STRAIGHT OUTTA HIP HOP

Nas "Daughters" Video

2012-05-29T00:23:08Z

There are some songs that are much more than just "good music." Nas' "Daughters" is one of those. This song represents the love of a father, the contradictions of sexual relations, dealing with personal flaws, and much more. And the fact that Nas chose this as a SINGLE is huge! In a mainstream market where only the songs with a catchy hook and beat will get attention, Nas wanted to put this on people's conscience. This is what hip hop is about and this song is one of the truest forms of reality from one of our greatest stars. I'm glad this got a visual and hopefully more songs like this come out of hip hop. Enjoy the video!

Peace.

What Radio Commercials Say About Hip Hop

2012-05-17T06:58:13Z

Part of the reason that commercial success got the best of hip hop is because we weren't aware of how detrimental it could be. There was money coming from all angles, but little by little, the landscape started to change and many fans didn't like what hip hop was becoming. One place that I still see as very detrimental to hip hop, and those of us in the hip hop community, is radio commercials.

My iPod has been out of commission for a while now, so I've had to resort back to popping a CD in the deck, but every now and then if I'm just going a short distance and don't feel like searching through CDs, I'll just let the radio play. Now typically, I wouldn't allow this at all, but here in L.A., there is one station that does pretty well when it comes to the song rotation (93.5 KDAY). While there may be only a few questionable song choices, what really disturbs me are the commercials.

While I'm sure this isn't 100% true, it seems as if the only commercials that come on are from bail bondsmen, companies trying to sell rims and fast food joints. The thing that most frustrates me about this is that these companies feel that hip hop listeners are their target market for the products they provide. Don't be fooled: these commercials aren't just played on every radio station or in every market. These are strategically placed slots to attract people they believe are most likely to purchase their products/services. I'm absolutely certain that Los Angeles isn't the only market this is occurring in.

The other thing that is annoying about these advertisements is that they're very poorly done. In pitching products/services that are detrimental (i.e. fast food) and/or a complete waste of money (i.e. fancy rims), the companies producing these ads don't even take the time to make a quality commercial! Instead, they have people attempting to use hip hop "lingo" or slang, put a terrible beat behind it, and then expect us to spend our money with them.

There are three other things that have yet to be mentioned in this: 1) the station's willingness to put these ads up, 2) the reason the advertisers feel hip hop stations are the place for their commercials, and 3) if listeners are actually buying. In regards to the radio stations running these ads, we can't really be surprised that they accept these advertisers. If these companies are the only ones that want to advertise, the station has to take them since that is the way the stations make their money. Not to mention that many don't care about the overall well being of their listeners - only that they maintain them.

There could be a number of reasons that the advertisers feel their commercials belong on these stations. Obviously the content in the music is one. Artists talking about all their illegal activity could make bail bondsmen feel that listeners of that music would need their services. Of course everybody is riding on 22+ inch rims, so of course people selling them are going to look to us as new customers. Things like that are definitely a possibility. There could also be a racial, economic class, and geographical rationale. If the organizations advertising have determined that people of a certain ethnicity, those that generate a certain income, or those that live in certain neighborhoods (all of which can obviously be intertwined) are the ones that buy their products, they're going to advertise where those people live. Whatever the reason, it's disheartening to know that they feel their money is best spent by targeting hip hop fans.

Finally, as with anything else, the listeners and fans have the most power. It's hard to determine if fans are actually buying all of these things that are being thrown at them, but if the same types of ads are constantly running, it's probably safe to say that they are. If they weren't, advertisers would see it as a waste of money to have the ads running. Amidst all the other things mentioned, it will take us, the listeners/consumers, to change our mentality and start spending our money in places that have a positive impact if anything will change.

What are your thoughts? Do you even listen to the radio? What types of commercials play on the station you listen to? How detrimental are these commercials to hip hop? Leave your opinion below.

Peace.

Does Hip Hop Want A Relationship With Police?

2012-05-07T23:58:45Z

The 20-year anniversary of the Rodney King beating recently passed and during the #hiphoped discussion on Twitter (Tuesdays at 9pm EST/6pm PST), I posed the question: Does hip hop (and the black/brown community as a whole as it was pointed out during our conversation) want a better relationship with law enforcement or simply want the mistreatment to end? After posting it, I decided this was something I wanted to dig a little further into.

