a level of reality that isn't there.

This is where the lines between reality and entertainment become blurred. The bravado that goes along with being a rapper (obviously I'm speaking mainly about male artists here) has caused them to state certain things in their music that they pass off as truth, although it may not be. This doesn't only happen when telling tales of their past lives, but also when we look at beefs and battle raps. When things get personal and artists start threatening one another, is that really about entertaining people? On the flip side, is everything they speak reality? How much of this can be said about the rest of the music and images these artists paint?

This brings us to the title of this blog. The more I've thought about this blend of entertainment and reality, I've come to the conclusion that hip hop is a lot like a movie based on a true story (just the music, not the culture). The overall story and plot is real, but there is still creative license used. Some things are exaggerated while others are made up completely, yet, there is truth in much of what is being delivered. Of every musical art form, none prides itself more on the truth than hip hop, but all consumers want to be entertained in one form or another.

Balancing that line between reality and entertainment can be hard to do. Hip hop likes to label their music one or the other when convenient, but they co-exist. Acknowledging this doesn't make the music any less real. We just have to learn that speaking in absolutes only devalues what we have. True artists find a way to remain genuine, even in slightly bending the truth. In the end, we as fans can connect with the person, but be entertained by the music.

What are your thoughts? Does hip hop typically speak in absolute terms? Is all music just entertainment and the labeling doesn't matter? Is "keeping it real" in hip hop a lie altogether? Leave all opinions and thoughts below. You can send any e-mails to straightouttahiphop@gmail.com.

Peace.

?uestlove Explains J. Dilla's "Little Brother" Beat

2012-01-04T23:18:22Z

This is such a great story and so hip hop, I just had to put it up here. Enjoy!

And here is the song itself. Track itself is sick, but even better when you know the story! What are your thoughts? Leave them below.

Peace.

Respect Due: Marley Marl

2011-12-31T10:15:01Z

There were many BIG moments that happened in hip hop during the 1980s and early 90s and Marley Marl happened to be a part of many of them. One of these moments, and perhaps his first major recognition, came when he produced "Roxanne's Revenge", the response track by Roxanne Shante to UTFO. While coming out on the winning side of that "battle", this would not be the last legendary back-and-forth Marl would be involved in.

Marley Marl is perhaps best known for his work with MC Shan, and more specifically, their track "The Bridge". This track, which Marley produced, started one of the most documented battles in hip hop history, known as The Bridge Wars, and helped propel Boogie Down Productions into hip hop superstardom. However, Marl has done much more than just been involved in battles.

Known as one of the innovators when it comes to sampling and reprogramming breakbeats, Marl produced for some of the biggest artists in hip hop throughout his career. His label Cold Chillin' housed several of them, with the collective going by the name of the Juice Crew. The Juice Crew was made up of legendary artists Roxanne Shante, Kool G. Rap & DJ Polo, Biz Markie, Big Daddy Kane, MC Shan, and Masta Ace. The individual careers of each of these artists had significant impacts on the culture, but they also showed what they could do as a collective when they dropped the single "The Symphony".

Marley's biggest hit came in 1990 when he produced LL Cool J's "Mama Said Knock You Out" and although he hasn't been as relevant in recent years, his work and the artists he helped establish continue to leave a footprint on hip hop today. So, to Marley Marl we say...Respect Due.

What are your thoughts on Marley Marl? What's your favorite Marley Marl song or instrumental? Leave all your thoughts and comments below. You can send any e-mails to straightouttahiphop@gmail.com.

Peace.

Sources:
http://www.allmusic.com/artist/marley-marl-p101803/biography
http://en.wikipedia.org/wiki/Marley_Marl

Wealth In Hip Hop

2011-12-20T23:16:11Z

Russell Simmons and this book do not have any affiliation with this blog or its contents, but the image certainly represents the contents below.

Over Thanksgiving weekend, I was having a conversation about "Watch The Throne" (just my overall take on the album). Anytime I've had this conversation, I say the same thing; the album wasn't super lyrical and didn't necessarily blow me away in any particular fashion, but I appreciated it because this is the first time that we really see WEALTH represented in hip hop on record.

Sure, plenty or rappers will talk about how much money they have and how paid they are, but this album truly represented two figures that beat the odds and can now enjoy the wealth they've achieved (hence songs such as "Made In America" and "Ni**as in Paris"). However, when I mentioned this during my conversation over Thanksgiving, my brother and frequent debater in hip hop, Mr. Milan Drake, stated that his, for lack of a better word, "issue" with this was that hip hop isn't based in wealth. It's based in poverty and hardship and coming from the bottom.

We didn't get a chance to finish the conversation, but that statement definitely sparked the idea for this blog. I 100% agree that hip hop is not based in wealth. Never has been and, for the sake of preserving the culture, hopefully never will be. I can't see anybody that was born into wealth having a prosperous career in hip hop - just given its rebellious nature. However, hip hop, for a long time now, has been about the come-up and trying to improve living conditions. It's been about that struggle of having all the odds against you and still, somehow, being able to find a way out.

Typically what we see from artists over their careers is where they started from with their debut album - their struggle and hardship - followed by their rise to fame and riches (this usually takes place over a few albums), but then there tends to be a drop off. Artists end up with financial issues from years of being taken advantage of by the industry. How many artists have we seen hit with child support and tax issues? Some are able to live comfortable, but never get all of the things they wanted/expected out of their music careers. We constantly see the hard work and then the small wins, but not the ultimate victory.

