For every action, there is an equal and opposite reaction...
In the late 90’s, Hip-Hop’s popularity soared and the music infiltrated nearly every aspect of American pop culture. From the non-stop media coverage of the “East vs. West Feud” to the ubiquity of Puff Daddy and his danceable remakes to multi-national corporations realizing the buying power of the “Hip-Hop Generation”and marketing directly to them, Hip-Hop had outlasted nearly every other subculture and established itself as the predominant youth culture by the end of the century.
This explosion can be attributed to many factors: the “old school” fans of the 80’s growing up and asserting their sensibilities on the world around them, record labels and other companies seeing the potential in marketing to this previously ignored demographic, a crop of “Rap Stars” that were not as dangerous and NWA or as corny as MC Hammer, but struck the perfect balance between the streets and the pop charts (the continued success of acts from this era like Puffy, Jay-Z, Missy Elliot, Busta Rhymes and members of The Fugees speaks volumes about how right they got it), and a shift in production from songs that were made by and for a very specific segment of the population (think anything by Wu-Tang Clan or Boot Camp Clik) to songs that were so accessible and fun that everyone from small children to soccer moms could appreciate them if they were played at a cookout (think Bad Boy or Missy/Timbaland).
However, in the midst of this widespread acclaim and recognition, a group of artists from across the United States took it upon themselves to search for “that next Sh*t.” This new breed of “Underground,” “Independent” or “Backpack” MC was more interested in impressing like-minded fans/peers with slick wordplay or telling a compelling story than getting people on the dance floor and their albums on Billboard’s Hot 100.
While this movement can be traced to NYU’s WKCR and the “White Label” (the practice of producing vinyl singles independently to be played predominately by DJ’s, most of which did not include cover art, hence “White Label”) era in NYC, artist from locations as diverse as Minneapolis (Atmosphere), Los Angeles (Living Legends, Peanut Butter Wolf), North Carolina (Little Brother), Rhode Island (Sage Francis) and Detroit (Madlib) quickly rose to prominence and many operate independent record labels that serve as a distribution channel for “Left-Of-Center” Hip-Hop today.
The following list contains the ten best underground/independent Hip-Hop albums released between 1995 and 2010. And while the scene continues to flourish and produce talented MC’s and producers that will no doubt be aided by the low cost of recording now afforded by personal computers and the shift to digital distribution, this list documents the first 15 years of Indy Hip-Hop.
...These albums are that reaction.
10
La Coka Nostra
A Brand You Can Trust (2009)
Nearly two decades after House of Pain released one of the most universally loved songs in Hip-Hop (1992’s “Jump Around”), Everlast, Danny Boy and DJ Lethal partnered with underground vets Ill Bill and Slaine to release one of the rawest, rowdiest and most diverse albums of all time. Like most rappers/groups that have an enormous crossover hit, House of Pain’s talents were criminally slept on by the industry and fans (Naughty by Nature, LL Cool J and Busta Rhymes also fall into this category), but by partnering with two of independent Hip-Hop’s finest representatives, La Coka Nostra rose like a five headed monster to get the respect all members deserved.
The songs are aggressive (“Bloody Sunday,” “Gun In Your Mouth”) and thoughtful (“Get You By,” “The Stain”), personal (“Cousin Of Death”) and political (“I’m An American”) and the guest list is diverse (Snoop Dogg, Bun B, Immortal Technique, Sick Jacken, Cypress Hill, to name a few) but the cameos all mesh so well with the song concepts that it sounds like one big group pushing a unified agenda throughout the course of the album. “A Brand You Can Trust” represents the rare occasion when a collaboration is truly bigger than the sum of it’s parts.
For more La Coka Nostra check out the “House of Pain Show NYC” movie in the OTHER MOVIES section.
9
Company Flow
Funcrusher Plus (1997)
Considering that the Hip-Hop landscape of 1997 was dominated by the glossy hip-pop of Puff Daddy, the danceable eccentricities of Missy Elliot and “Nice Guy” rappers like Will Smith, it is hard to imagine an album this at odds with popular sentiment could not only gain a following but have an impact so profound that it had to be re-released in 2009 because new fans could not find copies of the original pressing.
Originally released by Rawkus records in the heyday of the “Shiny Suit Era,” Funcrusher Plus was like a sobering punch in the face that reminded you how groundbreaking and revolutionary Hip-Hop could sound when the samples weren’t obvious, the lyrics weren’t dumbed down and the marketing didn’t overshadow the music. If the album had to be described in one word it would be: “DENSE.” The beats are multi-layered to the point of sounding claustrophobic, the rhymes are full of double entendres and social commentary disguised as inside jokes and the album continues to command fans to reach for the “Rewind Button” a full 13 years after it’s release because Mr. Len, Big Jus and El-P were so far ahead of their time.
8
Madvillian (MF Doom & Madlib)
Madvilliany (2004)
Originally debuting as Zev Love X (of KMD fame) in the early 90’s, Daniel Dumile took almost a decade off and resurfaced in the early 2000’s as the mask-wearing, villianous, oddball, MF Doom. Doom’s creative output in the early 2000’s was mind boggling, every few months he seemed to release another opus (either solo or collaboratively) that was so different from anything else that fans and critics were forced to take notice. While his solo work is obviously noteworthy, it is his collaborations with a wide array of underground producers that allowed MF Doom to truly explore his warped creativity, and this 2004 LP with Madlib is the best Doom/Producer callabo to be released.
While not as accessible as his later collaboration with Danger Mouse (2005’s “Danger Doom”) or bizarre as his solo efforts (any volume of “Metal Fingers...”) Madvilliany represents MF Doom at his off-the-wall finest, with incredible sonic backdrops provided by underground favorite Madlib and lyrics reminiscent of free verse poetry. The subject matter and beats are exceptionally varied but somehow held together by Doom’s over-the-top persona.
While MF Doom has released an astonishing amount of innovative material, Madvilliany stands as the crowning achievement of one of Hip-Hop’s true originals.
7
Mos Def & Talib Kweli
Mos Def & Talib Kweli are Blackstar (1998)
“Mos Def & Talib Kweli are Blackstar” would introduce the world at large to two future superstar MC’s, one of Hip-Hop’s most respected producers and the label that would make NYC’s indie culture explode beyond the confines of the five boroughs. Prior to the release of this album Underground Hip-Hop was predominantly confined to New York City and college campuses scattered throughout the US, after this release it became apparent that there was a sizable market of Hip-Hop heads unconcerned with how many times a song was played on the radio or what kind of car their favorite MC drove.
The “Blackstar” album served as the formal introduction of Mos Def and Talib Kweli, two MC’s that continue to be relevant well after a decade into careers that span hit singles, top selling albums, movie roles and various business ventures. The album also introduced the masses to the hypnotic production style of DJ Hi-Tek, who would go on to have success with a diverse list of MC’s and singers. Finally, the album served as the first major crossover success for Rawkus records, and while the eventual fate of the label is lamentable, it is inarguable that it helped catapult independently released Hip-Hop further into the public consciousness than any label before it.
The album itself is challenging, but accessible, due in large part to the personalities of the two MC’s and Hi-Tek’s warm production, and stands in sharp contrast to the danceable, cookie cutter hip-pop dominating radio at the time. Standouts like “Respiration” with Common, “Hater Players” and the classic single “Re-Definition” separated this release from the pack of indie releases at the time and elevated all involved parties: MC’s, Producer and upstart Record Label, to new levels of success.
6
Aesop Rock
Labor Days (2001)
While Aesop Rock had previously released “Float” on Mush Records, “Labor Days” was his debut on the Definitive Jux imprint he would be associated with for the next decade. The combination of Aes’ serpentine lyrics with previous collaborator Blockhead and the production efforts of Def Jux honcho El-P produced an album that is nothing short of amazing.
“Labor Days” is a concept album that masterfully weaves tales of “wage slaves” and examines the soul crushing nature of the 9-5 grind that could only be executed by a true poet that attempted corporate life before coming to his senses and pursuing a career as an MC (as Aes did). Songs like “Daylight,” “No Regrets” and “9-5’ers Anthem” are abstract but convey a clear message, the beats are innovative and completely different from the typical commercial Hip-Hip production and the wordplay is a dizzying concoction of metaphors, allegory and alliteration that sounds cutting-edge nearly a decade after its’ release.
5
Little Brother
The Minstrel Show (2005)
Released in the fall of 2005, while “Crunk” was hitting it’s commercial apex and a crop of Texas rappers was exposing the world at large to their “Chopped & Screwed” style, Little Brother rose from the underground scene of Raleigh/Durham, North Carolina with their own brand of intelligent, soulful, thinking-man’s southern Hip-Hop.
“The Minstrel Show” held a mirror to Little Brother’s commercially-minded peers and showed them with astonishing clarity how buffoonish they really looked. There are standout tracks like the optimistic “Beautiful Morning,” the comical “Cheatin’” and the lead single “Lovin’ It,” but the album is best digested whole as a cohesive piece of work where the songs and interludes fit together like pieces of a puzzle and the finished picture is a vivid depiction of just how great Southern Hip-Hop could be.
The lyrics are straightforward and range from dead serious to sarcastically comical and the blue collar delivery of MC’s Phonte and Rapper Big Pooh combined with the soulful, beats of 9th wonder make “The Minstrel Show” an easy pill to swallow.
4
Cage
Movies For The Blind (2002)
When “Movies For The Blind” was released in mid-2002 it felt more like a greatest hits compilation than an actual album because many of the songs had been circulating around the underground for several years (the outstanding “Agent Orange” in particular had first surfaced in 1997), however Cage’s visceral, punishing flow combined with production from a who’s who of indie Hip-Hop (Necro, El-P, DJ Mighty Mi, RJD2) made “Movies” an incredible experience for fans not intimidated by the brutal subject matter (mental illness, drug use, violence, explicit sex, etc.).
“Movies For The Blind” is often categorized as “Horrorcore,” but it is a far cry from name dropping Freddy Krueger and listing despicable acts for shock value, rather it is the journey inside the psyche of a man that has been exposed to some of the worst aspects of American society (a childhood filled with domestic violence, adolescent years spent in a mental institution and an adulthood plagued by drug use, relationship issues and a somewhat stagnant career) only to rise and tell his story in a manner so visual and immersive that the album truly lives up to it’s title.
3
Murs & 9th Wonder
Murs 3:16 The 9th Edition (2004)
“Murs 3:16 The 9th Edition” truly represents how nationwide Independent Hip-Hop had become by 2004. The album combines one of the most slept-on California MC’s (Murs) with a rising producer from the south (9th Wonder) and was released on New York indie heavyweight Definitive Jux Records. “3:16” is short and sweet, only 9 songs and one bangin’ intro was all it took for backpackers from Harlem to Compton to know they were witnessing something special.
9th wonder and Murs both bring their respective “A-Game” to the project as the beats are soulful, but not soft and the lyrics and song concepts are so airtight that if you were not a Murs fan when the CD started, you were by the end of track #3. Mur’s self-effacing humor, everyman persona and ability to tell incredibly intricate stories make the songs instantly relatable and memorable.
This album represents what happens when seemingly disparate styles come together and make something truly unique and interesting, the fact that the duo just released their fourth full-length collaboration (sans Def Jux) and Murs continues to successfully tour the world while 9th produces for some of the biggest names in entertainment is a testament to just how much “3:16” changed the game.
2
El-P
I’ll Sleep When Your Dead (2007)
El-P’s “I’ll Sleep When Your Dead” fully delivers on the promise of his early work with Company Flow (See #9) , is first solo album (2002’s solid “Fantastic Damage”) and his various production credits on his Def Jux imprint. ISWYD presents Hip-Hop in a dystopian future where Big Brother has won and El-P is taking it upon himself to start a revolution.
While the lyrics and song concepts are mindblowing and El-P is able to deliver incredibly varied production that contributes to the overall “sound of what you don’t know killing you” vibe of the project, the album is truly remarkable because it fully realizes the Def Jux aesthetic with all guns not only blazing, but hitting their targets.
There are appearances from other Def Jux MC’s that mesh seemlessly into the overall narrative (Aesop Rock,Cage, Tame One), collaborations with rockers that work amazingly well (Trent Reznor, The Mars Volta), and musical arrangements that sound like symphonies of chaos. ISWYD is the best representation of one of Hip-Hop’s most commercially and critically successful independent labels and truly sounds like Hip-Hop made for the year 3000.
1
Dr. Octagon (aka Kool Keith)
Dr. Octagon (1996)
Aliases, bizarre lyrics, concept albums, full length MC/Producer collaborations, interesting artwork, being released on an indie label, being hard to find in chain stores...this album started so many trends that are still prominent in underground Hip-Hop that it’s hard to quantify the impact of “Dr. Octagon.”
About a decade after Kool Keith introduced his off-kilter flow and “different” way of thinking with the Ultramagnetic MC’s he linked up with Dan The Automator and combined electronica-influenced beats with a crazy character (Dr. Octagon is a perverted, sexually deviant doctor) and explicit rhymes to make one of the most innovative and unique Hip-Hop albums ever released. Dan The Automator provides soundscapes that are so futuristic they sound as if they were recorded in outer space and Kool Keith/Dr. Octagon’s rhymes are about as “out there” as anything ever recorded.
“Dr. Octagon” is as “different” as anything ever released in any genre of music, but the impact it had on underground Hip-Hop and an entire generation of independent-minded MC’s in undeniable.
Tuesday, June 1, 2010
Tuesday, February 16, 2010
Def Jux R.I.P. ????