In response to this question, I got a few responses; one of the most regular ones being (as you might expect) that the relationship would be better if the mistreatment didn't happen. Davey D, who joined us for the conversation, argued that there was no relationship at all with the black and brown community. While I'm inclined to agree with both - that there is no relationship and that one could either form or get better if the beatings, judgment, etc. ended - I feel as if there is something we are still not discussing.

When I ask what hip hop really wants from its relationship with police, I think we have to decide if we want a relationship at all or if we would prefer to police ourselves. Obviously, we want the brutality and mistreatment in our communities to end, but until we determine exactly HOW we want to interact once it ends, we will make little to no progress. If we decide that we don't mind having a relationship with law enforcement as it is set up now (as long as we can be assured that we will be treated with the same respect as all other citizens), then we may have to start making changes within ourselves to be more involved. This may include doing away with the "Stop Snitching" campaign, cooperating in community watch programs that involve police, start accepting law enforcement as a viable career, etc. We may have to find a way of being the "bigger man" and extend a hand of truce; otherwise this cycle of hostility will continue.

On the flip side, if hip hop/black and brown communities decide that we want nothing to do will the police department and the way it is set-up, we will have to create our own policing strategies and use that as a way to protect ourselves from the system currently in place. This was seen back during the days of the Black Panthers. By arming themselves with the knowledge of the law and acting as a witness for as many traffic stops, arrests, and other interactions police officers, the Black Panthers ensured that the black community got as much justice as possible during one of the most tense race relation times in American history.

As of right now, there continues to be hostility from both parties - those in the inner city and the police. The continued abuse of those in the black and brown communities by authority figures still feeds a negative perception of the police. However, our attitude of "f*ck all police" and then often times lashing out feeds an attitude of "us vs. them" and lends to more police brutality as opposed to trying to find a way to create a better environment for both sides. Until we decide what the extent of our relationship with authorities will be, if any, and determine what the best action is, we will simply be in this never ending cycle of abuse and anger without finding a true solution.

What are your thoughts? Do you think hip hop is fine with police as long as there is no brutality, or do we want nothing to do with law enforcement? What would it take to create our own police system? Which would work better as we move forward? Leave all thoughts and opinions below. Send any e-mails to straightouttahiphop@gmail.com.

Peace.

The May 3rd EP by KuroiOto

2012-05-04T15:54:25Z

If you remember a while back, we featured a group from Michigan called the BLAT! Pack and their Whatupdoe EP. Well, their in house producer and friend of mine KuroiOto is now dropping his own project, The May 3rd LP (if you couldn't tell, it dropped yesterday). Straight Outta Hip Hop supports poetry/spoken word, dope instrumentals, positive portrayals of black women, and love. All of this is blended on the project and makes for a nice, easy listen. Check out the description and link and video below:

Artist: KuroiOto
Album: The May 3rd EP
Website: http://www.blatpack.com/producers-djs/kuroioto

"BLAT! Pack beatsmith KuroiOto presents his latest work, “The May 3^rd” EP lovingly dedicated to his muse on the day of their anniversary. An affectionate mosaic of original poetry, beats and sampled offerings diving into his fondness for her energy. Over six tracks he recounts the ways, culminating in the title track a richly energetic, love symphony. Afro-centic shades, passionate lyrics and funky rhythms keep the theme burning vividly without losing sight of glowing instrumental highlights. KuroiOto reminds us how it feels to be under love’s immaculate spell. BLAT!"

Main Link: http://www.sharebeast.com/tly0g94wopxy
Alt. Link: http://www.mediafire.com/?rcc238y856z2c74

Respect Due: U.T.F.O.

2012-05-01T00:37:18Z

A few months back in a Respect Due post, we paid homage to Roxanne Shante, who became recognized for her response to one of hip hop's biggest hits at the time. Well, with this post, we want to pay homage to the group that made that response possible - U.T.F.O.