"The Throne" (the album and group) represents that victory. We've seen the ups and downs of both artists, but now, even though they do still deal with their own issues, they can celebrate reaching that pinnacle. I think it's important for people to see this. It's important to see people in hip hop go through these periods of maturation and struggle and still be able come out at the very top. Hip Hop is based in the struggle, where it should be, but unless we see some people actually achieve something after going through that struggle, then it's all for naught.

When I listen to "Watch The Throne", I get inspired. I know the knock on the album more than anything else is that people can't relate to it. I certainly can't relate to a lot of the material, but I can aspire to be able to relate. When I hear "Made In America", I want to one day sing those words and truly mean it. I want to be able to travel around the world. I want to celebrate achieving my goals. I can't relate to that right now, but I can imagine that what I'm hearing is what it will feel like when I do. I also want to be able to hear this from other artist's perspectives, as well. More people need to be able to feel that. We hear so much about the struggle that, from time to time, we need to be able to see that all the hard work pays off - in a big way!

I hope for more stories like Watch The Throne. Not because I wish to see hip hop lose its edge and become soft. I want it because there needs to be a blueprint (pun intended) for how to make it in hip hop. There are always going to be new starving artists. Those are the ones that we need to cultivate and support. But, without having anything to point to, what will prevent the new artists from the same pitfalls that so many others have run up against.

As fans, we can sometimes be selfish. I truly believe that biggest reasons artists like Jay-Z and Kanye West are so polarizing in hip hop isn't because they've set the culture back. They actually do the opposite and try to push it forward. The reason is because they have reached a level of success that hip hop still isn't familiar with. They've found a way to connect with a broader audience without compromising...too much. Perhaps Jay-Z wouldn't be so polarizing if he did decide to rap like Common or Talib Kweli, but he found a way to appeal to a wide range of people while still connecting to hip hop fans.

As fans, we tend to blame all artists for that. We want artists to maintain what we view as the purest form of hip hop, even at the expense of their own progression and financial gain. We need to always hold artists that call themselves rappers/MCs accountable for being true the culture. We also need to allow them to be able to achieve success and, hopefully for others in the future, wealth without the guilt trip. In the end, we may all benefit from it.

I think we also get upset when other artists that we deem aren't straying at all from pure hip hop don't get the recognition that others do. I saw a tweet not too long ago that said "Why doesn't Kendrick Lamar have 1 million followers?" I think we would all agree that Kendric needs to be bumping out of every radio and on every Top 10 video show. Since this isn't the case for so many artists that deserve recognition, I think we sometimes attribute success to selling out and don't consider it "real" hip hop. Although this could be argued for many artists, it isn't the case for all. I hope that one day artists like Kendrick Lamar can reach the same heights that Jay-Z and Kanye West have without feeling pressure to conform in any way. Yet, as long as artists stay true to themselves and produce quality music, I won't blame them for trying to achieve the things we all strive for. Can't knock the hustle.

What do you think about wealth in hip hop? Do we need to see it more? Does wealth and the representation of it hurt hip hop? What did you think about the "Watch The Throne" album? Leave all thoughts and comments below. You can send e-mails to straightouttahiphop@gmail.com.

Peace.

Sleep When I'm Dead

2011-12-07T23:22:40Z

This book and its author do not have any affiliation with this blog or its contents.

It's been a few weeks now and it looks like everything is back to normal. After suffering two seizures, Rick Ross is back on his grind, we seem to be healing from losing Heavy D, and Eric Sermon has assured everybody he's alright after suffering a heart attack. However, there's something that hip hop really needs to take away from all of this that really hasn't been addressed in our culture...health.

While Heavy D and Eric Sermon's cases may not have been as evident, Rick Ross has spoken openly about the causes for his seizures - mainly sleep. "Grindin'" has always been a staple of hip hop. Ask any person that has had any success what the key is, and they'll attribute it to the grind. People always talk about how they gave their all to their dreams, sacrificing many things to get what they wanted, especially sleep.

Although sacrifices do need to be made, and there will be some nights where you get less sleep, we need to start pay attention to how our lifestyles and choices affect our long-term health. There is no point in doing all the work for all the spoils and we aren't able to enjoy them. I fight this on a constant basis myself. Even as I write this, I knowthat my schedule doesn't allow for a lot of sleep, but I constantly tell myself that it's simply the price I have to pay for success. There will be times when I find things to work on and stay up until the early hours of the morning because I want to feel like I'm being productive instead of wasting time away by sleeping. However, I'm trying to make more of an effort to go to sleep and find better times to do work because I feel the lack of sleep wearing on me.

I think we take our youth and health for granted. Hip Hop and the people in it are all still young. We haven't seen the effects of the lifestyles we choose to live, but eventually these things catch up. Rick Ross was just a glimpse of what can happen when we don't take care of ourselves, but I'm not sure how serious people really took it. This goes for more than just sleep, too. Although sleep is the focus of this blog because of hip hop's approach to the grind, this also goes for all other things that affect our health: diet, heavy drinking/smoking, exercise, etc.