In early February of 2010 Definitive Jux records announced a massive restructuring that many fans and industry heads have interpreted as the label closing its’ doors. While this reorganization may be one of the many moves in the storied label’s history that will keep it on the cutting edge of the music industry (Def Jux created a thriving online community, distributed music via an iPhone app and created revenue streams from live shows and merchandise way before the rest of Hip-Hop), the statement from CEO/Artist/Creative Mastermind El-P did not seem so optimistic. Whether or not the label releases any more groundbreaking music in the future, the example it set for independent record labels in the last decade is a marvel both artistic and commercial fronts.
Def Jux rose from the ashes of Company Flow (the NYC underground crew comprised of El-P, Mr. Len and Big Jus) and Rawkus Records (the label responsible for bringing NYC’s bourgeoning indie Hip-Hop scene to the masses). Following the release of the undeniable classic “Funcrusher Plus” in 1997, Company Flow broke up with all members similarly disenchanted with the corporate structure of record labels, Rawkus included. In the late 90’s frontman/producer El-P began to recruit talent and build a buzz for his next venture: Definitive Juxtaposition Records. The name itself was a perfect fit for the new aesthetic being pushed by the artists because the label represented the “Juxtaposition” of so many things. Def Jux releases combined hardcore Hip-Hop beats and rhymes with elements from the art world (high and street), science fiction lure, end-of-the-world nihilism, indie rock and themes and concepts that were at once universal and intensely personal.
Def Jux officially opened for business in 2000 and released more groundbreaking, genre bending and ahead-of-it’s-time music in its’ first few years of existence than most labels release in their entire lifetime. Albums by Cannibal Ox, Aesop Rock and El-P’s solo debut are some of the most universally praised and commercially successful indie LP’s of the early 2000’s. As the decade progressed, Def Jux branched out and released projects from such varied artists as Murs, Cage, Del the Funkee Homosapien, Chin Chin and RJD2 that were all well received by fans and critics. Throughout the decade the label kept core fans satiated with a steady stream of releases featuring the classic, futuristic yet hardcore, Def Jux sound (once described by Entertainment Weekly as “a laser being cut by a buzzsaw”) and an expanding palette of sounds including Hip-Hop from the South (9th Wonder) and West Coast (Murs, Del), instrumental (RJD2, El-P) and an increasingly rock-influenced sound (Cage, Chin Chin). By the end of the decade the “Def Jux Sound” was so progressive and diverse that it became difficult to classify it at all.
Def Jux provided a vehicle for many of the most talented underground rappers/producers/musicians to be heard on a national level for the first time. Aesop Rock, Cage, Murs and C Rayz Wallz were all established artists that reached new artistic and commercial heights once signing with the label. This keen eye for talent, combined with visionary production skills and a tight grip on quality control is what separated El-P from many of his less-successful peers. Supporters of the label were receptive to anything with the Def Jux logo because the label had such a stellar track record.
This track record extended to Def Jux live performances that were not mere underground Hip-Hop shows, but EVENTS. The Def Jux sound was so big and the rappers/DJ’s were so talented that it was hard to contain them in the small clubs and venues that they regularly played. From Aesop Rock’s ability to spit insanely complex rhymes at a dizzying pace to Cage’s charismatic/scary stage persona Def Jux artists, from opening act to headliner, were all well worth the price of admission.
Def Jux was also ground breaking in the way they packaged their material and their emphasis on providing fans with high-quality merchandise. Album Covers, T-Shirts and Posters were not merely promo items, but works of art designed by some of the hottest artists of the decade. Jeremy Fish, Alex Pardee and many others got the chance to create compelling art based on the compelling music. This burning desire to push all aspects of the music, including beats, rhymes, live performances, artwork and merchandise, to the absolute limit may be Def Jux’s lasting legacy.
The future of Definitive Juxtaposition Records is currently unclear, but what is abundantly clear is that the label has given us a decade of consistently ground breaking music that defined the decade for indie Hip-Hop. As the artists, employees and fans of the label take the next step in their evolution, www.fifthroundmovement.com would like to thank them for all of their hard work and amazing musical output and wish them the best of luck in the future.
Def Jux rose from the ashes of Company Flow (the NYC underground crew comprised of El-P, Mr. Len and Big Jus) and Rawkus Records (the label responsible for bringing NYC’s bourgeoning indie Hip-Hop scene to the masses). Following the release of the undeniable classic “Funcrusher Plus” in 1997, Company Flow broke up with all members similarly disenchanted with the corporate structure of record labels, Rawkus included. In the late 90’s frontman/producer El-P began to recruit talent and build a buzz for his next venture: Definitive Juxtaposition Records. The name itself was a perfect fit for the new aesthetic being pushed by the artists because the label represented the “Juxtaposition” of so many things. Def Jux releases combined hardcore Hip-Hop beats and rhymes with elements from the art world (high and street), science fiction lure, end-of-the-world nihilism, indie rock and themes and concepts that were at once universal and intensely personal.
Def Jux officially opened for business in 2000 and released more groundbreaking, genre bending and ahead-of-it’s-time music in its’ first few years of existence than most labels release in their entire lifetime. Albums by Cannibal Ox, Aesop Rock and El-P’s solo debut are some of the most universally praised and commercially successful indie LP’s of the early 2000’s. As the decade progressed, Def Jux branched out and released projects from such varied artists as Murs, Cage, Del the Funkee Homosapien, Chin Chin and RJD2 that were all well received by fans and critics. Throughout the decade the label kept core fans satiated with a steady stream of releases featuring the classic, futuristic yet hardcore, Def Jux sound (once described by Entertainment Weekly as “a laser being cut by a buzzsaw”) and an expanding palette of sounds including Hip-Hop from the South (9th Wonder) and West Coast (Murs, Del), instrumental (RJD2, El-P) and an increasingly rock-influenced sound (Cage, Chin Chin). By the end of the decade the “Def Jux Sound” was so progressive and diverse that it became difficult to classify it at all.
Def Jux provided a vehicle for many of the most talented underground rappers/producers/musicians to be heard on a national level for the first time. Aesop Rock, Cage, Murs and C Rayz Wallz were all established artists that reached new artistic and commercial heights once signing with the label. This keen eye for talent, combined with visionary production skills and a tight grip on quality control is what separated El-P from many of his less-successful peers. Supporters of the label were receptive to anything with the Def Jux logo because the label had such a stellar track record.
This track record extended to Def Jux live performances that were not mere underground Hip-Hop shows, but EVENTS. The Def Jux sound was so big and the rappers/DJ’s were so talented that it was hard to contain them in the small clubs and venues that they regularly played. From Aesop Rock’s ability to spit insanely complex rhymes at a dizzying pace to Cage’s charismatic/scary stage persona Def Jux artists, from opening act to headliner, were all well worth the price of admission.
Def Jux was also ground breaking in the way they packaged their material and their emphasis on providing fans with high-quality merchandise. Album Covers, T-Shirts and Posters were not merely promo items, but works of art designed by some of the hottest artists of the decade. Jeremy Fish, Alex Pardee and many others got the chance to create compelling art based on the compelling music. This burning desire to push all aspects of the music, including beats, rhymes, live performances, artwork and merchandise, to the absolute limit may be Def Jux’s lasting legacy.
The future of Definitive Juxtaposition Records is currently unclear, but what is abundantly clear is that the label has given us a decade of consistently ground breaking music that defined the decade for indie Hip-Hop. As the artists, employees and fans of the label take the next step in their evolution, www.fifthroundmovement.com would like to thank them for all of their hard work and amazing musical output and wish them the best of luck in the future.
Sunday, February 7, 2010
Top 5 Def Jux Albums
Also available at www.fifthroundmovment.com
*Listed In Chronological Order of Original Release*
Cannibal Ox: The Cold Vein (2001)
Released barely a year into the label’s existence, Cannibal Ox’s The Cold Vein set the standard for all future Def Jux releases and set anxious fans at ease about the direction of El-P’s new label. The production is a combination of space-age soundscapes and hard NYC-inspired beats which laid the groundwork for the the science-fiction/dystopian future/hardcore Hip-Hop the label would eventually perfect on later releases.
While El-P’s production may take center stage at first listen, mainly because nothing has sounded quite like this before or since, upon repeated listening it becomes apparent that lyricists Vast Aire and Vordul Megilah are more than competent at complimenting the claustrophobic beats with intricate rhymes and genuine emotion. The outstanding “F Word” explains in detail what it means to be stuck in the “friend zone” and shows that these futuristic B-Boys have feelings too. This mixture of futuristic production, head spinning lyrics and actual emotion separated Def Jux from the pack of indie labels in the early 2000’s and firmly established the label as a critical and commercial force to be reckoned with.
Aesop Rock: Labor Days (2001)
Labor Days is not Aesop Rock’s first album, but it is the one that made him a hero to underground Hip-Hop heads, indie rock fans and english majors everywhere. Also, this is the first Def Jux release to take an established underground artist and provide him with the platform to take his career to the next level, a common theme in the legacy of the label (i.e. Cage, Murs and Del Thee Funkee Homosapien).
Labor Days is not merely a collection of songs, but rather a cohesive body of work in which the artist examines the current state of “wage slaves” in the working world of contemporary America. The lyrics are so dense and multi-layered that fans are still deciphering the somewhat cryptic content almost a decade after its’ release. Classics like “No Regrets,” “Day Light,” and “9-5er’s Anthem” display Aesop’s intricate storytelling and gift for bending the English language to his will and longtime collaborator Blockheads’ unique production.
This album was just the beginning to successful and still thriving career including several critically acclaimed albums, EP’s, collaborative projects, extensive touring and production work for both Aes & Block. While subsequent albums like “Bazooka Tooth” and “None Shall Pass” are widely considered classics, it is “”Labor Days” that stands as the best example of Aesop Rock’s musical prowess and Def Jux’s ability to identify and cultivate true talent.
Murs & 9th Wonder: Murs 3:16 The 9th Edition (2004)
By 2004 Murs was already a West Coast underground legend and 9th Wonder’s soulful production was gaining widespread acclaim due to his extensive work with Little Brother and producing “Threat” on Jay-Z’s swan song “The Black Album.” However, Murs 3:16 brought both artists to previously unseen heights of notoriety. 9th’s production is so soulful, warm and organic it’s hard to believe it’s almost exclusively crafted on a computer and Murs’ everyman persona and thoughtful lyrics are so inviting that the album almost dares you not to like it. The record is incredibly short and incredibly powerful, there is not a single wasted bar on the entire album and nearly every track is a fan favorite.
Murs 3:16 is a bit of a departure for Def Jux as there is minimal input from El-P and no guest appearances from the usual Def Jukies, however it represented the first time the label branched out from it’s established artistic/business model and proved it could successfully create and market an album outside of the New York indie scene.
Cage: Hell’s Winter (2005)
Hell’s Winter is the product of taking one of the most talented and troubled MC’s in Hip-Hop, removing hard drugs and shock value from his repertoire and putting him in the studio with some of the most talented musicians in Hip-Hop (El-P, Aesop Rock, Tame One), indie rock (Daryl Palumbo, Jello Biafra) and electronic music (RJD2, DJ Shadow). The varied production allows the MC to be more emotive than on former releases and suits the tortured nature of many of they lyrics perfectly. The album is not only a resounding success in it’s own right, but stands as the crowing achievement of Cage’s long and legendary career.
The Cage on Hell’s Winter is more mature (both emotionally and artistically) than the drug addled horrorcore MC on previous releases. This incarnation leaves behind tales of murder and sexual conquest in favor of soul-baring lyrics about his childhood, the ups-and-downs of being an “underground rap star” and his unique place in the musical landscape. Hell’s Winter showcases a man struggling to leave behind the pain of his past in order to live long enough to enjoy his bright future.
El-P: I’ll Sleep When You’re Dead (2007)
El-P’s ISWYD is the Def Jux ethos come to full fruition. The album starts with an ethereal voice asking an bizarre question and ends with a reprise that sounds like it could have been lifted from a science fiction movie, in between, issues as diverse as the state of Hip-Hop, the end of the world, religion, drug use, relationships, the automobile industry, military service, prison and fame are examined in detail. ISWYD is so solid from beginning to end and the concepts are so compelling that the album deserves a place on any list of the best albums of the decade regardless of genre.
If El-P’s first solo release (2002’s “Fantastic Damage”) represented the fear and paranoia felt by many, ISWYD is what the apocalypse sounds like. The beats are big and immersive, the lyrics are straightforward, but contain complex concepts, the guest appearances (including The Mars Volta and NIN frontman Trent Rezner) actually add to the overall concept of the album and the finished product stands as the visionary artists’ best work to date.
*Listed In Chronological Order of Original Release*
Cannibal Ox: The Cold Vein (2001)
Released barely a year into the label’s existence, Cannibal Ox’s The Cold Vein set the standard for all future Def Jux releases and set anxious fans at ease about the direction of El-P’s new label. The production is a combination of space-age soundscapes and hard NYC-inspired beats which laid the groundwork for the the science-fiction/dystopian future/hardcore Hip-Hop the label would eventually perfect on later releases.
While El-P’s production may take center stage at first listen, mainly because nothing has sounded quite like this before or since, upon repeated listening it becomes apparent that lyricists Vast Aire and Vordul Megilah are more than competent at complimenting the claustrophobic beats with intricate rhymes and genuine emotion. The outstanding “F Word” explains in detail what it means to be stuck in the “friend zone” and shows that these futuristic B-Boys have feelings too. This mixture of futuristic production, head spinning lyrics and actual emotion separated Def Jux from the pack of indie labels in the early 2000’s and firmly established the label as a critical and commercial force to be reckoned with.