The Untouchable Force Organization (U.T.F.O.) was made up of members. The three MCs were Doctor Ice, the Kangol Kid, and the Educated Rapper. Mix Master Ice held down the boards as the DJ. With their roots in hip hop running deep, the group originally met as back-up dancers for Whodini, however, they soon decided to form their own group. The group originally called themselves the "Village People of Rap", given each of them had a unique image and characteristic. Doctor Ice was the "Hip Hop Physician", Kangol Kid was known for always sporting a Kangol hat, the Educated Rapper was a college student that would sport a suit and tie, and as the DJ, Mix Master Ice played the ninja role, due to the way he was "cutting things up". It wouldn't be long before this mix of personas would prove to be a good one.

What would follow the uniting of the group was one of the most successful hip hop songs of the time and still one of the most influential, "Roxanne, Roxanne". This song, which describes each of the MCs bidding for the attention of a young lady (guess her name) who eventually turns each of them down. This song would later spawn over 100 responses, including the one previously mentioned that would help spawn the career of Roxanne Shante.

The group would go on to make a total of five albums (the Educated Rapper took a brief hiatus between the first and third album), but nothing else they released would be able to measure up to the success of "Roxanne, Roxanne". In the early 90s, the group decided to finally disband, but the impact they left on the hip hop can't be denied. The members continued to make music on their own, especially Doctor Ice, who dropped a number of solo albums, and Mix Master Ice, who is known for his innovative scratching techniques and has had an impact on several DJs throughout the years. So, for their contribution to hip hop, we say to U.T.F.O....Respect Due.

What are your thoughts on U.T.F.O.? What do you think about the song "Roxanne, Roxanne" and all of the responses? Where would we be without it? Leave all comments below. Send any e-mails to straightouttahiphop@gmail.com.

Peace.

Sources:
http://www.allmusic.com/artist/utfo-p109/biography
http://www.oldschoolhiphop.com/artists/emcees/utfo.htm

Hip Hop's Golden Apple

2012-04-25T18:40:34Z

Often in hip hop, we hear about how artists, searching for a way to get their music out and strike it big, sign deals with major labels that eventually threaten not only their careers, but their livelihoods. What draws these artists in is the same thing that has been promised to all underprivileged people (specifically black people) for years: falsified promises of riches and wealth.

In his The Souls Of Black Folk, W.E.B. Du Bois tells the story of Atalanta - a Greek Goddess. In the story, Atalanta would only marry the one that could out-race her. As a distraction, Hippomenes laid out three gold apples. As they raced, Atalanta gazed over the first two apples, narrowly escaping the grasp of Hippomenes. However, when Atalanta reached the third apple and gazed over it again, Hippomenes placed his arms around her. As Du Bois put it, "...looking on each other, the blazing passion of their love profaned the sanctuary of Love, and they were cursed."Du Bois later writes, "...the warning is needed lest the wily Hippomenes tempt Atalanta to thinking that golden apples are the goal of racing, and not mere incidents by the way." After reading these words, I couldn't help but think of hip hop and its relationship with big business and corporate America.

Du Bois tells this story because he acknowledges that black Southerners were becoming driven by material goods, which was leading to the destruction of the black Southerner. While this warning from Du Bois was issued way back in 1903, I think that the same mentality and demise are more prevalent that ever. This is especially important in hip hop, where the majority of those thrown into the whirlwind that is the music industry are young black men.

It is undeniable that the reason much of the current rap music (and i say "rap" specifically, not hip hop) does more destruction that uplifting in the hip hop community is because the destruciton is what sells. Most rappers feel that if they make a certain type of music, they get more spins, sell more singles/albums, and make more money. Yet, as time goes on, labels continue to encourage these artists to make music that is detrimental, entice them with the opportunity of making a fortune, all the while finding ways to take even more money out their pockets and creating contracts they can't get out of. We have heard this story over and over and over again, but people continue to fall for this gimmick.

Outside of hiring lawyers that truly have the artist's best interest at heart, we have to teach people looking to be MCs that they have a greater purpose than simply making money. But this lesson isn't reserved only for those that seem to be making music that does not capture the true spirit of hip hop. This lesson applies to ALL people looking to get involved in hip hop.