New artist Rapsody (check her out if you haven't already) has a song on her Thank Her Now mixtape called "Sky Fallin' (My Mind)" in which she talks about her journey to where she is now and how she only slept three hours a night. Similar stories can probably be found amongst most people that are successful, but one question still remains - is it necessary? In the case of Rapsody, perhaps it was. She documents how she went to work, went home for a little while, and then headed to the studio to knock out tracks before getting ready for work the following day. Maybe her schedule didn't allow for much sleep if she was going to focus on her passion, but for many of us, that isn't the case. We constantly talk about losing sleep in the name of working, but spend countless hours doing other things that prevent us from being productive. We try to fit as many things into our day as possible and so instead of sacrificing time with our friends, watching sports, going to the movies, etc., we choose to sacrifice rest and rejuvenating our bodies so we can be more productive the following day.

I think part of us thrives on being able to function on little sleep and still become successful. It's just part of that story we're able to tell. When we finally make it and we get to let people know about what it took to make it, we have come to glamorize lack of rest. It is supposed to somehow prove how dedicated we are. Yet, if we want to remain sharp and live long, prosperous lives with as few complications as possible, we will have to learn how to better manage our time so that we can stay on the grind and still get enough sleep at night. Let's make sure that we not only work hard and gain success, but that we take care of ourselves so that we spend more time enjoying the success than we did working for it.

What do you think about the idea of grinding in hip hop? Has health been sacrificed? Is sleep overrated? Leave all thoughts and comments below. Send any e-mails to straightouttahiphop@gmail.com.

Peace.

Respect Due: Kool DJ Red Alert

2011-11-28T23:25:49Z

Some people just have a good ear - whether it be for talent, music sound, or both. Kool DJ Red Alert has it for both. After watching and studying Kool Herc at some of the first hip hop parties, Red Alert decided to try his hand (no pun intended) at DJing. After teaching his cousin some of the finer points he picked up, his cousin, DJ Jazzy Jay, in-turn introduced Red to Afrika Bambaata. Soon after, Red Alert became the DJ for Bambaata's Zulu Nation.

From there, things began to take off. Red became the DJ at New York's 98.7 KISS FM, becoming the top DJ and staying with the station for 11 years. He then moved over to Hot 97 for several years and held two daily shows before returning to KISS FM in 2007. Between his mixes, his albums, and breaking in new artists, Red Alert became one of the most notable DJs in hip hop, and is still recognized as such today.

Along with a long list of credits, Red Alert is often noted as the one that introduced several hip hop legends to the world, including Jungle Brothers, A Tribe Called Quest, Black Sheep, and Queen Latifah. He also managed many of these artists and more through his company Red Alert Productions (RAP), which was home to the Native Tongues. From albums, to radio, to breaking talent, he's definitely left his stamp and mark on hip hop, so to Kool DJ Red Alert we say...Respect Due.

What are your thoughts on DJ Red Alert? Leave all thoughts and comments below. Send any e-mails to straightouttahiphop@gmail.com.

Peace.

Sources:
http://www.kooldjredalert.com/html/bio.html
http://www.billboard.com/artist/dj-red-alert/bio/12435#/artist/dj-red-alert/bio/12435

Shock Value

2011-11-10T23:48:39Z

After the last "General" post ("Our Past Can't Be Our Present"; not the X-Clan "Respect Due"), there was a brief discussion/debate with my hip hop brethren and all around good-guy @MisterDrake (for all you Twitter lovers out there). You can check the discussion and post out here, but I want to piggyback off of that blog and even the conversation.

When I talk about comparing the past to the present and making sure that we just appreciate the artistry for what it is, that doesn't stop at an artist to artist comparison. Whether we recognize it or not, we compare artists in their current state to their past selves/work. When an artist creates a piece of work that resonates with the hip hop community, we always ask the question "Can they do it again?" But we don't ask this in the sense of can they make more quality music. We don't want the same feeling that might be different, but just as good. We want something familiar; something we've already seen or heard. Who cares if the follow-up effort is a really solid effort? It's still not a classic.

This is seen in no better place that the "Sophomore Jinx" theory. I'm sure you have all heard it before. An artist comes out and shocks the world with their debut album. Everybody claims they're the next best thing. But as they gear up for their second album, the questions about topping the first one start to arise. Can they out-do themselves on this project. How do they think the fans will respond? How does it compare to the first one? These are questions that we have heard. We may have even asked them ourselves. If you go back through some of my album reviews, I'm definitely guilty of it. I may say that the album I'm reviewing "isn't quite [insert album title]...", but why should that matter? All you need to know is if it's something worth buying; whether it's good or not, not how it compares to previous work.

Part of it is psychological. As humans, we need certain references and a lot of times we talk in absolutes. That's why we constantly have the debate about who's the greatest rapper ever. There probably isn't a greatest, but we still place one artist against another, constantly narrowing down until we have a never ending argument (although they can be fun). And let's be honest, perhaps artists bring it on themselves. Are we supposed to compare two albums when an artist does a sequel? Redman says he's working on Muddy Waters 2. OB4CLII just came out with high praise. Jay-Z now has three Blueprint's under his belt. How can we not compare one to the other? It would almost be unfair to think people would otherwise.

Then again, there haven't been sequels to Illmatic, Reasonable Doubt, Amerikkka's Most Wanted, etc. Perhaps Ice Cube matched, if not topped, he debut solo album, but most artists aren't as fortunate. And instead of hearing, "That was a great second album," most hear, "It's good, but not as good as..." We take away from our own listening experience when we do these comparisons. We become critics instead of fans. You could even say we become junkies. Each artist is a new drug and each album is another high, but we can never top that first high. We're never satisfied with what we have, just on the search for the hunt for the next best thing.