Aesop Rock: Labor Days (2001)
Labor Days is not Aesop Rock’s first album, but it is the one that made him a hero to underground Hip-Hop heads, indie rock fans and english majors everywhere. Also, this is the first Def Jux release to take an established underground artist and provide him with the platform to take his career to the next level, a common theme in the legacy of the label (i.e. Cage, Murs and Del Thee Funkee Homosapien).
Labor Days is not merely a collection of songs, but rather a cohesive body of work in which the artist examines the current state of “wage slaves” in the working world of contemporary America. The lyrics are so dense and multi-layered that fans are still deciphering the somewhat cryptic content almost a decade after its’ release. Classics like “No Regrets,” “Day Light,” and “9-5er’s Anthem” display Aesop’s intricate storytelling and gift for bending the English language to his will and longtime collaborator Blockheads’ unique production.
This album was just the beginning to successful and still thriving career including several critically acclaimed albums, EP’s, collaborative projects, extensive touring and production work for both Aes & Block. While subsequent albums like “Bazooka Tooth” and “None Shall Pass” are widely considered classics, it is “”Labor Days” that stands as the best example of Aesop Rock’s musical prowess and Def Jux’s ability to identify and cultivate true talent.
Murs & 9th Wonder: Murs 3:16 The 9th Edition (2004)
By 2004 Murs was already a West Coast underground legend and 9th Wonder’s soulful production was gaining widespread acclaim due to his extensive work with Little Brother and producing “Threat” on Jay-Z’s swan song “The Black Album.” However, Murs 3:16 brought both artists to previously unseen heights of notoriety. 9th’s production is so soulful, warm and organic it’s hard to believe it’s almost exclusively crafted on a computer and Murs’ everyman persona and thoughtful lyrics are so inviting that the album almost dares you not to like it. The record is incredibly short and incredibly powerful, there is not a single wasted bar on the entire album and nearly every track is a fan favorite.
Murs 3:16 is a bit of a departure for Def Jux as there is minimal input from El-P and no guest appearances from the usual Def Jukies, however it represented the first time the label branched out from it’s established artistic/business model and proved it could successfully create and market an album outside of the New York indie scene.
Cage: Hell’s Winter (2005)
Hell’s Winter is the product of taking one of the most talented and troubled MC’s in Hip-Hop, removing hard drugs and shock value from his repertoire and putting him in the studio with some of the most talented musicians in Hip-Hop (El-P, Aesop Rock, Tame One), indie rock (Daryl Palumbo, Jello Biafra) and electronic music (RJD2, DJ Shadow). The varied production allows the MC to be more emotive than on former releases and suits the tortured nature of many of they lyrics perfectly. The album is not only a resounding success in it’s own right, but stands as the crowing achievement of Cage’s long and legendary career.
The Cage on Hell’s Winter is more mature (both emotionally and artistically) than the drug addled horrorcore MC on previous releases. This incarnation leaves behind tales of murder and sexual conquest in favor of soul-baring lyrics about his childhood, the ups-and-downs of being an “underground rap star” and his unique place in the musical landscape. Hell’s Winter showcases a man struggling to leave behind the pain of his past in order to live long enough to enjoy his bright future.
El-P: I’ll Sleep When You’re Dead (2007)
El-P’s ISWYD is the Def Jux ethos come to full fruition. The album starts with an ethereal voice asking an bizarre question and ends with a reprise that sounds like it could have been lifted from a science fiction movie, in between, issues as diverse as the state of Hip-Hop, the end of the world, religion, drug use, relationships, the automobile industry, military service, prison and fame are examined in detail. ISWYD is so solid from beginning to end and the concepts are so compelling that the album deserves a place on any list of the best albums of the decade regardless of genre.
If El-P’s first solo release (2002’s “Fantastic Damage”) represented the fear and paranoia felt by many, ISWYD is what the apocalypse sounds like. The beats are big and immersive, the lyrics are straightforward, but contain complex concepts, the guest appearances (including The Mars Volta and NIN frontman Trent Rezner) actually add to the overall concept of the album and the finished product stands as the visionary artists’ best work to date.
Tuesday, January 26, 2010
Jay Electronica: Game Changer?
DISCLAIMER: Jay Electronica’s “Exhibit C” is a bananas! For proof of how much I respect the artist and song check out it’s inclusion in my episode of “Cribs”:
http://www.youtube.com/watch?v=6tWaPWUazrw
“Exhibit C” by Jay Electronica hit the Hip-Hop game like an unexpected uppercut that stunned even the most astute fans of the genre. The beat was simultaneously hard and soulful, the lyrics were personal and technically proficient and there was not a hook or chorus anywhere within earshot....this was real Hip-Hop! What was even more surprising was that this five and a half minute Exhibit was not posted on a website or available only via download, but was receiving fairly regular airplay on the nation’s top commercial radio stations. The song stood in such stark contrast to what is typically played on the radio that listeners from coast to coast were immediately compelled to find out more about this somewhat enigmatic artist from New Orleans, leading to massive numbers of searches on youtube, google and itunes. While “Exhibit C” is undoubtedly an amazing song, it remains to be seen if it’s initial impact will last and it is somewhat arguable if it even deserves the accolades it has already received.
Jay Electronica’s “Exhibit C” is already being celebrated as one of the rare occasions when MC and Producer, Beats and Rhymes, Flow and Concept, Tone and Timing all merge to produce the elusive “Hip-Hop Classic.” However, while this type of relentless wordplay mixed with soul-baring biography is a far cry form the last Black Eyed Peas or Gucci Mane single, it is not completely without precedent in Hip-Hop.” Canibus’ “Poet Laureate II,” Joel Ortiz’s “125 (pts. 1-4),” The Game’s 100, 200 or 300 Bars, Ras Kass’ “Nature of the Threat,” and numerous others have utilized the same concept to similar artistic effect. Jay Electronica does differ from his predecessors in that most of these lengthy displays of skill were relegated to unreleased/mixtape status or buried so deep with album cuts that only true fans would ever get to hear them, they were not the singles that introduced them to the world. It remains to be seen if this trend will continue or if the novelty of listening to hundreds of bars of raw, uncut lyricism will be as quickly forgotten by the “106 & Park” crowd as the latest youtube dance sensation.
Also, most underground/backpack Hip-Hop fans were not nearly as impressed or shocked by Electronica’s display of skill as the rest of the world because they buy and listen to music where the emotion and lyricism contained on “Exhibit C” are commonplace. Unfortunately, most of these releases are available only online and the artists languish in obscurity while mindless MC’s that brag about being hustlers instead of rappers make millions upon millions of dollars. One can only hope that the sudden crossover appeal of a song like “Exhibit C” will help some of these artists and the independent Hip-Hop scene in general continue to expand it’s fanbase.
The beat by Just Blaze is impressive, but hardly groundbreaking. “Exhibit C” represents a bit of a return to the spotlight for the former “Roc-a-fella” producer, but the beat is not “Classic Just Blaze” by any stretch of the imagination. The warm soul sample, mixed with a hard baseline sounds more like early Kanye West or vintage 9th Wonder than any previous work by Just Blaze. Upon repeated listening it is hard to tell if this new sound represents the evolution of the producer to the next phase of his career or simply copying somebody else’s style to regain relevance in the extremely competitive Hip-Hop arena.
The final piece of criticism for the “Exhibit C” Movement is not an indictment of the MC or Producer, but rather of the fans that have embraced this song and already placed Jay Electronica in the Jay-Z, Nas, BIG, Tupac and Eminem category. One of the most commonly heard praises for Electronica is some variation of “that dude can rhyme for a southerner, I can’t believe he’s from New Orleans.” Hasn’t the South produced enough talented MC’s for us to move beyond lowering our standards for rappers born below the Mason Dixon line? Sure, Soulja Boy and OJ Da Juiceman leave something to be desired, but can a region that has produced Andre 3000, Lil’ Wayne (the mixtape Weezy, not the one supposedly making a rock album), Scarface, Little Brother, Ludacris and Goodie Mob really be considered at a disadvantage lyrically compared to the rest of the country? Jay Electronica is a good MC....period.
Further, what does it say about the state of our current media outlets that an intelligent, thoughtful, personal song that was skillfully crafted elicits the kind of shock and awe usually reserved for beef between A-List celebrities or the release of a sex tape? How bad is the the normal state of the radio we accept on a daily basis that a “good” song getting airplay becomes news for Hip-Hop outlets nationwide?
For all of the support “Exhibit C” has already received, if fans do not support (aka “BUY”) Jay Electronica’s album or future releases, the state of radio and video outlets will remain unchanged and as soon as the song runs it’s course your regularly scheduled programming of the New Boys, Lil’ Mama and Rick Ross will continue.
http://www.youtube.com/watch?v=6tWaPWUazrw
“Exhibit C” by Jay Electronica hit the Hip-Hop game like an unexpected uppercut that stunned even the most astute fans of the genre. The beat was simultaneously hard and soulful, the lyrics were personal and technically proficient and there was not a hook or chorus anywhere within earshot....this was real Hip-Hop! What was even more surprising was that this five and a half minute Exhibit was not posted on a website or available only via download, but was receiving fairly regular airplay on the nation’s top commercial radio stations. The song stood in such stark contrast to what is typically played on the radio that listeners from coast to coast were immediately compelled to find out more about this somewhat enigmatic artist from New Orleans, leading to massive numbers of searches on youtube, google and itunes. While “Exhibit C” is undoubtedly an amazing song, it remains to be seen if it’s initial impact will last and it is somewhat arguable if it even deserves the accolades it has already received.
Jay Electronica’s “Exhibit C” is already being celebrated as one of the rare occasions when MC and Producer, Beats and Rhymes, Flow and Concept, Tone and Timing all merge to produce the elusive “Hip-Hop Classic.” However, while this type of relentless wordplay mixed with soul-baring biography is a far cry form the last Black Eyed Peas or Gucci Mane single, it is not completely without precedent in Hip-Hop.” Canibus’ “Poet Laureate II,” Joel Ortiz’s “125 (pts. 1-4),” The Game’s 100, 200 or 300 Bars, Ras Kass’ “Nature of the Threat,” and numerous others have utilized the same concept to similar artistic effect. Jay Electronica does differ from his predecessors in that most of these lengthy displays of skill were relegated to unreleased/mixtape status or buried so deep with album cuts that only true fans would ever get to hear them, they were not the singles that introduced them to the world. It remains to be seen if this trend will continue or if the novelty of listening to hundreds of bars of raw, uncut lyricism will be as quickly forgotten by the “106 & Park” crowd as the latest youtube dance sensation.
Also, most underground/backpack Hip-Hop fans were not nearly as impressed or shocked by Electronica’s display of skill as the rest of the world because they buy and listen to music where the emotion and lyricism contained on “Exhibit C” are commonplace. Unfortunately, most of these releases are available only online and the artists languish in obscurity while mindless MC’s that brag about being hustlers instead of rappers make millions upon millions of dollars. One can only hope that the sudden crossover appeal of a song like “Exhibit C” will help some of these artists and the independent Hip-Hop scene in general continue to expand it’s fanbase.
The beat by Just Blaze is impressive, but hardly groundbreaking. “Exhibit C” represents a bit of a return to the spotlight for the former “Roc-a-fella” producer, but the beat is not “Classic Just Blaze” by any stretch of the imagination. The warm soul sample, mixed with a hard baseline sounds more like early Kanye West or vintage 9th Wonder than any previous work by Just Blaze. Upon repeated listening it is hard to tell if this new sound represents the evolution of the producer to the next phase of his career or simply copying somebody else’s style to regain relevance in the extremely competitive Hip-Hop arena.
The final piece of criticism for the “Exhibit C” Movement is not an indictment of the MC or Producer, but rather of the fans that have embraced this song and already placed Jay Electronica in the Jay-Z, Nas, BIG, Tupac and Eminem category. One of the most commonly heard praises for Electronica is some variation of “that dude can rhyme for a southerner, I can’t believe he’s from New Orleans.” Hasn’t the South produced enough talented MC’s for us to move beyond lowering our standards for rappers born below the Mason Dixon line? Sure, Soulja Boy and OJ Da Juiceman leave something to be desired, but can a region that has produced Andre 3000, Lil’ Wayne (the mixtape Weezy, not the one supposedly making a rock album), Scarface, Little Brother, Ludacris and Goodie Mob really be considered at a disadvantage lyrically compared to the rest of the country? Jay Electronica is a good MC....period.
Further, what does it say about the state of our current media outlets that an intelligent, thoughtful, personal song that was skillfully crafted elicits the kind of shock and awe usually reserved for beef between A-List celebrities or the release of a sex tape? How bad is the the normal state of the radio we accept on a daily basis that a “good” song getting airplay becomes news for Hip-Hop outlets nationwide?
For all of the support “Exhibit C” has already received, if fans do not support (aka “BUY”) Jay Electronica’s album or future releases, the state of radio and video outlets will remain unchanged and as soon as the song runs it’s course your regularly scheduled programming of the New Boys, Lil’ Mama and Rick Ross will continue.
Saturday, January 23, 2010
Over and Under Rated January 2010
UNDER RATED
Master P’s Business Acumen
In the late 90’s No Limit sold an absurd amount of records (in the tens of millions), produced several stars and was instrumental in establishing the “Dirty South” as a hotbed for commercial Hip-Hop. However, all of these achievements pale in comparison to the business sense of Master P.