Often, when people are looking get youth involved in hip hop and move in a more "conscious" direction, they often try to show that there is a way to generate money by being more conscious. While money obviously serves as a great incentive, it has to serve as only that and not the main objective. Many people that start off with good intentions have been swayed to do things that aren't always in the best interest of the people they serve because, in order to make more money, they have to go away from the formula they were following.

I think this is often why artists that were once held to a high standard then become so polarized within the community. While they come into the industry and have a good message, people feel as if they move away from that message the more successful they get (Kanye West is an example of this perception). We must begin to form a healthy mentality surrounding wealth. While it is "an incident by the way" to our goal (and it is certainly something that would be nice to gain), it cannot become THE goal we chase. Once we stop the industry from duping us into this mindset and start realizing that our responsibility is to so much more than money and material items, we will see a change for the better in the music and culture.

What are your thoughts? Do W.E.B. Du Bois' words still ring true today? In what ways can we reduce the importance of money within the culture? Leave all thoughts and comments below. Send any e-mails to straightouttahiphop@gmail.com.

Peace.

Prophecy or Brainwash?

2012-04-17T20:54:22Z

It has been said on many occasions that the constant rotation of the same songs on radio is equivalent to brainwashing. On many levels, I agree with this notion. I have also noticed that artists that tend to give themselves titles referring to greatness seem to rise to super-stardom and be treated as such. Perhaps the three best examples of this are Jay-Z, Lil Wayne, and T.I.

If you asked anybody where these artists would have been soon after their first albums came out, nobody would say any of them would be in positions they're currently in. Although he dropped a critically acclaimed debut album, it wasn't until his third album that Jay-Z started to become a household name. Soon after, he took on the moniker "Hova" - God MC - and then began the campaign of "Best Rapper Alive." Shortly after these declarations were made, Jay-Z grew to be the most successful star hip hop has ever seen (this being both within and outside the hip hop community).

When the "best rapper alive" retired, Lil Wayne noticed that the position was vacant and up for grabs. Around the time that the first of the Carter series was coming out, Lil Wayne was starting to come into his own. So, in gearing up for the release, Wayne made the bold statement on his single "Bring It Back" that he was "the best rapper alive, since the best rapper retired." Whether you agree or not, the Carter was the beginning of the industry takeover Lil Wayne started and has yet to really let go of. Coincidence?

T.I., nearly since the beginning of his career, has referred to himself as the "King of the South". While his debut album numbers may not have reflected this, he has maintained that sentiment throughout his career and is now respected as at least one of, if not the, king of the South. T.I.'s rise is not that of the typical artist. His debut album was not nearly as well received as so many other hip hop greats. It was only his confidence and the belief that he should be recognized as a king of his region that has gotten him where he is today.

Given the scenarios mentioned, did these artist simply profess their success or were people brainwashed into believing so - leading them to support the artists as such? Nearly all artists will refer to themselves as the best or greatest in their music. Often, these statements tend to come across simply as boastful lines to only be taken in context of the song. However, the statements mentioned above were not only isolated statements on wax, but these artists would also use the phrases in interviews and defend them when questioned about them. By hearing these declarations so often in an entitled manner, did fans just buy into these beliefs?

The argument could be made that this self-appointment of king, best rapper, etc. only became relevant because the artist proved it. Jay-Z didn't really start using his monikers until he gained commercial success. T.I.'s campaign seemed to become more adamant as his popularity grew. Lil Wayne, coming off of two albums that were relatively successful, but not critically acclaimed, perhaps didn't have much to back his statements at the time, but it's hard to argue with the results that followed.

It is hard to say what the exact reason for success for any artist is. I'm sure it's a mixture of talent, confidence, marketing, etc. However, I do find it a little bit more than a coincidence that artists, such as the ones mentioned in this post, who declare themselves the best with conviction, tend to have results that mirror that. If there is any correlation, we have to be very cognizant of the messages we send. Not only is it possible that we risk compromising the standards by which we consider who is the "best", but we also risk it becoming more and more difficult for young listeners to separate real from fake and right from wrong. If there is any level of "brainwashing"
associated with messages being heard due to constant spins on radio, we have to make sure that we catch young listeners early and explain to that not everything they hear can be taken at gospel.