As artists get older or stop putting out music at the pace we're accustomed to, we tend to say they've lost it - that they're washed up. I beg to differ, though. It may be true in very few instances, but more than that, I think they've lost their shock value. It's hard to continuously reinvent yourself. DMX brought the grit back hip hop during the shiny suit era. Hip Hop was shocked by his presence. But what about now? How can DMX stand out when every single person with a microphone is killing somebody while simultaneously dancing and grinding on some chick?

This post could go on for a lot longer. I could talk about Nas and how his concept albums continue to keep him relevant. Or how Rakim can still out spit some of your favorite artists, but nobody will check for the album. We claim we just want quality music, but is that what we're really in search for? Or are we just waiting for another artist to grab a defibrillator and yell "Clear!"?

What do you think? Do artists just get washed up after a while? Is this whole thing about shock value just a baseless theory? Why do you think so many artists that still produce quality music get overlooked? Leave all your thoughts and opinions below. You can send any e-mails to straightouttahiphop@gmail.com.

Peace.

R.I.P. Heavy D

Respect Due: X-Clan

2011-10-30T20:31:50Z

Hip Hop is no stranger to conscious music or Afrocentricity. However, few groups have had the impact of X-Clan. The Clan was one of the most direct in both message and style. Rocking medallions; red, black, and green; and African garb, X-Clan - made up of Brother J, Professor X, Sugar Shaft, and Paradise the Architect - spoke and wore their message of social justice and enlightenment.

X-Clan didn't just talk the talk, they walked the walk. Their social involvement was seen outside of music, most notably with the Blackwatch Movement, founded by Professor X. Blackwatch was created to inform youth of worldwide issues and injustices, as well as making people experience Black Nationalist values within hip hop.

Although X-Clan split after dropping two highly acclaimed albums, "To The East Blackwards" and "Xodus", they came back together to release the album "Return From Mecca" in 2007. Unfortunately, Professor X would not live to see the album's release after passing away from spinal miningitis in 2006. Yet, even after his passing, Brother J and the other members continue to push the agenda of Professor X and the Blackwatch Movement. So, for the awareness spread both on and off record, to X-Clan we say...Respect Due.

What are your thoughts on X-Clan? Where do they fall when we talk about hip hop elite? What impact did they have on you? Leave all thoughts and comments below. Any e-mails can be sent to straightouttahphop@gmail.com

Peace.

Sources:
http://www.xclanmusic.com/bio.html
http://www.daveyd.com/interviewbrotherj.html
http://www.xxlmag.com/features/2007/03/brother-j-of-x-clan-rip-professor-x-august-4-1956-%E2%80%93-march-17-2006/

Our Past Can't Be Our Present

2011-10-21T23:19:21Z

I was at church this past weekend, and while I won't get into the sermon specifically, there was something the pastor said that I think relates not only to everyday life, but hip hop in this day-and-age. Essentially, he was saying that too often, we try to compare the new to the old and don't appreciate what (in the case of the sermon) God is providing us. When listening to this, I realized this sounds like so many hip hop fans today.

If you follow this blog, you know that I fall victim to this often. I think most of us do. Perhaps our intentions are good in the sense we want to use to find out "where we went wrong" and keep the spirit of hip hop alive, but we end up taking the current, great artists for granted. Sure, hip hop had a golden era, but leaving that period of time doesn't mean that we lose quality music altogether.

Maybe hip hop was supposed to go through this. Perhaps we were spoiled and took many of our legends for granted. I could even go as far as to say that the quality of hip hop music we had previously was a privilege and by not understanding/appreciating that and abusing that privilege, we lost it (or lost control of it). It's kind of like the spoiled, rich kid that gets cut off. We constantly talk about what we once had and are upset that we don't have it anymore.

However, getting cut off might just help that spoiled, rich kid begin to appreciate what was once taken for granted. Maybe that's hip hop's current state - or at least where it's heading. Maybe we are learning to let the past be the past, and although we need to always make an effort to remind ourselves of the past and remember all those that helped us get to this point, we are ready and willing to accept a new breed of artists and let them display their talents. In accepting these new artists, we have to ensure that we allow them to be themselves. Many have compared J. Cole and his storytelling to Nas when he was younger. While I'm sure it's a compliment, and it is almost human nature to compare things that bare some sort of resemblance, we have to make sure that we don't expect J. Cole or any other artist to be a reincarnation of our heroes. By doing that, we're not able to fully appreciate young talent. We only latch on to the part that is familiar and fail to see the greatness in everything else they display.

This isn't easy to do. I'm guilty of doing all the things mentioned. When I first heard B.O.B., he reminded me, as he did many other people, of Andre 3000. I'm sure there are other new artists that will come in the game that will remind of us of others that came before them. Acknowledging that is fine, yet, we have to make sure that we don't expect them to play that role and then become disappointed when that standard is not met. If you meet somebody that looks like your brother or sister, you don't then expect to have the same relationship with them that you would your sibling. Let's not do that with the current state of hip hop. Let's have a new and unique relationship with this generation of hip hop, and as it fades out, create a different one with the generation to follow.

What are your thoughts? Is it necessary to look back and compare? Do hip hop fans do too much comparison? Does that help or hinder the culture? Leave all thoughts and comments below. You can send any e-mails to straightouttahiphop@gmail.com.