Master P was able to somehow create one of the most powerful brands in Hip-Hop with some of the worst music ever created in an genre. In retrospect it is hard to believe songs like “Make ‘em Say Ughh,” “It Ain’t My Fault” and “Down For My...” had any kind of cultural impact whatsoever, mainly because they are so bad they are actually hard to tolerate a decade later. While other Hip-Hop moguls like Puffy, Dame Dash, Russell Simmons and Suge Knight may have had more success or lasted longer, they all had the comparatively easy task of selling high-quality music to a fan base that was already accustomed to their version of Hip-Hop.
Also, only ten years after the end of No Limit’s prominence there are virtually zero No Limit classics that still illicit any kind of response from former fans. To test this theory request any song from Mr. Serve-On, Mia X or Kane & Abel next time you are in the club and if the DJ still has it in his collection you will see people rush off the dance floor like roaches with the light on the second the confused party-goers recognize the song.
Aesop Rock
2010 marks the ten year anniversary of “Float,” the Mush Records release that placed Aesop Rock in underground Hip-Hop’s collective consciousness. In the last decade Aes has signed to indie powerhouse Def Jux, released four classic albums and several well received EP’s and side projects, become an in-demand producer, toured extensively and has become one of the central figures in underground/independent Hip-Hop.
Clearly, Aesop Rock’s dense, metaphor-filled and somewhat cryptic wordplay combined with his ambitious beat selection and an affinity for addressing themes far removed from the typical Hip-Hop record, places him miles away from current fan favorites like the New Boys or Gucci Mane, but his insistence on artistic integrity and an ability to spit rhymes that have fans debating hidden meanings a decade after release should place Aesop Rock at the forefront of discussions about the best MC’s of the last decade.
“Good” Sampling and Remakes
Most people bemoan rappers for “stealing” old school records when they sample them to make new hits. These protests often become even louder when the sampled song is not an obscure jazz riff from the 40’s, but an obvious re-appropriation of a big hit from the not-so-distant past that people still remember. However, while using obvious samples from easily recognizable songs is somewhat of a short cut to recognition (if people liked the original, why wouldn’t they like the remake?) sometimes, it works exceedingly well. Snoop Dogg’s “I Wanna Rock,” Jaheim’s “I Ain’t Leaving Without You,” and Styles recent collaboration with Green Lantern are all examples of taking the original and adding some new flavor to make something bigger than the sum of it’s parts...now that’s Hip-Hop.
NBA All-Star Kicks
From Scottie Pippen’s red Flights in ’94 to the Kobe and LeBron variants coming out next month, NBA players and shoe companies bring their “A Game” to All Star Weekend. The unveiling and ensuing rush to get these limited editions is one of the best parts of a weekend filled with boring skill competitions, family-friendly musical performances, athletes behaving badly around strippers and a mediocre pick-up game.
OVER RATED
The Knowledge of NBA Fans
The idea of fans controlling the All Star game is a great idea...in theory.
How many times do players that have been injured for the entire season (Tracy McGrady, Yao Ming) or just not that good anymore (Allen Iverson) have to be selected by the fans before the league steps in and takes control? The NBA doesn’t have the kind of rabid, stat-obsessed fans of MLB or the NFL and the overwhelming majority of “NBA fans” would be classified as casual at best (they watch the Lakers vs. Cavs, know the Knicks are horrible and will only go to a game if they get free tickets). This creates a situation where voters pick the only guys they have heard of whether they are averaging 30 points a night or riding the bench with a torn meniscus.
Man vs. Food (Travel Channel)
Some dude travels the country taking food challenges at local eateries. Examples of his exploits include consuming a 14-pound pizza, massive burgers and absurd quantities of chicken wings. Not only does this kind of foolishness promote and canonize the kind of gluttony that has made obesity and it’s related complications the biggest health issue in the United States, the guy usually fails at the challenges.
The host stuffs himself to the point of exhaustion, usually resulting in what he calls “The Meat Sweats” and does not coming close to consuming the amount that would result in a free T-Shirt or a polaroid picture on the bulletin board. Haters that like watching unmitigated failure (like myself) should skip this exercise in futility and watch the New Jersey Nets instead.
Rapers with Hard-to-Pronounce or Buffoonish Names
Rappers that are trying to blow-up should have names that are easy to pronounce and are not embarrassing to say in public. Wacka Flacka Flame, Ab Liva, Pharaoh Monch, Plies, Rza, Gza and Titty Boy do NOT fit into this category.
Motion Controllers
In late 2009 both Sony and Microsoft announced plans to release Motion Controllers for their respective home consoles. These peripherals will come out a full four years behind the release of Nintendo’s Wii and will most likely be met with compete apathy from consumers. Anybody with a burning desire to play video games standing up swinging a remote control wildly like a broad sword in their living room has been playing the Wii since 2006 and has no need to buy another silly controller for other video game systems.
Master P’s Business Acumen
In the late 90’s No Limit sold an absurd amount of records (in the tens of millions), produced several stars and was instrumental in establishing the “Dirty South” as a hotbed for commercial Hip-Hop. However, all of these achievements pale in comparison to the business sense of Master P.
Master P was able to somehow create one of the most powerful brands in Hip-Hop with some of the worst music ever created in an genre. In retrospect it is hard to believe songs like “Make ‘em Say Ughh,” “It Ain’t My Fault” and “Down For My...” had any kind of cultural impact whatsoever, mainly because they are so bad they are actually hard to tolerate a decade later. While other Hip-Hop moguls like Puffy, Dame Dash, Russell Simmons and Suge Knight may have had more success or lasted longer, they all had the comparatively easy task of selling high-quality music to a fan base that was already accustomed to their version of Hip-Hop.
Also, only ten years after the end of No Limit’s prominence there are virtually zero No Limit classics that still illicit any kind of response from former fans. To test this theory request any song from Mr. Serve-On, Mia X or Kane & Abel next time you are in the club and if the DJ still has it in his collection you will see people rush off the dance floor like roaches with the light on the second the confused party-goers recognize the song.
Aesop Rock
2010 marks the ten year anniversary of “Float,” the Mush Records release that placed Aesop Rock in underground Hip-Hop’s collective consciousness. In the last decade Aes has signed to indie powerhouse Def Jux, released four classic albums and several well received EP’s and side projects, become an in-demand producer, toured extensively and has become one of the central figures in underground/independent Hip-Hop.
Clearly, Aesop Rock’s dense, metaphor-filled and somewhat cryptic wordplay combined with his ambitious beat selection and an affinity for addressing themes far removed from the typical Hip-Hop record, places him miles away from current fan favorites like the New Boys or Gucci Mane, but his insistence on artistic integrity and an ability to spit rhymes that have fans debating hidden meanings a decade after release should place Aesop Rock at the forefront of discussions about the best MC’s of the last decade.
“Good” Sampling and Remakes
Most people bemoan rappers for “stealing” old school records when they sample them to make new hits. These protests often become even louder when the sampled song is not an obscure jazz riff from the 40’s, but an obvious re-appropriation of a big hit from the not-so-distant past that people still remember. However, while using obvious samples from easily recognizable songs is somewhat of a short cut to recognition (if people liked the original, why wouldn’t they like the remake?) sometimes, it works exceedingly well. Snoop Dogg’s “I Wanna Rock,” Jaheim’s “I Ain’t Leaving Without You,” and Styles recent collaboration with Green Lantern are all examples of taking the original and adding some new flavor to make something bigger than the sum of it’s parts...now that’s Hip-Hop.
NBA All-Star Kicks
From Scottie Pippen’s red Flights in ’94 to the Kobe and LeBron variants coming out next month, NBA players and shoe companies bring their “A Game” to All Star Weekend. The unveiling and ensuing rush to get these limited editions is one of the best parts of a weekend filled with boring skill competitions, family-friendly musical performances, athletes behaving badly around strippers and a mediocre pick-up game.
OVER RATED
The Knowledge of NBA Fans
The idea of fans controlling the All Star game is a great idea...in theory.
How many times do players that have been injured for the entire season (Tracy McGrady, Yao Ming) or just not that good anymore (Allen Iverson) have to be selected by the fans before the league steps in and takes control? The NBA doesn’t have the kind of rabid, stat-obsessed fans of MLB or the NFL and the overwhelming majority of “NBA fans” would be classified as casual at best (they watch the Lakers vs. Cavs, know the Knicks are horrible and will only go to a game if they get free tickets). This creates a situation where voters pick the only guys they have heard of whether they are averaging 30 points a night or riding the bench with a torn meniscus.
Man vs. Food (Travel Channel)
Some dude travels the country taking food challenges at local eateries. Examples of his exploits include consuming a 14-pound pizza, massive burgers and absurd quantities of chicken wings. Not only does this kind of foolishness promote and canonize the kind of gluttony that has made obesity and it’s related complications the biggest health issue in the United States, the guy usually fails at the challenges.
The host stuffs himself to the point of exhaustion, usually resulting in what he calls “The Meat Sweats” and does not coming close to consuming the amount that would result in a free T-Shirt or a polaroid picture on the bulletin board. Haters that like watching unmitigated failure (like myself) should skip this exercise in futility and watch the New Jersey Nets instead.
Rapers with Hard-to-Pronounce or Buffoonish Names
Rappers that are trying to blow-up should have names that are easy to pronounce and are not embarrassing to say in public. Wacka Flacka Flame, Ab Liva, Pharaoh Monch, Plies, Rza, Gza and Titty Boy do NOT fit into this category.
Motion Controllers
In late 2009 both Sony and Microsoft announced plans to release Motion Controllers for their respective home consoles. These peripherals will come out a full four years behind the release of Nintendo’s Wii and will most likely be met with compete apathy from consumers. Anybody with a burning desire to play video games standing up swinging a remote control wildly like a broad sword in their living room has been playing the Wii since 2006 and has no need to buy another silly controller for other video game systems.
Sunday, January 3, 2010
Things to Look Forward to in 2010
Alice in Wonderland in IMAX
IMAX movies in 2009 were a decidedly mixed bag that included the GOOD (“Watchmen”), the BAD (“A Christmas Carol”) and the WILD (“Where The Wild Things Are”). The most anticipated IMAX release of 2020 is undoubtedly Tim Burton’s “Alice in Wonderland.” The combination of Lewis Carol’s dark fairy tale, Burton’s visionary direction and a stellar cast including Johnny Depp, this seems sure to be the first commercial and critical blockbuster for the new decade.
Air Jordan Spiz’ike Black/Cement Colorway
Most hybrids from Jordan Brand are weak interpretations of classic kicks that usually lose what made the originals cool. These are the rare exception as they retain the best design elements of the AJ 3-7 and come in arguably the best colorway in Jordan history.
Eminem: Relapse 2
“Relapse” was incredible. “Refill” was pretty much a waste of money. “Relapse 2” has the potential to be the best album of 2010. With production by Dr. Dre, The Alchemist and Just Blaze, darker subject matter and by all accounts Eminem leaving the silly accents and bathroom humor behind in favor of the sick lyrics that made him an underground hero a decade ago, “Relapse 2” has fans from 8 Mile Road to Rodeo Drive salivating for another dose of Slim Shady.
House of Pain: St. Patrick’s Day Tour
House of Pain is following a stellar 2009 (sick Adidas collabo sneaker, La Coka Nostra album, Rock the Bells tour) with a 5-Date tour of the Northeast the week of St. Patrick’s Day. Get ready to Jump Around because this will be sick night of early-90’s, dirty whiteboy, hooligan hip-hop if they come to your town.
Iron Man 2
Comic book fans were psyched for this movie before the trailer emerged in late 2009, after seeing the initial salvo from Marvel/Disney’s marketing campaign fans could not effin’ wait for May, 7th 2010. Replacing Terrance Howard with Don Cheadle seems like a sizable upgrade and including Scarlet Johansen and Mickey Rourke seem to only add more fuel to the Iron Man fire. Hopefully “Iron Man 2” will be the kickoff for a summer of blockbusters that will help us put the dismal 2009 summer movie season behind us.
Rock The Bells/Paid Dues Festival 2010
2009’s best Hip-Hop tour will be back for another summer in 2010. Performers have yet to be announced but with a stellar track record for providing both commercial and underground Hip-Hop heads with more than their money’s worth...look for this to be THE ticket to get for summer 2010.
Super Bowl XLIV
The last few NFL post seasons have been kind of lackluster for the casual fan, but with parity appearing to be a thing of the past and the emergence of several “Super Teams” (Saints, Colts, Chargers) and a few surprising underdogs (Bengals, Cowboys, Ravens) this season, Super Bowl XLIV and associated playoffs should really be spectacular entertainment for casual and hardcore fans.
Wu-Tang Saga Continues
2009 marked one of the biggest comebacks in Hip-Hop history as the once mighty Wu-Tang Clan reclaimed dominance in the rap game by releasing stellar albums, buzz worthy mixtapes and near constant touring. 2010 should continue this run with the release of “Wu Massacre” by Rae, Ghost and Meth and several other projects planned for the new year. We can only hope Wu-Wear will re-launch soon.
Even More & Better Content from www.fifthroundmovement.com
In the new year, look for better movies, a twitter account and a constant stream of blogs/vlogs to continue the movement into the new decade!
IMAX movies in 2009 were a decidedly mixed bag that included the GOOD (“Watchmen”), the BAD (“A Christmas Carol”) and the WILD (“Where The Wild Things Are”). The most anticipated IMAX release of 2020 is undoubtedly Tim Burton’s “Alice in Wonderland.” The combination of Lewis Carol’s dark fairy tale, Burton’s visionary direction and a stellar cast including Johnny Depp, this seems sure to be the first commercial and critical blockbuster for the new decade.