What are your thoughts? Do you think titles depicting artists as the best force people to believe it? Is it just a big coincidence? Do any of the artists mentioned have the right to make these proclamations? Leave all thoughts and comments below. Send any e-mails to straightouttahiphop@gmail.com.

Peace.

Beauty Is Only Skin...Tone

2012-04-11T07:09:59Z

Obviously, the title of this blog is ridiculous. This is far from what I believe and what I would hope anyone would believe. However, if you listen to many hip hop artists, you might think otherwise. It seems that more and more, when male artists are describing the types of women they associate with (essentially the women they find attractive), they constantly refer to "redbones"* and light-skinned women - ignoring those of all different skin complexions and cultures.

I have yet to understand why artists still tend to take such shallow stances in their music. There are several rappers that I respect that have made similar comments as well as artists that I may not be a fan of. Artists from Lil Wayne, to Game, to Chamillionaire, to Jay-Z have all made such comments and each time, I try to understand what the purpose was of singling these women out as beautiful as opposed to all others.

I know that sometimes artists like Lil Wayne and Game, who have an affiliation with Bloods, may use "redbone" simply as play on words. Yet, what does that say when we are willing essentially degrade women of all other shades and nationalities just for the sake of a slick rhyme? This is especially important because these messages are coming from black men (many of them of a darker shade in their own right) that, in effect, tells darker-skinned black women they are not as pretty as their counterparts of a lighter complexion. These statements coded in rhymes are all extensions of the blatant comments made by Young Berg in 2008 during an interview when he claimed he doesn't do "brown butts". Why, in 2012, do such shallow comments continue to be made?

This standard of beauty is one that we have been forced fed for years. Obviously, dating back to the days of slavery, it has been taught that the darker the person (male or female), the less attractive they are. America's standard of beauty tends to be thin, white women. As of late, being curvaceous has been accepted, which is an affirmation of black beauty. However, this sense of light skin versus dark skin has still haunted hip hop in part and the African-American community as a whole.

If there is to be any positive representation of black women of ALL shades, it is in hip hop. Hip Hop has always been about speaking for the mistreated, abused, and those not spoken for. Yet, I haven't heard a song like "Brown Skin Lady" from Black Star's 1998 debut album until Dead Prez's "The Beauty Within" in 2010 - and have yet to hear one since. It has been said time and time and time again, but artists need to understand the power both words spoken and unspoken (by not mentioning darker skinned women) can have on the psyche of the culture. There are sure to be young girls listening to their music that don't understand how beautiful she is even though she doesn't fit in the category of redbone/yellowbone/light-skinned.

Women of all shapes, sizes, cultures, and nationalities are BEAUTIFUL. All women struggle with this sense of beauty, though - especially black women. If artists are going to claim to be the spokesman of the culture, then we have to hold them accountable and ensure that they do what they can to support those in need of positive reinforcement; not sustain the already misguided views of the masses.

What are your thoughts? Why does hip hop seem to be so preoccupied with women of a fair shade? What artists are attempting to break this mentality? Leave all thoughts and comments below. Send any e-mails to straightouttahiphop@gmail.com.

Peace.

*Redbone typically refers to a person that is tri-racial, usually a "mixture" of African-American, Native-American, and Caucasian, or any other racial combination that usually gives the skin complexion a hint of red

Respect Due: Rick Rubin

2012-03-31T00:24:49Z

In one of the earlier editions of "Respect Due", we paid homage to one of hip hop's most influential men that is not behind the mic or DJ booth - that man being Russell Simmons. Well, it's safe to say that without the man we honor today - Rick Rubin - there may not be Russell Simmons (at least as we know him). As savvy a business man as Simmons is and as much as he helped make Def Jam the most respected label in hip hop history, it has been long been known that the label was the brain child and vision of Rick Rubin.

While attending school at New York University, Rubin had just created Def Jam Records and, soon after, teamed with Russell Simmons to take Def Jam from a college dorm to hip hop dominance. Simmons might have been the brains of the operation when it came to business, but Rick Rubin's taste and sound in music is what gave artists on Def Jam authenticity. Rubin's love for both rock and rap made Rubin masterful when it came to production and sound.