Peace.

More Than One Story

2011-10-07T18:30:18Z

I recently bought Common's book “One Day It’ll All Make Sense”. I’ve been reading it a little bit here and there the past couple weeks, but early on in the book, while I was reading the “Prologue”, one quote really stood out to me: “It speaks to the fact that when you try to tell your own story, you can’t help but tell someone else’s along the way”.

I think this line describes hip hop in a number of ways and is a great way of explaining some of the controversy that surrounds it. Hip Hop is often attacked for its graphic or vulgar language and violent imagery. The artists that come from these backgrounds of poverty, struggle, and hardship are exposed to things that many people aren’t comfortable with and so, in the name of “keeping it real” or simply expressing themselves (as we all have a right to do), they attempt to tell their story.

Not all stories are fairy tales. They are formed based around some emotion. It may be joy, anger, sadness, depression, excitement, pride, or any other number of emotions you can think of. Out of these emotions are poetic stories that resonate in the ear and heart of the listener. However, what it is important for critics and young children alike to understand is that when the artist is telling “their” story (regardless of what kind of story it is), they are never telling their story alone. This is the point that Common makes, so well.

While many of the songs MCs create are based around their life story, they also tell the stories of the people that raised them, mentored them, lived in their communities, and anybody else they were exposed to – whether it be during day-to-day life or during one significant impact. When telling these stories, they may tell it from the outside looking in, but often times they talk about it in the first person, replacing the main character with themselves. This is where things get tricky.

There is a fine balance between telling somebody’s story and simply fabricating your own reality. As part of the hip hop community, we need to do two things; one as artists and the other as fans. As artists, they need to find that line and make sure that they don’t veer into an alternate reality and take on a persona that is not their own. While hip hop needs to receive more credit for giving a voice to the voiceless, it also needs to make sure that it is telling the story and not participating in the activities it describes (not the negative ones at least). As fans, we need to be aware that not everything coming out of an artist mouth is a first-hand account. It’s also important to note that mentioning or explaining certain circumstances does not always mean that they are being glorified. This message is especially important for young children who look to imitate or idolize these artists. If need-be, sit down with your children and explain this to them, so that they have a better understanding of hip hop, the story it’s telling, and how it is being narrated.

What do you think? Does hip hop do a good job of telling all of our stories? Does it need to get more credit? Leave all comments and thoughts below. Send all e-mails to straightouttahiphop@gmail.com.

Peace.

Cole World: The Sideline Story (Album Review)

2011-10-04T01:03:08Z

Here is the album review for the debut album of Roc Nation signee J. Cole. It’s been a long journey for him releasing his album, but it’s finally here, and I’m going to break down each track of the album, with a full rating at the end. Remember, I try not to rate songs that are really personal (how can you rate somebody’s life?) and I also left off the intro and any bonus tracks from iTunes. All that said, enjoy the review and leave any comments you have about the album below in the comment section! Let’s get started:

Dollar and a Dream III: If you’ve been following J. Cole at all the past few years, the title of the song alone will probably excite you. Have him explain it, the “Dollar and a Dream” series is one of the things that really defines his career thus far. Staying true to that theme, Cole raps like the underdog on the track, mentioning hardships as well as boasting his skills – trying to prove he deserves to be amongst the elite. The production on the track, handled by The University, is nice (especially the beat change about half to two-thirds of the way through the song) and really taps into the emotion of what “Dollar and a Dream” represents So far, so good. Song gets a 4.5.

Can’t Get Enough feat. Trey Songz: It’s pretty obvious why this is the first official single for the album. With the content surrounding a “bad chick” and Trey Songz on the hook, it was meant to get radio spins. J. Cole still displays some of his wit on the track that, had it been delivered differently, may have really impressed hip hop heads. But, this song will appeal more to the casual listener, possibly expanding Jermaine’s fan base, but not showing off his full arsenal, by any means. Brian Kidd’s production is crazy, though, with sounds that put your right in the heart of the Caribbean and makes for a nice little groove. I’d give it a 3.5.

Lights Please: Most J. Cole fans are probably familiar with this song. Re-recorded vocals and instrumental enhancement give this an updated sound, but other than that, it’s the same song that really led to the Carolina MC getting signed. Although the song is a little dated, it’s still understandable why he would include it on the album and no matter how old, the song itself is still amazing. Give it a 5.

Sideline Story: This is a classic J. Cole song. He relates to the everyday young black male when talking about an encounter with an older white man on the plane, rapping “slang we be speakin’ probably soundin’ like Spanish/then I f*ck they heads up when a n*gga show manners.” He also touches on his experience in New York being from the South, comparing his relationship and new lifestyle to that of Dr. King and Coretta’s marriage, and his trials breaking into the rap game. It is the J. Cole we’ve come to know and love and for that, it gets a 5.

Mr. Nice Watch feat. Jay-Z: On this song, the most impressive thing may have been J. Cole’s production. The beat knocks hard and could probably satisfy hip hop heads and strictly club goers alike. While the subject matter isn’t very deep in the song, J. Cole does get a little further than the shallow end on the hook when he says “They say time is money, but really it’s not/if we ever go broke girl, then time is all we got.” And, of course, everybody went crazy when they heard Jay-Z did bless Cole with a guest appearance. Jay’s verse is nice, with almost every line playing off the subject of time (sort of the same approach he took with “Lyrical Exercise”), perhaps slightly making up for J. Cole not really going in on the beat like he could have. This may be the closest compromise hip hop purest and casual listener will have from this album. I’d give it a 4.