Air Jordan Spiz’ike Black/Cement Colorway
Most hybrids from Jordan Brand are weak interpretations of classic kicks that usually lose what made the originals cool. These are the rare exception as they retain the best design elements of the AJ 3-7 and come in arguably the best colorway in Jordan history.
Eminem: Relapse 2
“Relapse” was incredible. “Refill” was pretty much a waste of money. “Relapse 2” has the potential to be the best album of 2010. With production by Dr. Dre, The Alchemist and Just Blaze, darker subject matter and by all accounts Eminem leaving the silly accents and bathroom humor behind in favor of the sick lyrics that made him an underground hero a decade ago, “Relapse 2” has fans from 8 Mile Road to Rodeo Drive salivating for another dose of Slim Shady.
House of Pain: St. Patrick’s Day Tour
House of Pain is following a stellar 2009 (sick Adidas collabo sneaker, La Coka Nostra album, Rock the Bells tour) with a 5-Date tour of the Northeast the week of St. Patrick’s Day. Get ready to Jump Around because this will be sick night of early-90’s, dirty whiteboy, hooligan hip-hop if they come to your town.
Iron Man 2
Comic book fans were psyched for this movie before the trailer emerged in late 2009, after seeing the initial salvo from Marvel/Disney’s marketing campaign fans could not effin’ wait for May, 7th 2010. Replacing Terrance Howard with Don Cheadle seems like a sizable upgrade and including Scarlet Johansen and Mickey Rourke seem to only add more fuel to the Iron Man fire. Hopefully “Iron Man 2” will be the kickoff for a summer of blockbusters that will help us put the dismal 2009 summer movie season behind us.
Rock The Bells/Paid Dues Festival 2010
2009’s best Hip-Hop tour will be back for another summer in 2010. Performers have yet to be announced but with a stellar track record for providing both commercial and underground Hip-Hop heads with more than their money’s worth...look for this to be THE ticket to get for summer 2010.
Super Bowl XLIV
The last few NFL post seasons have been kind of lackluster for the casual fan, but with parity appearing to be a thing of the past and the emergence of several “Super Teams” (Saints, Colts, Chargers) and a few surprising underdogs (Bengals, Cowboys, Ravens) this season, Super Bowl XLIV and associated playoffs should really be spectacular entertainment for casual and hardcore fans.
Wu-Tang Saga Continues
2009 marked one of the biggest comebacks in Hip-Hop history as the once mighty Wu-Tang Clan reclaimed dominance in the rap game by releasing stellar albums, buzz worthy mixtapes and near constant touring. 2010 should continue this run with the release of “Wu Massacre” by Rae, Ghost and Meth and several other projects planned for the new year. We can only hope Wu-Wear will re-launch soon.
Even More & Better Content from www.fifthroundmovement.com
In the new year, look for better movies, a twitter account and a constant stream of blogs/vlogs to continue the movement into the new decade!
Monday, December 21, 2009
Over Rated 2009
R&B Singers That Are Beyond Reproach
Being in the public eye is difficult and today’s climate of gossip magazines/websites, bloggers and paparazzi ensure that even the most beloved celebrities will eventually falter (Christian Bale and Tiger Woods immediately come to mind). However in this extremely hostile environment, several celebrities, and in particular female R&B singers, have managed to evade the media’s magnifying glass and win in the court of public opinion. Exactly why these “Chosen Ones” can do no wrong is not clear, but it is truly remarkable the amount of leeway they get in the media intensive climate of 2009.
Over the course of the last 12 months Alicia Keys has remained at the top of female empowerment/musical talent/physical beauty lists and continues to win all kinds of “Presidential Awards” for good citizenship despite releasing several singles that failed to connect with fans (usually the sign of an album flop), obvious weight gain, needing Jay-Z to maintain relevance and clearly breaking up the marriage of Swizz Beats and aspiring singer Mashonda. Alicia Keys has been one of the most prominent artists of this decade, but it’s hard to imagine many other celebrities getting a pass like this from the media and fans.
Similarly, Beyonce can do no wrong in the eyes of America despite spending 90% of the year barely clothed and gyrating on stages around the country, releasing heavy-handed sex metaphors (“Big Ego”) and odes to sexual fetishes (“Video Phone”), changing her message to young fans from “Independent Woman” to “Put a Ring On It” (because, really, isn’t the whole point of female empowerment to marry a rich & powerful man?) and maintaining a “marriage” where it is unclear if husband and wife ever actually speak to each other.
The biggest beneficiary of the public’s love for certain female R&B singers is Whitney Houston. Houston has been out of the public eye for nearly a decade and after the poor sales of her 2009 “comeback album” (with production from Alicia Keys and Swizz Beats...who were conspicuously not blamed for the flop), went on Oprah and admitted that she spent the last 10 years in a drug induced haze, neglected her children and cost herself, family and business associates millions of dollars. I doubt many celebrities would be welcomed back with open arms after such a confession.
However, this virtual lovefest with the media and fans does not extend to all R&B singers. In most circles, Kelis is now known as a “the B**th that was married to Nas” despite a fairly successful career. And Mariah Carey (who has reached levels of success beyond any other female entertainer in history by releasing a seemingly endless string of hits and staying current after two decades in the business) is constantly ridiculed as a “Fat, Wanna-Be-Hip-Hop, Has Been” despite consistently selling records, being in better shape than most 40 year old women and releasing a bigger hit in 2009 (“Obsessed”) than any of the singers the media and fans chose to deify.
I’m not saying it’s not fair...I’m just saying.
The Kardashian’s Work Ethic
2009 saw Chloe marry Lamar Odom, Kim break up with Reggie Bush and Courtney become impregnated by erstwhile slacker Scott. On recent episodes, the Kardashian family/media conglomerate constantly bash Scott’s work ethic and claims he is “going nowhere in life.” This is an absurd claim from a group of people that have fallen ass backwards into numerous income streams because Kim fell ass backwards into Ray-J.
Summer Blockbusters
Trying to follow 2008 (“Iron Man,” “The Dark Knight,” etc.) was no easy task, and 2009 failed miserably. The summer blockbuster season was marred by movies filled with mindless action, poor plot/character development and offensive characters (“Transformers: Revenge of the Fallen”). At it’s best the Summer of 2009 provided a few hours of air conditioning that didn’t make you immediately regret your decision to spend $10 (G.I. Joe).
NOTE: This does NOT apply to “The Hangover” which is arguably the funniest movie of the decade.
“There’s No Good Hip-Hop Out There”
To put it simply, if you are not enjoying the current state of Hip-Hop, you are not looking hard enough. 2009 had great releases from legends like Jay-Z, Raekwon and Eminem, exciting new artists like Drake, Kid Cudi and Wale and underground/experimental releases from Cage, La Coka Nostra and Felt that all significantly raised the bar for the culture. The 2000’s closed on an extremely high note and fans should be excited about what the next decade will have in store.
Rihanna being a Strong/Courageous Women
Rihanna apparently got beat up pretty bad by Chris Brown, this is bad, violence against women is intolerable and should be punished. However, the media/general public’s initial declaration of Rihanna as the strongest female alive and the best role model for young girls since Eleanor Roosevelt and subsequently accepting her as a “Bad A** Rock-n-Roll Chick” seem misguided.
Last winter Rihanna got beat up and then went to the cops, two of the least bad a** activities an individual can do. A few months go by and now she shows up on BET talking about drinking and having sex like she’s Jenna Jameson, decked out in leather dominatrix gear with gun tattoos and sporting a haircut from Mad Max. Even if you ignore that she jacked this whole persona from Kelis, it’s hard to take this new “Bad Girl” image seriously.
Being in the public eye is difficult and today’s climate of gossip magazines/websites, bloggers and paparazzi ensure that even the most beloved celebrities will eventually falter (Christian Bale and Tiger Woods immediately come to mind). However in this extremely hostile environment, several celebrities, and in particular female R&B singers, have managed to evade the media’s magnifying glass and win in the court of public opinion. Exactly why these “Chosen Ones” can do no wrong is not clear, but it is truly remarkable the amount of leeway they get in the media intensive climate of 2009.
Over the course of the last 12 months Alicia Keys has remained at the top of female empowerment/musical talent/physical beauty lists and continues to win all kinds of “Presidential Awards” for good citizenship despite releasing several singles that failed to connect with fans (usually the sign of an album flop), obvious weight gain, needing Jay-Z to maintain relevance and clearly breaking up the marriage of Swizz Beats and aspiring singer Mashonda. Alicia Keys has been one of the most prominent artists of this decade, but it’s hard to imagine many other celebrities getting a pass like this from the media and fans.
Similarly, Beyonce can do no wrong in the eyes of America despite spending 90% of the year barely clothed and gyrating on stages around the country, releasing heavy-handed sex metaphors (“Big Ego”) and odes to sexual fetishes (“Video Phone”), changing her message to young fans from “Independent Woman” to “Put a Ring On It” (because, really, isn’t the whole point of female empowerment to marry a rich & powerful man?) and maintaining a “marriage” where it is unclear if husband and wife ever actually speak to each other.
The biggest beneficiary of the public’s love for certain female R&B singers is Whitney Houston. Houston has been out of the public eye for nearly a decade and after the poor sales of her 2009 “comeback album” (with production from Alicia Keys and Swizz Beats...who were conspicuously not blamed for the flop), went on Oprah and admitted that she spent the last 10 years in a drug induced haze, neglected her children and cost herself, family and business associates millions of dollars. I doubt many celebrities would be welcomed back with open arms after such a confession.
However, this virtual lovefest with the media and fans does not extend to all R&B singers. In most circles, Kelis is now known as a “the B**th that was married to Nas” despite a fairly successful career. And Mariah Carey (who has reached levels of success beyond any other female entertainer in history by releasing a seemingly endless string of hits and staying current after two decades in the business) is constantly ridiculed as a “Fat, Wanna-Be-Hip-Hop, Has Been” despite consistently selling records, being in better shape than most 40 year old women and releasing a bigger hit in 2009 (“Obsessed”) than any of the singers the media and fans chose to deify.
I’m not saying it’s not fair...I’m just saying.
The Kardashian’s Work Ethic
2009 saw Chloe marry Lamar Odom, Kim break up with Reggie Bush and Courtney become impregnated by erstwhile slacker Scott. On recent episodes, the Kardashian family/media conglomerate constantly bash Scott’s work ethic and claims he is “going nowhere in life.” This is an absurd claim from a group of people that have fallen ass backwards into numerous income streams because Kim fell ass backwards into Ray-J.
Summer Blockbusters
Trying to follow 2008 (“Iron Man,” “The Dark Knight,” etc.) was no easy task, and 2009 failed miserably. The summer blockbuster season was marred by movies filled with mindless action, poor plot/character development and offensive characters (“Transformers: Revenge of the Fallen”). At it’s best the Summer of 2009 provided a few hours of air conditioning that didn’t make you immediately regret your decision to spend $10 (G.I. Joe).
NOTE: This does NOT apply to “The Hangover” which is arguably the funniest movie of the decade.
“There’s No Good Hip-Hop Out There”
To put it simply, if you are not enjoying the current state of Hip-Hop, you are not looking hard enough. 2009 had great releases from legends like Jay-Z, Raekwon and Eminem, exciting new artists like Drake, Kid Cudi and Wale and underground/experimental releases from Cage, La Coka Nostra and Felt that all significantly raised the bar for the culture. The 2000’s closed on an extremely high note and fans should be excited about what the next decade will have in store.
Rihanna being a Strong/Courageous Women
Rihanna apparently got beat up pretty bad by Chris Brown, this is bad, violence against women is intolerable and should be punished. However, the media/general public’s initial declaration of Rihanna as the strongest female alive and the best role model for young girls since Eleanor Roosevelt and subsequently accepting her as a “Bad A** Rock-n-Roll Chick” seem misguided.
Last winter Rihanna got beat up and then went to the cops, two of the least bad a** activities an individual can do. A few months go by and now she shows up on BET talking about drinking and having sex like she’s Jenna Jameson, decked out in leather dominatrix gear with gun tattoos and sporting a haircut from Mad Max. Even if you ignore that she jacked this whole persona from Kelis, it’s hard to take this new “Bad Girl” image seriously.
Under Rated 2009
Licensed Video Games
In the past, Licensed Video Games were usually poor quality, short, frustrating games that were rushed to the market to coincide with the release of a movie in an effort to capitalize on the popularity of the characters/story/media blitz of the franchise. In 2009, games like Ghostbusters: The Video Game, Batman: Arkham Asylum and Marvel Ultimate Alliance 2, among others changed that for the better. These games all featured familiar characters in innovative and polished games that were comparable to the best non-licensed games on the market. Hopefully, this trend continues in the next decade as game developers continue to devote more time and resources to providing quality content to fans of existing franchises and not simply use them to pad their bottom line.
“Other” Sneaker Releases
2009 was a relatively quiet year for two of the biggest sneaker lines of all time: Air Jordan and Air Force 1’s. Brand Jordan released a string of tepidly received retros (most of these are still available in your local Foot Locker) and some hybrids that have been constantly ridiculed online. It was also one of the quietest years for Air Force 1’s in recent memory, with the exception of a few super-limited quickstrike releases and several colorways popping up for the holiday season, there have been almost no significant AF1 releases in all of 2009. Also, the monthly releases of AJ/AF1 Hybrids have all been ridiculed online and are all still available at your favorite suburban mall.