At the time that Rubin and Simmons teamed up, rap was nowhere near as popular as it is now. There were still only a few urban youth (relatively speaking) that really bought into hip hop. In fact, it became Simmons' responsibility to make the music Def Jam was producing more popular. However, this could only work if the music was really good. This is why Rick Rubin is so important to hip hop. The quality of the music Rick Rubin's footprint was on left an impression that would forever change the landscape of hip hop. It was edgy enough to appeal to the real hip hop fans, but remained appealing enough to the mainstream that artists like the Beastie Boys, LL Cool J, and of course, Run DMC could become successful.

Since the early days of Def Jam, Rubin has proven that his impact in the music industry spans across several genres of music. However, as far as most of us are concerned, hip hop is where he got his start and because of that, he will always be recognized as one of the most influential figures of the culture. So, to Rick Rubin we say...Respect Due.

What are your thoughts on Rick Rubin? Where would hip hop be without his influence? Leave all thoughts and comments below. Have "Respect Due" suggestions? Send e-mails to straightouttahiphop@gmail.com.

Peace.

Sources:

Can't Stop Won't Stop: A History of the Hip-Hop Generation (author: Jeff Chang)

http://www.mtv.com/bands/r/rubin_rick/news_feature_040503/

http://en.wikipedia.org/wiki/Rick_Rubin

Deeper Than Rap: No Malice Interview

2012-03-21T05:33:53Z

Yesterday, No Malice (formerly Malice) of the Clipse had a great interview with the Breakfast Club on Power 105.1. As you all are well aware, since last year, No Malice has been promoting his book Wretched, Pitiful, Poor, Blind, and Naked. He's been telling about the revelation he had and some of the obstacles he's had to overcome in order to get to a more comfortable place in life.

We've all known that No Malice has had "religious undertones" as Angela Yee put it, but what I loved seeing was that even with a lot of the responsibility No Malice already showed in his music, he seems to be at a point where he has to hold himself accountable for the messages he provides in his music. Many of us understand that the street tales in his raps were balanced - showing both the ups and downs. However, too often, many people continued to focus strictly on the "dope boy fresh" aspect and ignore many of the pitfalls No Malice would attempt to warn about. Because of this, he is making an even more concerted effort to ensure that his past life does not overshadow his ever-increasing spiritual growth and maturity.

It is this understanding of influence that we wish more artist would exhibit. No Malice has realized that even in his attempt in the past to be balanced, the everyday public can sometimes get lost in the street image and not grasp the lessons in the music. This realization is sure to make No Malice a better MC and will hopefully to lead to the growth of both fans and other artists in the near future. Check the interview below.

What do you think about the interview? Do you think more artists will become aware of how much influence they have? Do you think this will help No Malice's music? Leave all thoughts and opinions below.

Peace.

Hip Hop: The English Language At It's Finest

2012-03-17T00:45:47Z

For all of the negative aspects of hip hop that are criticized (from those both within and outside the culture) and gravitate towards (typically from those within the culture), it seems like the one thing nobody wants to highlight is how sophisticated it is when it comes to the most basic part of any society: language.

There is no other profession outside of writers/authors and professional debaters (well and English teachers themselves) that use the English language to their benefit than hip hop artists (I'm excluding poets in this statement because hip hop artists are poets!). It could even be argued that hip hop extends it use of the English language further than authors of novels because not only do artists tell stories just as a writers would, but then finding a way to make words rhyme, flow, bend, and establish metaphor several times in the span of 3 to 4minutes is an incredible feat. It is the great MCs that are able to be creative, descriptive, entertaining, poised, and smooth throughout a song and tell their own rhyming story verbally.

With the MC being the focal -point of the culture in this day and age, the most powerful weapon any artist has is their words. The language that most of us tend to take for granted and limit in our everyday lives is at the full disposal of these people. Imagine if this was taught in a high school class. I remember being in 9th, 10th, and 11th grade. English was not my favorite subject. I didn't want to read anything a teacher told me to read. I wasn't interested - or at least told myself I wasn't - in writing essays on subjects I didn't fully understand. Meanwhile, I was listening to hip hop songs oohing and ahhing at all the metaphors and similes being used in the songs I was listening to. It was not until I started to really examine what was being said in these songs and what artists were describing that I began to really appreciate language.