Cole World: This is probably the most boastful J. Cole is on the album. And why not? He’s entitled to it. It’s been a pretty long journey. Being the first signee to Jay-Z’s new label is a lot of pressure alone. Not to mention two critically acclaimed mixtapes, touring non-stop, rumors swirling, and uncertain release dates/push backs. He’s earned the right to stunt a little bit. There are clever lines sprinkled throughout the track, but he didn’t give us all he’s got on this one, either. This is a 4.25.

In The Morning feat. Drake: This is a pretty predictable selection. With one of rap’s most recognizable names and being featured on highly successful Friday Night Lights, it was bound to be placed on the album. Both J. Cole and Drake have lines that you can pick out (and Cole’s last verse is actually pretty good), but neither of them gives their best showing. I once saw somebody on Twitter say that they chose to do a song for the ladies in order to avoid discussions of who killed who on the track. True or not, the rationale makes sense and this may not have been the outcome many would have hoped for or expected with these two pairing up. This gets a 3.75.

Lost Ones: This track was recorded a while ago, supposedly around the time of The Warm Up, but it is still one of the best songs on the album. We find J. Cole telling the story of young couple with a baby on the way, from three different perspectives – the father-to-be, mother-to-be, and an outside narrator. J. Cole searches the different takes from a very realistic view, with the young man wanting an abortion and the young woman claiming she will keep the baby, even if he doesn’t stick around. It is a dilemma that many young people face, but the narrator at the end forces the young man to think about “his seed”, without providing an answer to the outcome. Great story and song, deserving of a 5.

Nobody’s Perfect feat. Missy Elliott: This is another record where Cole flexes his production muscle and sets up a track that you can just ride to. It’s a pretty laid back track, but heavy bass may get you moving a little bit on your drive home. It’s also great to hear Missy on a track again. She only holds down the hook, but it’s still exciting to hear her voice over instrumentals again and a great way for J. Cole to pay homage to Missy – of whom he says he greatly admires. The first verse from Cole is actually pretty good, although maybe not completely focused, while the second one isn’t quite as memorable. This song gets a 4.5.

Never Told: This track finds J. Cole exploring the complicated dynamics of a relationship. Asking why men cheat and describing sexual encounters of so-called players, he tries to find the deeper meaning behind cheating, commitment, and love. Although a little out of the ordinary in terms of style and delivery, it’s actually a pretty good song and hopefully gets people to think a little more about their relationships and dealings with the opposite sex. I’d give this a 4.

Rise and Shine: This honestly could have served as the intro. Granted, they may have had to adjust the rest of the song placements, but the emotion and passion on the song really stick to the “sideline” theme. With the exception of the last couple bars, Cole spits pretty hard throughout and, perhaps more important that anything else, you can hear the hunger in his voice. All that said, I would give this a 4.5.

God’s Gift: Only two verses, but J. Cole puts on display a flow and delivery that he has mastered. “God’s Gift” right behind “Rise and Shine” makes for two great tracks back-to-back and is only unfortunate that it comes so close to the close of the album. This is a song that could have been featured on a mixtape like Friday Night Lights, but is definitely album quality. I’ll give this one a 4.75.

Breakdown: This is the most personal Cole gets on the album, so I won’t rate it. While maybe briefly mentioning certain things on other songs throughout the project, on here, he really opens up about his relationship with his father and his mother. In the first verse, he talks about the pain he felt growing up without his father – only talking to him every few months – and even being big enough to admit that he cried after seeing his dad for the first time in years. As men, we are often afraid to ever admit shedding tears, but Cole mentions it a couple of times in the opening verse, showing his authenticity as an MC. He also talks about his mother’s drug addiction on the second verse, as well as his hopes for better days for all his friends and loved ones. He reserves the last verse for an unnamed woman whose baby's father is in prison. Although she has tried to remain strong while he does his bid, after “seven seasons”, it is clear that she is beginning to grow weak and is missing the presence of another man. J. Cole urges her to remain strong and not “breakdown”, although he admits that it is a difficult task.

Work Out (Bonus Track): I believe this was the unofficial single, and once again it’s pretty obvious why. Flipping the Kanye instrumental for “The New Workout Plan”, this is a very upbeat song that is sure to catch the ear of many, but perhaps only keep the attention of the casual listener. There isn’t much to hold on to for hip hop purist, but this is another example J. Cole trying to prove himself as a producer by taking sounds already created and turning them into new pieces of work. I’m going to say this is a 3.75.

Overall, this is a solid first effort for Fayetteville’s hometown hero. Although there is a blatant attempt to grow his fan base and become more recognizable on a mainstream level, there is still plenty on the album to keep hip hop heads satisfied. We have to remember, he went on tour with Rihanna, so some songs were catered to that audience. I’m willing to bet that Rihanna’s fan base is more drawn to “In the Morning” than they are “Who Dat”. By trying to tap into that market, J. Cole had to take a page out of Jay-Z’s book and slow the flow down in order to make the successful crossover. Due to this, there are certain things that you can nitpick in regards to what is or isn’t on there (as I may have done with this album), but overall, it’s a fairly balanced project. Although he didn’t hit us with something like “Return Of Simba” (a song that showed him going all the way in lyrically), there is still enough to prove that he is a true MC with his eyes set on success. Overall, I’ll give the album a 4.