In the absence of these two major players, other releases really got a chance to shine in 2009. Reebok’s 20th anniversary of The Pump, Fila’s Grant Hill collection, Nike’s Air Trainer Line (Bo Jacksons!), LeBron 7’s, Foamposites, Blazers and Air Max’s all kept Sneaker Heads happy and spending dough throughout the year.
The Rise of New Media
“King” and “Vibe” went out of business (albeit briefly), the biggest new Hip-Hop artist didn’t have a record deal, more people played Facebook games like “Farmville” and “Mafia Wars” than console games, record sales plummeted as major chain retailers continued to go out of business and celebrities “scooped” the gossip magazines via Twitter. Like Bob Dylan said: the times, they are a-changin’.
The “Reality” of MTV’s “Jersey Shore”
I have always been a proponent that everything on “reality TV” is carefully scripted and edited to have nothing in common with actual “reality,” however, with the release of MTV’s “Jersey Shore” I stand corrected. This show is the realist thing on TV!
I grew up at the Jersey Shore, not going there for the summers, a few fun weekends or after my senior prom, I lived there 24-7-365. This show perfectly depicts the drinking, fighting and general debauchery that vacationers from NY/Northern NJ engage in when they go “down the shore.”
Several groups have deemed the show derogatory for the Jersey Shore Community and Italian Americans. To those groups I say this: The show depicts “Jersey Shore People” (i.e. policemen, bouncers, barbers, the T-Shirt guy) as rational, hardworking and intelligent citizens, in contrast, the visitors or “Benny’s” are shown to be buffoonish revelers that drink to the point of hospitalization and punch women...I, for one, do not have a problem with this kind of realistic depiction. Secondly, older Italian Americans should worry more about their kids acting like idiots than MTV videotaping their kids acting like idiots.
We can only hope that the exploits of J-Wow, Snookie and The Situation continue to delight us in the new year.
Great Live Shows
The lack of revenue from record sales (see “Rise of New Media”) has forced acts to tour and become increasingly proficient live performers, because like B-Real from Cypress Hill said “You can’t bootleg a great live experience.” This new model for generating income has benefitted most music fans, but Hip-Hop fans in particular. In 2009, package tours like “Rock The Bells/Paid Dues” and “The Sneaker Pimps” and individual artists from superstars like Jay-Z to underground legends like Murs and upstarts like Kid Cudi, put on entertaining, professional and punctual (a rarity in Hip-Hop) shows that gave fans their money’s worth and a reason to spend money on music when artist’s entire catalogs are available online free of charge.
Tiger Woods as Athlete of the Decade
Many are offended that Tiger Woods can even be considered for this honor after his recently exposed “transgressions.” I disagree and challenge anyone that is appalled by this to come up with a better representative of what sports has to offer than Tiger Woods. Numerous extramarital affairs, exposing the mother of his children to any number of STD’s, embarrassing his children, alleged performance enhancing drug use, a contentious relationship with the media that made him rich and famous, constant use of foul language in public, contempt for his fans and a “win-at-all-costs” mentality...sorry to inform the outraged moralists, but THIS IS SPORTS.
If you are a sports fan and are completely flabbergasted by this shocking revelation I suggest you get involved in any number of past times with higher moral standards: adult films, the drug trade and politics are all good places to start.
In the past, Licensed Video Games were usually poor quality, short, frustrating games that were rushed to the market to coincide with the release of a movie in an effort to capitalize on the popularity of the characters/story/media blitz of the franchise. In 2009, games like Ghostbusters: The Video Game, Batman: Arkham Asylum and Marvel Ultimate Alliance 2, among others changed that for the better. These games all featured familiar characters in innovative and polished games that were comparable to the best non-licensed games on the market. Hopefully, this trend continues in the next decade as game developers continue to devote more time and resources to providing quality content to fans of existing franchises and not simply use them to pad their bottom line.
“Other” Sneaker Releases
2009 was a relatively quiet year for two of the biggest sneaker lines of all time: Air Jordan and Air Force 1’s. Brand Jordan released a string of tepidly received retros (most of these are still available in your local Foot Locker) and some hybrids that have been constantly ridiculed online. It was also one of the quietest years for Air Force 1’s in recent memory, with the exception of a few super-limited quickstrike releases and several colorways popping up for the holiday season, there have been almost no significant AF1 releases in all of 2009. Also, the monthly releases of AJ/AF1 Hybrids have all been ridiculed online and are all still available at your favorite suburban mall.
In the absence of these two major players, other releases really got a chance to shine in 2009. Reebok’s 20th anniversary of The Pump, Fila’s Grant Hill collection, Nike’s Air Trainer Line (Bo Jacksons!), LeBron 7’s, Foamposites, Blazers and Air Max’s all kept Sneaker Heads happy and spending dough throughout the year.
The Rise of New Media
“King” and “Vibe” went out of business (albeit briefly), the biggest new Hip-Hop artist didn’t have a record deal, more people played Facebook games like “Farmville” and “Mafia Wars” than console games, record sales plummeted as major chain retailers continued to go out of business and celebrities “scooped” the gossip magazines via Twitter. Like Bob Dylan said: the times, they are a-changin’.
The “Reality” of MTV’s “Jersey Shore”
I have always been a proponent that everything on “reality TV” is carefully scripted and edited to have nothing in common with actual “reality,” however, with the release of MTV’s “Jersey Shore” I stand corrected. This show is the realist thing on TV!
I grew up at the Jersey Shore, not going there for the summers, a few fun weekends or after my senior prom, I lived there 24-7-365. This show perfectly depicts the drinking, fighting and general debauchery that vacationers from NY/Northern NJ engage in when they go “down the shore.”
Several groups have deemed the show derogatory for the Jersey Shore Community and Italian Americans. To those groups I say this: The show depicts “Jersey Shore People” (i.e. policemen, bouncers, barbers, the T-Shirt guy) as rational, hardworking and intelligent citizens, in contrast, the visitors or “Benny’s” are shown to be buffoonish revelers that drink to the point of hospitalization and punch women...I, for one, do not have a problem with this kind of realistic depiction. Secondly, older Italian Americans should worry more about their kids acting like idiots than MTV videotaping their kids acting like idiots.
We can only hope that the exploits of J-Wow, Snookie and The Situation continue to delight us in the new year.
Great Live Shows
The lack of revenue from record sales (see “Rise of New Media”) has forced acts to tour and become increasingly proficient live performers, because like B-Real from Cypress Hill said “You can’t bootleg a great live experience.” This new model for generating income has benefitted most music fans, but Hip-Hop fans in particular. In 2009, package tours like “Rock The Bells/Paid Dues” and “The Sneaker Pimps” and individual artists from superstars like Jay-Z to underground legends like Murs and upstarts like Kid Cudi, put on entertaining, professional and punctual (a rarity in Hip-Hop) shows that gave fans their money’s worth and a reason to spend money on music when artist’s entire catalogs are available online free of charge.
Tiger Woods as Athlete of the Decade
Many are offended that Tiger Woods can even be considered for this honor after his recently exposed “transgressions.” I disagree and challenge anyone that is appalled by this to come up with a better representative of what sports has to offer than Tiger Woods. Numerous extramarital affairs, exposing the mother of his children to any number of STD’s, embarrassing his children, alleged performance enhancing drug use, a contentious relationship with the media that made him rich and famous, constant use of foul language in public, contempt for his fans and a “win-at-all-costs” mentality...sorry to inform the outraged moralists, but THIS IS SPORTS.
If you are a sports fan and are completely flabbergasted by this shocking revelation I suggest you get involved in any number of past times with higher moral standards: adult films, the drug trade and politics are all good places to start.
Tuesday, December 15, 2009
Themes in Hip-Hop 2009
Any fool can list his Top 5 albums or singles from a given year (obviously it’s not that hard because I did it two posts ago). However, taking a step back and looking at Hip-Hop in 2009 a few clear themes emerge that are far too prevalent to be isolated occurrences or mere coincidence. Without further ado...the Top 5 Themes in Hip-Hop 2009!
FIVE: Grown A** Men Rapping
In 2009, Jay-Z, Eminem, Raekwon, Ghostface Killah, Everlast, KRS-ONE, Buckshot, Cage Tame-One, Del The Funkee Homosapien, Kurious and other veterans, all released stellar albums that were good beyond the typical “Well, I’ve bought all his other stuff so I might as well pick up the new one by ____________” (you can fill in the blank with whatever old school rapper that refuses to retire you like). All of these guys are in their late 30’s/early 40’s (whether they admit it or not) and have been producing music since the early 90’s. With solid albums, singles getting radio play and sold out tours by artists reaching middle-age Hip-Hop has finally grown up and ushered in it’s first group of adult-contemporary MC’s. Much like other “Adult” genres these artists come to the mic with a level of life experience and musical skill that even the most talented 20 year-old could only imagine.
While 2009 saw a talented freshmen class (Kid Cudi, Drake, Wale, Asher Roth, etc.) make respectable debuts, there is something to be said for the group of vets that dominated the year.
FOUR: Collaborative Projects Actually Being Released
Rumored full-length collaborations are the topic of about 80% (complete guess) of all postings on Hip-Hop websites and message boards, and while in the past nearly none of these projects ever saw the light of day (I have been waiting for Dr. Dre/Ice Cube and The Four Horsemen for well over a decade), 2009 actually saw the release of several collaborative albums.
This may be due to the fact that selling albums in today’s music industry is nearly impossible and record labels are willing to take more chances, but albums by “Super Groups” like Slaughterhouse, La Coka Nostra, KRS-ONE & Buckshot, Del & Tame One, AG & Ed OG and Street Sweeper Social Club kept real heads running to their local record store, if it didn’t already go out of business.
THREE: White People
2009 was an absurdly good year to be a White Rapper (see “Christmas Spectacular” movie if you disagree). Albums from artists as diverse as Eminem, Asher Roth, R.A. The Rugged Man, La Coka Nostra, Apathy, Cage and Felt were all received well by critics and fans.
While artists should clearly be measured on the merit of their material and not the color of their skin, this as simply too big of trend to ignore. The exact reason for this explosion of white MC’s is hard to pinpoint, but they all added something new to the game and released solid music all year long. Now, if we can just get Bubba Sparxxx to make a come back in 2010. (Don’t sleep, “Deliverance” is a sick album!).
TWO: Album Creativity
It has been said that when a man has nothing, he is truly free, well with album sales at an all time low and illegal downloads and purchasing individual songs clearly winning the race for consumers’ attention, record companies seem to have loosened the reigns on artist’s creativity and let them release some truly original and unique material in 2009.
Albums like Kid Cudi’s “Man on the Moon: The End of Day” or Ghostface Killah’s “R&B Project” are wildly innovative and stray far from the typical commercially released Hip-Hop album (see “5 Mic Formula” post). Even blockbuster albums by Eminem (the addiction/recovery themed “Relapse”) and Jay-Z (the extremely unformulaic “Blueprint 3”) were not the usual “let’s get as many hot producers as we can afford to make a collection of singles and some filler” affairs.
This renewed emphasis on creativity and producing cohesive works of art is one of the best aspects of Hip-Hop in 2009 and as a fan one can only hope it continues and further develops in 2009.
ONE: The “New Music Industry” in Full Effect
When 50 Cent got a deal from his mixtapes it started, when Lil’ Wayne became an international celebrity without an album it was continued and in 2009 when Drake became one of the “Hottest MC’s in the Game” (Shout out to MTV)without a record deal while multiple record stores went out of business it became undeniably clear that the old record industry was over. The new pop culture consumer in the coveted 18-24 year old bracket has never paid for a CD, does not remember when they couldn’t be “friends” with their favorite artists on social networking sites and has never had to wait for MTV, VH1 or BET to play their favorite video.
The internet and it’s far reaching effects, from person-to-person file sharing of songs to being able to order your favorite underground MC’s merchandise anywhere in the world, has had such a profound effect on the music industry that it’s hard to tell if the major labels have fully grasped the new parameters of the business.
In 2009, Drake had a string of hits...from a mixtape that was not made commercially available until after he had the song of the summer, internet beefs (50 Cent/Rick Ross, Cam’Ron/Dipset, etc.) garnered more attention than several major label releases and grass roots artists like Tech-Nine, Slaughterhouse and Murs continued to gain exposure and new fans through aggressive internet campaigns and relentless touring. While it is still unclear what direction the music industry will take in the next several years, it is abundantly clear that the old model of: Street Single > Pop Single > Album Release > A Few Promo Shows > Sit Back and Count The Money As it Rolls In, is a thing of the past.
As fans, this new paradigm is much better than the old system. There is virtually endless amounts of free music available from our favorite artists for no cost, merchandise is readily available to anyone with a credit card and an internet connection and there is an abundance of live Hip-Hop shows just about anywhere in the US (the shows and merchandise allow artists to make up the expenses of providing free music).
The first decade of the 21st century has been incredibly exciting in regards to how we consume media and there doesn’t seem to be any signs of slowing down in the near future. Hip-Hop has always been full of early-adopters of technology and how this culture is disseminated in the next decade will be watched and decided by Hip-Hop Heads worldwide.
FIVE: Grown A** Men Rapping
In 2009, Jay-Z, Eminem, Raekwon, Ghostface Killah, Everlast, KRS-ONE, Buckshot, Cage Tame-One, Del The Funkee Homosapien, Kurious and other veterans, all released stellar albums that were good beyond the typical “Well, I’ve bought all his other stuff so I might as well pick up the new one by ____________” (you can fill in the blank with whatever old school rapper that refuses to retire you like). All of these guys are in their late 30’s/early 40’s (whether they admit it or not) and have been producing music since the early 90’s. With solid albums, singles getting radio play and sold out tours by artists reaching middle-age Hip-Hop has finally grown up and ushered in it’s first group of adult-contemporary MC’s. Much like other “Adult” genres these artists come to the mic with a level of life experience and musical skill that even the most talented 20 year-old could only imagine.