Not only has the language itself become more interesting, but I also want to study what these artist studied. The same kid that wasn't interested in reading anything in high school has now found extreme joy in reading and learning through literature. I can only imagine how many kids want to be rappers or are impressed with a line they hear from Lil Wayne (much less pure-bred lyricists like Slaughterhouse) but aren't making the connection of the music to their English class.

Not only has standard English become so vital in hip hop, but the understanding of the language has allowed hip hop to produce more slang terms than any other culture in our history. The rate at which new words and descriptions are being created is all due to our understanding of how people listen and interpret words. We don't even have a true understanding of how much we truly comprehend the language instinctively. Those that embrace eventually become some of the greatest to grace the mic and make for some of the most genius music.

There may be no other place that the English language is put on better display than hip hop. If put in the hands of the right people, hip hop serves not only as a great tool for helping anybody explore their life in a different way, but also helping provide a foundation and interest of the most basic tool we possess. If we can begin to help show students and all youth the importance of language and how it plays a huge role in the music many of them hope to get involved in, it may improve not only their performance in school and life, but also the quality of the music itself.

What do you think? Is hip hop the best display of the English language? Do you think using hip hop as part of an English course would work? Leave all thoughts and comments below. Send any e-mails to straightouttahiphop@gmail.com.

Peace.

Did Hip Hop Get "Worse" To Survive?

2012-03-12T07:20:13Z

It's been said that humans' instinct is to survive. We evolve, adapt to our surroundings and make the best out of our situations. What music and/or modern culture is more about, and better at, survival than hip hop?

While reading Assata Shakur's autobiography a few months back, this quote stood out: "No movement can survive unless it is constantly growing and changing with the times." Obviously, Ms. Shakur was was talking about the revolutionary and civil rights movements, however, this could very well apply to hip hop. At its finest, hip hop goes against the grain; it's not concerned with pop culture status. It doesn't focus on album sales; excess value isn't place on material items. Hip Hop is invested in the people, finding truth and pushing the limits. Many of us would argue that hip hop lost a lot of this - at least in the mainstream. However, is it possible that hip hop adopted some of these "bad habits" simply to survive?

Times have changed. Hip Hop used to have an abundance of loyal fans that were interested in what artists had to say and what they represented. Now, it is the casual listener that dominates the market. The casual listener seems to be drawn to those things that are easy to grasp. Content isn't a priority. As long as they can dance to the beat and easily sing along with the words, the song will probably be a hit. The casual listener is the one that drives the music industry and without a significant portion of the casual listeners tuning in, hip hop can't survive. So, as part of its survival, hip hop played to to the interest of those that would ensure its survival.

While we may not always agree with a lot of the music that comes out of mainstream hip hop culture, perhaps it is necessary in order for "real" hip hop to continue to thrive. That's not to say that this will always be the trend. Hopefully, we reach a point where the aspects of hip hop mentioned above are what people buy into, again. As hip hop fans, we want those things to dominate the market, but for now, it's nearly the opposite. As much as it may pain us, this is what certain artists promote in order sell records.

Let's be honest -as genuine as many artists' love for hip hop is, it is the POSSIBILITY of career and financial success that drives artists to create music. Without mainstream success, the underground scene may not exist. If recognition wasn't given to the artists many of us feel don't deserve it, the motivation to pursue music as a career would drop significantly amongst true MCs. The hope of reaching the masses and changing the world with music dwindles. Maybe, just maybe, the survival of hip hop relies on the success of what many feel nearly killed it.

What do you think? Can hip hop only survive if "pop" hop is successful? Would the underground scene continue to thrive even with little to no indication of any form of hip hop being accepted? Leave all your thoughts and comments below. Send any e-mails to straightouttahiphop@gmail.com.

Peace.

Should Mixtapes Factor Into Legacy? Pt. 2

2012-03-05T20:50:29Z

In part 1 of this series, we focused on whether mixtapes should even factor into the legacy of artists as we move forward. It's hard to imagine how they couldn't be factored in, so in part 2, I want to ask: how much should mixtapes factor into an artist's legacy?