Respect Due: Roxanne Shante

2011-09-29T20:22:11Z

Ask most young ladies if they've even heard of her now (as you could do for many of our legends) and they would probably look at you crazy, but for most female MCs, Roxanne Shante is one of the most influential ladies to rock the mic; and it all happened by chance. The story goes that one day, Shante (born Lolita Shante Gooden) overheard three guys talking about UTFO - the group popular at the time for their hit "Roxanne, Roxanne" - cancelling their show. Shante offered to write a diss track and the three men - Tyrone Williams, Mister Magic, and legendary producer Marley Marl - bought into the idea.

Marley Marl took care of the production while Shante laid the vocals to what would become "Roxanne's Revenge". The song was a huge success, helping launch the careers of Shante and Marley Marl. The track also birthed over 100 other "Roxanne, Roxanne" response tracks. Shante was only 14 years old. Her celebrity got to the point where she wasn't even able to go to school due to the amount of attention she was receiving.

While never quite having the impact that "Roxanne's Revenge" had, Shante did have a few hit singles, many of which were written by Big Daddy Kane and produced by Marley Marl (these included "Have A Nice Day" and "Go On Girl"). Although she retired at the age of 25, the young Shante had one of the hugest impacts on hip hop in general and women specifically. Without her, who knows where so many of our other leading ladies would be. So, to Roxanne Shante, we say...Respect Due.

What are your thoughts on Roxanne Shante? How big was her impact? What would hip hop look like without her? Leave all your thoughts and comments below. You can send any e-mails to straightouttahiphop@gmail.com.

Peace.

Deeper Than Rap - 50 Cent Wants to Feed The World

2011-09-23T22:03:12Z

I should have put this up a while back, but since 50 dropped a new record today, I figured today would be better than never to feature his latest venture, Street King, on "Deeper Than Rap".

If you don't know already, 50 Cent has partnered with the United Nations World Food Programme (WFP) to create an initiative with the intent of feeding 1 billion people across the world. He was inspired to do this after going to Africa for the World Cup and seeing the poverty and starvation of the people on the continent. Wanting to make a change, he got together with WFP to create an energy drink shot called Street King. This drink is provides you with energy and focus and with every shot purchased, a child is fed.

When I first heard about this a few weeks back, I gained a new respect for 50 Cent. His business savvy has always been one of the things that has made him a huge figure in hip hop, but to be so hands on and passionate about a project like this shows that hip hop is about more than beats and rhymes. Hopefully we can see more of this out of not just 50, but many hip hop figures and really try to provide a change.

For more information on Street King and/or to purchase the product, you can visit http://www.streetking.com/. To date, over 2.5 million shots have been bought - meaning over 2.5 million children have received a meal they would have otherwise not had.

What do you think about 50's new venture? Have you tried the energy drink yet? Leave all thoughts and comments below. You can send any e-mails to straightouttahiphop@gmail.com

Peace.

Why The Fascination With Haters?

2011-09-13T03:57:28Z

Hip Hop, and perhaps rightfully so, spends a lot of time focused on “haters” and their presence in everyday life. According to nearly anybody that is associated with hip hop, these are the people that have motivated them to chase their goals and pushed them to excellence. Without the haters, they may not have succeeded.

What I want to do here with this blog is challenge hip hop to take another approach. Instead of constantly attempting to prove haters wrong, try to prove supporters right. Sure, every now and then we get a song or two that will shout-out moms and of course we have the “thank you” speeches when awards are won, but it’s evident that the focus of hip hop in many aspects evolves around the hater and not the people actually invested in the person’s success.

Maybe this is easy for me to say because I don’t have many perceived “haters”. Either they don’t exist, I’m naïve and/or ignorant to the fact that they’re around, or I simply end up disassociating myself with those people (consciously or subconsciously). Whatever the case, I much rather prefer to strive for greatness based upon the people that have sacrificed for me and have cheered for me since day one as opposed to wasting time dealing with people that give away nothing but negative energy. The smile of a supporter is a hundred times greater than the frown of a hater.

Don’t get me wrong; having something to prove can be a huge motivator. Naysayers have played a very important role in many great people’s lives, especially when it comes to competition. Anytime somebody decided to go against Michael Jordan, he would take it one step further just to prove he was basketball’s elite. Same can be said for countless athletes, artists, entertainers – even community activists and politicians. Being denied something has a weird way of bringing out the best in us at times. However, we can’t lose sight of the fact that our ability to take on hate and negative energy is heavily based upon the love and encouragement of those behind us in our corner.

If we gave just a little less time focusing on what negative people have to say, perhaps we could shed many of the other negative aspects of our culture, as well. When we focus on haters, even if we do overcome all their hopes of failure and misery, we still tend to carry around a lot of hostility, which only bring stress and pain upon ourselves. Let’s make sure that we use only the minimum amount of negative energy needed to get us going and the remainder of the desire should come from the people that love us and actually want to see us win. If we can do that, then we will know and they will know that all of the support, praise, and sacrifice were not in vain.

What do you tend to use as motivation? Who were the people that kept you motivated? What role do haters play in hip hop? Do they play too much of a role? Leave all your thoughts and comments below! You can send any e-mails to straightouttahiphop@gmail.com.

Peace.