While 2009 saw a talented freshmen class (Kid Cudi, Drake, Wale, Asher Roth, etc.) make respectable debuts, there is something to be said for the group of vets that dominated the year.
FOUR: Collaborative Projects Actually Being Released
Rumored full-length collaborations are the topic of about 80% (complete guess) of all postings on Hip-Hop websites and message boards, and while in the past nearly none of these projects ever saw the light of day (I have been waiting for Dr. Dre/Ice Cube and The Four Horsemen for well over a decade), 2009 actually saw the release of several collaborative albums.
This may be due to the fact that selling albums in today’s music industry is nearly impossible and record labels are willing to take more chances, but albums by “Super Groups” like Slaughterhouse, La Coka Nostra, KRS-ONE & Buckshot, Del & Tame One, AG & Ed OG and Street Sweeper Social Club kept real heads running to their local record store, if it didn’t already go out of business.
THREE: White People
2009 was an absurdly good year to be a White Rapper (see “Christmas Spectacular” movie if you disagree). Albums from artists as diverse as Eminem, Asher Roth, R.A. The Rugged Man, La Coka Nostra, Apathy, Cage and Felt were all received well by critics and fans.
While artists should clearly be measured on the merit of their material and not the color of their skin, this as simply too big of trend to ignore. The exact reason for this explosion of white MC’s is hard to pinpoint, but they all added something new to the game and released solid music all year long. Now, if we can just get Bubba Sparxxx to make a come back in 2010. (Don’t sleep, “Deliverance” is a sick album!).
TWO: Album Creativity
It has been said that when a man has nothing, he is truly free, well with album sales at an all time low and illegal downloads and purchasing individual songs clearly winning the race for consumers’ attention, record companies seem to have loosened the reigns on artist’s creativity and let them release some truly original and unique material in 2009.
Albums like Kid Cudi’s “Man on the Moon: The End of Day” or Ghostface Killah’s “R&B Project” are wildly innovative and stray far from the typical commercially released Hip-Hop album (see “5 Mic Formula” post). Even blockbuster albums by Eminem (the addiction/recovery themed “Relapse”) and Jay-Z (the extremely unformulaic “Blueprint 3”) were not the usual “let’s get as many hot producers as we can afford to make a collection of singles and some filler” affairs.
This renewed emphasis on creativity and producing cohesive works of art is one of the best aspects of Hip-Hop in 2009 and as a fan one can only hope it continues and further develops in 2009.
ONE: The “New Music Industry” in Full Effect
When 50 Cent got a deal from his mixtapes it started, when Lil’ Wayne became an international celebrity without an album it was continued and in 2009 when Drake became one of the “Hottest MC’s in the Game” (Shout out to MTV)without a record deal while multiple record stores went out of business it became undeniably clear that the old record industry was over. The new pop culture consumer in the coveted 18-24 year old bracket has never paid for a CD, does not remember when they couldn’t be “friends” with their favorite artists on social networking sites and has never had to wait for MTV, VH1 or BET to play their favorite video.
The internet and it’s far reaching effects, from person-to-person file sharing of songs to being able to order your favorite underground MC’s merchandise anywhere in the world, has had such a profound effect on the music industry that it’s hard to tell if the major labels have fully grasped the new parameters of the business.
In 2009, Drake had a string of hits...from a mixtape that was not made commercially available until after he had the song of the summer, internet beefs (50 Cent/Rick Ross, Cam’Ron/Dipset, etc.) garnered more attention than several major label releases and grass roots artists like Tech-Nine, Slaughterhouse and Murs continued to gain exposure and new fans through aggressive internet campaigns and relentless touring. While it is still unclear what direction the music industry will take in the next several years, it is abundantly clear that the old model of: Street Single > Pop Single > Album Release > A Few Promo Shows > Sit Back and Count The Money As it Rolls In, is a thing of the past.
As fans, this new paradigm is much better than the old system. There is virtually endless amounts of free music available from our favorite artists for no cost, merchandise is readily available to anyone with a credit card and an internet connection and there is an abundance of live Hip-Hop shows just about anywhere in the US (the shows and merchandise allow artists to make up the expenses of providing free music).
The first decade of the 21st century has been incredibly exciting in regards to how we consume media and there doesn’t seem to be any signs of slowing down in the near future. Hip-Hop has always been full of early-adopters of technology and how this culture is disseminated in the next decade will be watched and decided by Hip-Hop Heads worldwide.
Monday, December 14, 2009
Best Movies of 2009
Movies 2009
2009 was undoubtedly the worst year for movies in recent memory. The majority of major studio releases were overwhelmingly lackluster and few indie movies garnered much fanfare outside of the art-house circuit. While it was a terrible year to spend hard-earned money at the theatre, there were a few movies that were actually acceptable way to kill a few hours.
Best Movies of 2009
Watchmen: The supposedly “impossible-to-film” genre-defining graphic novel from the 80’s was finally brought to the screen in 2009, and the results were awesome. Watchmen flew in the face of accepted norms for Comic Book Movies: it was too long, introduced too many new characters, dealt with concepts that were too big and morally ambiguous and mad absolutely no effort to update the story (based around the Civil Rights Movement and the Cold War) to appeal to a younger audience. Even with all of those strikes against it, Watchmen provided three of the coolest hours of 2009.
The Hangover:Arguably the funniest movie of the decade and easily the most fun anybody had in a theatre this year, The Hangover is so funny and every joke/scene works so well that it’s hard to imagine this DVD not being in heavy rotation in just about every household this holiday season.
Good Hair: A serious look into the hair-care habits of African Americans interspersed with a documentary about a “hair show” so outrageous it could only be true. One of the most entertaining and eye-opening movies released in a while.
Food, Inc.: This documentary of the food industry starts with the line “What we eat has changed more in the last 50 years than in the previous 5 million years...” and goes on to detail how the current agricultural-industrial complex uses pesticides, antibiotics, gene engineering and questionable slaughter/storage practices to produce high profit margins but nutrient deficient food that may be reeking havoc on the American people. If you are not at least mildly interested in this topic, you are dumb.
Away We Go: Jim Halpert and that chick from SNL have a baby, it’s pretty funny and the the love story/dramatic parts work pretty well too.
Sugar: This documentary-style drama exposes the underside of professional baseball and what happens when supposed superstars from South America don’t make it in America’s Past Time, entertaining and informative for sports fans and non-sports fans alike.
G.I. Joe: It wasn’t high-art but it was the best of the summer blockbusters and the relentless action and thrill of seeing some of my favorite toys come to life more than made up for the lack of an interesting plot and lifeless acting.
2009 was undoubtedly the worst year for movies in recent memory. The majority of major studio releases were overwhelmingly lackluster and few indie movies garnered much fanfare outside of the art-house circuit. While it was a terrible year to spend hard-earned money at the theatre, there were a few movies that were actually acceptable way to kill a few hours.
Best Movies of 2009
Watchmen: The supposedly “impossible-to-film” genre-defining graphic novel from the 80’s was finally brought to the screen in 2009, and the results were awesome. Watchmen flew in the face of accepted norms for Comic Book Movies: it was too long, introduced too many new characters, dealt with concepts that were too big and morally ambiguous and mad absolutely no effort to update the story (based around the Civil Rights Movement and the Cold War) to appeal to a younger audience. Even with all of those strikes against it, Watchmen provided three of the coolest hours of 2009.
The Hangover:Arguably the funniest movie of the decade and easily the most fun anybody had in a theatre this year, The Hangover is so funny and every joke/scene works so well that it’s hard to imagine this DVD not being in heavy rotation in just about every household this holiday season.
Good Hair: A serious look into the hair-care habits of African Americans interspersed with a documentary about a “hair show” so outrageous it could only be true. One of the most entertaining and eye-opening movies released in a while.
Food, Inc.: This documentary of the food industry starts with the line “What we eat has changed more in the last 50 years than in the previous 5 million years...” and goes on to detail how the current agricultural-industrial complex uses pesticides, antibiotics, gene engineering and questionable slaughter/storage practices to produce high profit margins but nutrient deficient food that may be reeking havoc on the American people. If you are not at least mildly interested in this topic, you are dumb.
Away We Go: Jim Halpert and that chick from SNL have a baby, it’s pretty funny and the the love story/dramatic parts work pretty well too.
Sugar: This documentary-style drama exposes the underside of professional baseball and what happens when supposed superstars from South America don’t make it in America’s Past Time, entertaining and informative for sports fans and non-sports fans alike.
G.I. Joe: It wasn’t high-art but it was the best of the summer blockbusters and the relentless action and thrill of seeing some of my favorite toys come to life more than made up for the lack of an interesting plot and lifeless acting.
Sunday, December 13, 2009
Best Albums of 2009
Top 5 Albums of 2009
FIVE: Kid Cudi-Man on the Moon: The End of Day
The debut album by Scott Mescudi can best be described as “Anti-Swagger.” The young rapper debuted at the end of 2008 with the bangin’ “Day-N-Night” and after taking almost 10 months to produce an official debut he emerged with an album so different, so innovative,so plain good, that it pushed “Emo Hip-Hop” out of the underground and to the forefront of the industry. The album is trip into the young MC’s mind and deals with such issues as alienation, trouble with women, family struggle and even hints at a chemical imbalance...this takes “keeping it real” to the next level.
Four: Slaughterhouse-Self Titled
4 of the “best to never do it” got together and released a full-length LP full of hard beats and relentless lyrics that made even the most disgruntled, “Hip Hop Is Dead” backpackers admit there was still some life left in the genre. Every verse on this record is an event, as Royce, Joey, Joell and Crook rhyme like their very life depends on every syllable they spit, and in an industry where second chances are rare, they just may have saved their careers and lyrical Hip-Hop at the same time.
Three: Raekwon-Only Built For Cuban Linx...Pt. 2
Released a full 14 years after the original, the sequel to The Chef’s seminal debut was worth every second of the loooooooong wait. Vivid imagery, detailed story telling, guest appearances by nearly every Wu-Tang affiliate and beats by a wide array of producers culminated in another cinematic masterpiece for the Shoalin Masters. NOTE: Ghostface Killah’s “Ghostdini: The Wizard of Poetry in Emerald City” was released less than a month after OB4CL2, if these two albums were released simultaneously (e.g. OUTKAST’s “Speakerbox/The Love Below”) this would have undoubtedly been the best album of the year and the best Wu album in well over a decade.
Two: Eminem-Relapse
Marshall Mathers took a full five years between albums and while the majority of Soulja Boy Tell’em fans and the “106 & Park” crowd didn’t seem to appreciate this release, real heads knew...Slim Shady was Back! “Relapse” did have a few misfires, but highlights like “My Mom,” “Deja Vu,” “Beautiful,” and “Underground” were so far beyond the capabilities of the average rapper that this album in easily in the top few releases of the year.
One: Jay-Z-Blueprint 3
At this point in his career, arguing that anybody else is on Shawn Carter’s level is flat out silly. This album was a entertainment industry event and by all measures it lived up to the hype. Jay’s typically dazzling lyrics combined with inventive beats and just the right amount of pop sensibility to form THE album of 2009. Between dominating radio and video outlets from September to December, nearly every song getting radio play, completely obliterating the “Autotune/Ringtone” aesthetic dominating Hip-Hop for the last several years and releasing this generation’s New York anthem, there was simply nobody in Jay-Z’s category in 2009.
Best Independant/Underground Albums of 2009
La Coka Nostra: A Brand You Can Trust
All three original members of House of Pain, Non-Phixion/Solo MC Ill Bill and newcomer Slaine released arguably the best album of the year. This filled the void of white-trash hooligan music that has been pretty vacant since HOP’s last album in ’96 and is by far the best workout CD of the last several years as the aggressive beats and relentless lyrics from three of the most slept-on MC’s of all-time combine to form, what Danny Boy calls “that old 90’s swinging from the chandelier music.”
R.A. The Rugged Man: Legendary Classics Vol. 1
“Legendary Classics Vol. 1” chronicles the unreleased and hard-to-find classics from one of the best rappers to never blow up. The collection spans 15 years and contains mid-90’s cult classics like “Every Record Label Sucks D**k” and the Biggie assisted “C*nt. Renaissance” all the way up to more recent classics like the awe-inspiring “Uncommon Valor (A Vietnam Story)” and “Renaissance” This collection should be mandatory listening for longtime Rugged Man fans and newcomers alike.
Cage: Depart From Me
In 2009 Chris Palko walked out of “Against All Odds” and into “Hot Topic” as “Depart From Me” was awash in fuzzy guitars, sung chorus’ and screamed/mumbled lyrics. The album was a definite departure (get it?) from Cage’s normal shock-value lyrics and NYC inspired beats, but taken as a complete statement it unquestionably paints a vivid picture of an artist and man at a crossroads in his life and music, where Cage’s career goes in the next few years should interesting to say the least.
Mic Savvy: Freshman Year Flashbacks
“Freshmen Year Flashbacks” is the best album to come of North Carolina since Little Brother’s 2005 opus “The Minstrel Show.” Soulful production, thoughtful lyrics and a laid back delivery combine to form an organic sound that perfectly bridges the gap between the dirty south, backpackers and radio accessibility.