In part 1, I used a sports analogy, demonstrating how many athletes are judged in two ways: their regular season play and their post-season play. Is this the way that we would now view hip hop artists' material? Perhaps mixtapes can legitimize an artist's skills, but an album is a MCs post-season. This is where their true legacy lies. If they don't make at least one great album, but provide us with a slew of high quality mixtapes, we look at them as (in sports terms) one of the stars that never won it all.

That is one scenario. The other is that mixtapes carry just as much weight as an album. Artists would really only make full length albums in order to actually make money, but as long as an artist provides mixtapes that resonate with the culture, that is just as good as releasing a full fledged album.

It's a little difficult to figure out exactly how much weight a mixtape will carry. One reason is because, as of late, many artists mixtapes have been better than the albums themselves. Perhaps not the quality of beats, but simply in terms of the lyricism and artistic creativity, more seems to be displayed in the form of a mixtape than an album. This is generally because labels put pressure on artists to expand their audience and reach a broader fan base. The way to make that happen is to appeal to the casual fan by "dumbing down" or making pop-friendly records. These types of songs aren't usually praised by hip hop heads and take away from the album as a whole.

The other thing that makes it a little difficult to determine how much stock to put into mixtapes is that most artists are now releasing mixtapes as "free albums." It used to be that most mixtapes were pretty much thrown together - artists taking popular beats and doing their own rendition of the song. The project would have no sense of direction, few to no original music. It was more of just a warm-up and creating music free from label restrictions. Now, however (as mentioned in the last post), some create album quality music, free to download, just to get recognized. In order to really stand out and make a name for themselves, artists have to provide album quality music for free. Other times, though, it's simply to maintain a buzz. There is a theme, many if not all original beats, and features from other artists. Typically, all that is missing is a big budget for more name brand producers and videos (although more and more videos are even being made for mixtape singles!).

If this trend continues, the mixtape may even begin to "count more" than studio albums, given that the quality continues to increase and the artistic expression is provided more there than on albums funded by labels. Yet, there are still some artists that can't make a quality studio album, no matter how hard they try. In the eye of the public, is that more or less important than providing free music? Leave your comments below and tell us what you think.

Does the music provided on mixtapes count just as much as music provided on studio albums? Do you prefer a mixtape to a full length album? Which do you think factors in more to an MCs legacy? Is the album still more important now, but it will not be in the future? Leave all your thoughts and opinions below. You can also send any e-mails to straightouttahiphop@gmail.com.

Peace.

Respect Due: Schoolly D

2012-02-27T14:51:11Z

While the West Coast has been largely credited for birthing - and certainly making popular - gangsta rap, its roots may really trace back to Philadelphia rapper Schoolly D. With his albums Saturday Night and Smoke Some Kill, Schoolly D laid the foundation for what would become known as gangsta rap when introduced on the West Coast.

Although Schoolly's rhymes did not portray violence and other aspects of the gangster lifestyle as vividly as acts such as Ice-T and N.W.A., they were among the first of their kind, giving way to the aforementioned artists to create the kind of music they did. Schooly D has said that many of these West Coast legends reached out to him as they were attempting to jump-start their careers. Ice-T has even been on record as saying that D's "P.S.K." was so appealing to him that he in-turn took the same rhyme style and applied it to his classic "6 'n the Mornin'". Without Schoolly's influence, it may have been much longer before gangsta rap as we know it would have come along.

With his album Am I Black Enough For You?, Schoolly's music took on a more conscious perspective. He also began to work with film director Abel Ferrara, leading to him penning songs for movies such as The Addiction and Kings of New York. Even without being at the forefront of the rap, Schoolly's music has continued to have an impact on the entertainment industry as a whole.

Schoolly D's legacy continues to live in other artists that have been inspired by gangsta music throughout the years. His influence has also carried over into movies and even a couple animated series. For all he has provided and extending hip hop's influence into other aspects of entertainment, we say to Schoolly D...Respect Due.

What are your thoughts on Schoolly D? Does he get enough credit for being the originator of gangsta rap? Leave all thoughts and comments below.

Peace.

Sources:

http://www.globaldarkness.com/articles/schooly_d_original_gangsta.htm

http://www.daveyd.com/iceprops.html

http://music.aol.com/artist/schoolly-d/biography

http://en.wikipedia.org/wiki/Schoolly_D

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.