Respect Due: Eddie Cheba and DJ Hollywood

2011-08-30T22:42:54Z

Although little of their history can be found on the web or documented on countless websites, blogs, etc. dedicated to hip hop, two pioneers that truly helped launch hip hop are DJ Hollywood and Eddie Cheba. Jumping from club to club throughout the boroughs of New York, they would have the party rockin' wherever they went.

Although never officially a duo, when Cheba and Hollywood linked up, friendship and similar styles led them to work together on a regular basis and to this day, one is rarely mentioned without the other. They are best known for and credited with originating the call-and-response style of rapping that can still be seen in the music today. Often times acting as DJs and MCs simultaneously (although Eddie Cheba did have his own DJ, as well), these two took crowd participation to the next level and gained notoriety throughout New York - and eventually beyond. They were also very influential in the career of Kurtis Blow and have influenced many legends of the game.

Without these two, performances may have never been the same (or at least would have taken a lot longer to come around). They made audiences part of the show and that still continues to be a main staple of hip hop today. And although this small blur does not do them justice in what they offered to hip hop, we still want to say to both Eddie Cheba and DJ Hollywood...Respect Due.

What do you think about Cheba's and Hollywood's influence of hip hop? Leave all thoughts and comments below. You can also send any e-mails to straightouttahiphop@gmail.com.

Peace.

Source: http://hiphop101a.blogspot.com/2007/09/cheeba-cheeba-yall.html

Lupe Fiasco Foundation Feeds Those In Need

2011-08-15T20:42:10Z

Lupe Fiasco and his foundation will be hosting a community feeding initiative through the remainder of August. Partnering with The New Birth Christian Center and The West Englewood Methodist Church, the goal is to feed 100 in the city of Chicago per day for the rest of the month. This is all part of the Block by Block initative and will help provide those that are in need.

I just wanted to salute Lupe Fiasco for backing up his words with action. Not only do we need more example like this, but we need to support and acknowledge them more. In hip hop we always talk about giving back and not forgetting where we come from, yet when somebody like Lupe actually contributes, we rarely stop and applaud them for their efforts. Let's hope that more artists become more involved and that those that are already involved gain recognition not only for their music or accomplishments, but for also helping those less fortunate.

What do you think about Lupe's initiative? Who are others that give back in hip hop? Leave all thoughts and comments below. You can also send e-mails to straightouttahiphop@gmail.com.

Peace.

Trending Topiks: #howhiphopchangedtheworld

2011-08-13T22:05:09Z

There's no way I could cover #howhiphopchangedtheworld in one blog post. However, I will attempt to generalize it and say that hip hop changed the world by giving people around the world a common language. This language doesn't come across only in dialect, but in how we communicate, what we stand up for, how we dress, how we act, how interact with one another, even if we don't speak the same "language".

As we have heard so often, and it's true, it gave a voice to the voiceless. It also dared people that with no hope to dream and aspire to become greater than what they already were. Not only that, but after a lot of those people did aspire, they're dreams became real and it gave everybody that is part of the hip hop community hope. It has transformed the way we look at ourselves, friendships, education, politics, and a host of other factors that play into our day-to-day lives.

Hip Hop started off by inspiring one generation, but has gone on to inspire many more - and will continue to inspire those to come as long as we allow it to be used as a form of empowerment. As for myself, hip hop has given me a sense of direction in my life. I want to change the way people think for the better. I want to show others the power that hip hop possesses. I want to continue to learn and grow and give back to others. Hip Hop helped me to want to pursue all of this. It has done it for me and millions around the world. That, in the most general sense, is how hip hop has changed the world. Nobody could tell me different.

How do you think hip hop has changed the world? Leave all your thoughts and comments below. You can also send any e-mails to straightouttahiphop@gmail.com.

Peace.

Respect Due: Busy Bee

2011-07-28T19:13:45Z

When people discuss hip hop and all that it encompasses, its competition is often brought up. One of the people that really symbolize this is Bronx born MC, the Original Chief Rocker, Busy Bee. Busy made a name for himself battling MCs all around New York. He became known for a lot of his humor and wit in much of his rhymes and was able to take translate his battling skills onto wax.

In addition to his album releases, including Running Thangs and Thank God For Busy Bee, he released singles including "School Days", "Making Cash Money", "Busy Bee's Groove", and "Suicide". He also worked extensively with Kool DJ AJ and is a part of Afrika Bambaataa's Zulu Nation. He would actually DJ for Bambaataa's Zulu Nation parties during the early 1980s.

Busy Bee also proved his battling skills when he won the World Supremacy Battle Belt in 1986 and participated in the infamous battle against Kool Moe Dee. Copies of this battle have continued to circulate among the hip hop community since the battle first occurred.

Just like so many other notable old-school artists, Busy Bee was featured in - you guessed it - Wild Style. He is featured as one of the main characters in the movie as an MC and is shown battling Lil' Rodney C of the Funky 4 +1 and others. Busy continues to travel and perform today, taking hip hop wherever he goes. For his role in hip hop's beginning stages and as a pioneer, to Busy Bee we say...Respect Due.

Leave any thoughts or comments you have about Busy Bee below. You can also send any e-mails to straightouttahiphop@gmail.com.

Peace.

Sources:

http://hiphop.sh/busy

http://www.allmusic.com/artist/p23286

http://www.oldschoolhiphop.com/artists/emcees/busybee.htm