Del The Funkee Homosapien & Tame One: Parallel UNI-Verses
Oakland’s Del and Newark NJ’s Tame-UNO produced a solid album of underground heat in 2009. The MC’s divergent but similar vocal styles and producer Parallel Thought’s spaced out soundscapes produced one of the most unique and pleasurable listening experiences of the year.
Rick Mujerus’s Instant O-Fense 2009
Shakira: She Wolf-This should have been the song of the summer, it was not and we are all worse because of it.
Lady Gaga: Entire Catalog- Despite her bizarre fashion sense, Lady Gaga brought the New York club scene to the masses, and whether you want to admit it or not, you liked it.
Black Eyed Peas: I Got a Feeling & Meet Me Half Way-Considering how bad most BEP music is, these two masterpieces are actually fun party records and not just 3 min. of unbridled buffoonery.
Tre Songs feat. Fabolous: Say Ahh-Not much to say about the best ode to oral sex this year.
The Dream feat. Kanye West: Walking on the Moon-The best “Michael Jackson Song” not made by the King of Pop.
FIVE: Kid Cudi-Man on the Moon: The End of Day
The debut album by Scott Mescudi can best be described as “Anti-Swagger.” The young rapper debuted at the end of 2008 with the bangin’ “Day-N-Night” and after taking almost 10 months to produce an official debut he emerged with an album so different, so innovative,so plain good, that it pushed “Emo Hip-Hop” out of the underground and to the forefront of the industry. The album is trip into the young MC’s mind and deals with such issues as alienation, trouble with women, family struggle and even hints at a chemical imbalance...this takes “keeping it real” to the next level.
Four: Slaughterhouse-Self Titled
4 of the “best to never do it” got together and released a full-length LP full of hard beats and relentless lyrics that made even the most disgruntled, “Hip Hop Is Dead” backpackers admit there was still some life left in the genre. Every verse on this record is an event, as Royce, Joey, Joell and Crook rhyme like their very life depends on every syllable they spit, and in an industry where second chances are rare, they just may have saved their careers and lyrical Hip-Hop at the same time.
Three: Raekwon-Only Built For Cuban Linx...Pt. 2
Released a full 14 years after the original, the sequel to The Chef’s seminal debut was worth every second of the loooooooong wait. Vivid imagery, detailed story telling, guest appearances by nearly every Wu-Tang affiliate and beats by a wide array of producers culminated in another cinematic masterpiece for the Shoalin Masters. NOTE: Ghostface Killah’s “Ghostdini: The Wizard of Poetry in Emerald City” was released less than a month after OB4CL2, if these two albums were released simultaneously (e.g. OUTKAST’s “Speakerbox/The Love Below”) this would have undoubtedly been the best album of the year and the best Wu album in well over a decade.
Two: Eminem-Relapse
Marshall Mathers took a full five years between albums and while the majority of Soulja Boy Tell’em fans and the “106 & Park” crowd didn’t seem to appreciate this release, real heads knew...Slim Shady was Back! “Relapse” did have a few misfires, but highlights like “My Mom,” “Deja Vu,” “Beautiful,” and “Underground” were so far beyond the capabilities of the average rapper that this album in easily in the top few releases of the year.
One: Jay-Z-Blueprint 3
At this point in his career, arguing that anybody else is on Shawn Carter’s level is flat out silly. This album was a entertainment industry event and by all measures it lived up to the hype. Jay’s typically dazzling lyrics combined with inventive beats and just the right amount of pop sensibility to form THE album of 2009. Between dominating radio and video outlets from September to December, nearly every song getting radio play, completely obliterating the “Autotune/Ringtone” aesthetic dominating Hip-Hop for the last several years and releasing this generation’s New York anthem, there was simply nobody in Jay-Z’s category in 2009.
Best Independant/Underground Albums of 2009
La Coka Nostra: A Brand You Can Trust
All three original members of House of Pain, Non-Phixion/Solo MC Ill Bill and newcomer Slaine released arguably the best album of the year. This filled the void of white-trash hooligan music that has been pretty vacant since HOP’s last album in ’96 and is by far the best workout CD of the last several years as the aggressive beats and relentless lyrics from three of the most slept-on MC’s of all-time combine to form, what Danny Boy calls “that old 90’s swinging from the chandelier music.”
R.A. The Rugged Man: Legendary Classics Vol. 1
“Legendary Classics Vol. 1” chronicles the unreleased and hard-to-find classics from one of the best rappers to never blow up. The collection spans 15 years and contains mid-90’s cult classics like “Every Record Label Sucks D**k” and the Biggie assisted “C*nt. Renaissance” all the way up to more recent classics like the awe-inspiring “Uncommon Valor (A Vietnam Story)” and “Renaissance” This collection should be mandatory listening for longtime Rugged Man fans and newcomers alike.
Cage: Depart From Me
In 2009 Chris Palko walked out of “Against All Odds” and into “Hot Topic” as “Depart From Me” was awash in fuzzy guitars, sung chorus’ and screamed/mumbled lyrics. The album was a definite departure (get it?) from Cage’s normal shock-value lyrics and NYC inspired beats, but taken as a complete statement it unquestionably paints a vivid picture of an artist and man at a crossroads in his life and music, where Cage’s career goes in the next few years should interesting to say the least.
Mic Savvy: Freshman Year Flashbacks
“Freshmen Year Flashbacks” is the best album to come of North Carolina since Little Brother’s 2005 opus “The Minstrel Show.” Soulful production, thoughtful lyrics and a laid back delivery combine to form an organic sound that perfectly bridges the gap between the dirty south, backpackers and radio accessibility.
Del The Funkee Homosapien & Tame One: Parallel UNI-Verses
Oakland’s Del and Newark NJ’s Tame-UNO produced a solid album of underground heat in 2009. The MC’s divergent but similar vocal styles and producer Parallel Thought’s spaced out soundscapes produced one of the most unique and pleasurable listening experiences of the year.
Rick Mujerus’s Instant O-Fense 2009
Shakira: She Wolf-This should have been the song of the summer, it was not and we are all worse because of it.
Lady Gaga: Entire Catalog- Despite her bizarre fashion sense, Lady Gaga brought the New York club scene to the masses, and whether you want to admit it or not, you liked it.
Black Eyed Peas: I Got a Feeling & Meet Me Half Way-Considering how bad most BEP music is, these two masterpieces are actually fun party records and not just 3 min. of unbridled buffoonery.
Tre Songs feat. Fabolous: Say Ahh-Not much to say about the best ode to oral sex this year.
The Dream feat. Kanye West: Walking on the Moon-The best “Michael Jackson Song” not made by the King of Pop.
Wednesday, October 21, 2009
October Reviews: The Underground Edition
Refer to previous post for rating system, or refer to any system of 1-5 you want, they are all pretty much the same.
Apathy: “Wanna Snuggle?”
3.5
Apathy is not only my favorite emotion; he’s also one hell of an MC. Ap has been bouncing around the underground scene for about a decade, been cosigned by everybody from indie-rap darlings Styles of Beyond to superstars Linkin Park, and has been affiliated with the Connecticut-based Demigodz since their rise to national prominence in the early 2000’s. Despite these powerful connections and obvious talent as a lyricist, song writer and producer, AP’s career has yet to take off beyond the typical “struggling white rapper” and “Wanna Snuggle?” (a reference to a boa constrictor eating a rat) is only his second full-length release in a career that already spans over a decade.
Apathy has been relatively quiet since his 2006 release “Eastern Philosophy” and he clearly has used the time off to perfect his beat making ability as ¾ of the tracks are self-produced. He also had ample time to create concepts and write lyrics that tell intricate stories that deal with issues as diverse as materialism, slavery, the music industry, male/female relationships, 9-5 jobs, his place in Hip-Hop and regular people being pushed to insane acts of violence (the near-brilliant album closer “Victim”). Apathy doesn’t waste listener’s time by rigidly adhering to the typical rap song format (three 16-Bar verses and a hook) by adding endless filler verses and adlibs, instead he gets his point across and ends most songs leaving the listener wanting more, as many of the 21 tracks clock in at well under 2 ½ minutes. This is a blessing and curse, while some of the songs end perfectly, some feel rushed or unfinished and could have greatly benefitted from a third verse or guest appearance. (NOTE: I am not sure if this is Apathy’s fault or I am so conditioned to how Hip-Hop “should sound” from damn near two decades as a rabid fan that any deviation from the norm sends my head spinning).
“Wanna Snuggle?” has several really high points, including the B-Real and Celph-Titled assisted “Shoot First,” the throwback (way back) feel of “Thinkin’” and the previously mentioned “Victim,” however these standouts are separated by too much filler for “Wanna Snuggle?” to be considered an underground classic or even on par with AP’s previous work.
Del the Funkee Homosapien & Tame One: “Parallel UNI-Verses”
4
“Parallel UNI-Verses” is the perfect name for a collaborative LP from two MC’s that have travelled two strikingly similar career paths at opposite sides of the continental United States. Both Del and Tame-One debuted in the early 90’s to critical acclaim and minimal commercial success, both came from areas just outside of Hip-Hop’s prime breading grounds (Oakland and NJ respectively), both have cultivated a dedicated fanbase by affiliating themselves with talented crews (Del’s Hieroglyphics camp and Tame with NYC’s Weathermen), releasing quality albums on respected indie labels (Hiero Imperium, Eastern Conference and Def Jux), collaborating with the biggest stars in underground Hip-Hop (Deltron 3030, The Gorillas, Leak Brothers, Slow Suicide Stimulus, etc) and constant touring both domestically and abroad. Artistically, the two have similar vocal styles that include off-the-wall lyrics delivered in a laid back tone over experimental beats, this similarity is the main factor in making “Parallel UNI-Verses” an enjoyable trip through the underground from beginning to end.
The entire project is produced by Parallel Thought and the up-and-coming producer provides sonic backdrops that are street enough for hardrocks, trippy enough for backpackers and the perfect accompaniment to Del and Tame’s left-field poetry. The standout track and first single “Flashback” has both MC’s reminiscing about the good ol’ days over a sick beat that will have fans ready to breakdance, write graffiti on the train and look for their Das EFX tapes. Other bangers include “Specifics,” “Life Sucks” and “We Taking Over.”
While the overriding “Back In The Day” vibe may wear some fans out after repeated listening, Del and Tame have produced a dope album and one of the finest LP’s in either MC’s distinguished career.
Apathy: “Wanna Snuggle?”
3.5
Apathy is not only my favorite emotion; he’s also one hell of an MC. Ap has been bouncing around the underground scene for about a decade, been cosigned by everybody from indie-rap darlings Styles of Beyond to superstars Linkin Park, and has been affiliated with the Connecticut-based Demigodz since their rise to national prominence in the early 2000’s. Despite these powerful connections and obvious talent as a lyricist, song writer and producer, AP’s career has yet to take off beyond the typical “struggling white rapper” and “Wanna Snuggle?” (a reference to a boa constrictor eating a rat) is only his second full-length release in a career that already spans over a decade.
Apathy has been relatively quiet since his 2006 release “Eastern Philosophy” and he clearly has used the time off to perfect his beat making ability as ¾ of the tracks are self-produced. He also had ample time to create concepts and write lyrics that tell intricate stories that deal with issues as diverse as materialism, slavery, the music industry, male/female relationships, 9-5 jobs, his place in Hip-Hop and regular people being pushed to insane acts of violence (the near-brilliant album closer “Victim”). Apathy doesn’t waste listener’s time by rigidly adhering to the typical rap song format (three 16-Bar verses and a hook) by adding endless filler verses and adlibs, instead he gets his point across and ends most songs leaving the listener wanting more, as many of the 21 tracks clock in at well under 2 ½ minutes. This is a blessing and curse, while some of the songs end perfectly, some feel rushed or unfinished and could have greatly benefitted from a third verse or guest appearance. (NOTE: I am not sure if this is Apathy’s fault or I am so conditioned to how Hip-Hop “should sound” from damn near two decades as a rabid fan that any deviation from the norm sends my head spinning).
“Wanna Snuggle?” has several really high points, including the B-Real and Celph-Titled assisted “Shoot First,” the throwback (way back) feel of “Thinkin’” and the previously mentioned “Victim,” however these standouts are separated by too much filler for “Wanna Snuggle?” to be considered an underground classic or even on par with AP’s previous work.
Del the Funkee Homosapien & Tame One: “Parallel UNI-Verses”
4
“Parallel UNI-Verses” is the perfect name for a collaborative LP from two MC’s that have travelled two strikingly similar career paths at opposite sides of the continental United States. Both Del and Tame-One debuted in the early 90’s to critical acclaim and minimal commercial success, both came from areas just outside of Hip-Hop’s prime breading grounds (Oakland and NJ respectively), both have cultivated a dedicated fanbase by affiliating themselves with talented crews (Del’s Hieroglyphics camp and Tame with NYC’s Weathermen), releasing quality albums on respected indie labels (Hiero Imperium, Eastern Conference and Def Jux), collaborating with the biggest stars in underground Hip-Hop (Deltron 3030, The Gorillas, Leak Brothers, Slow Suicide Stimulus, etc) and constant touring both domestically and abroad. Artistically, the two have similar vocal styles that include off-the-wall lyrics delivered in a laid back tone over experimental beats, this similarity is the main factor in making “Parallel UNI-Verses” an enjoyable trip through the underground from beginning to end.
The entire project is produced by Parallel Thought and the up-and-coming producer provides sonic backdrops that are street enough for hardrocks, trippy enough for backpackers and the perfect accompaniment to Del and Tame’s left-field poetry. The standout track and first single “Flashback” has both MC’s reminiscing about the good ol’ days over a sick beat that will have fans ready to breakdance, write graffiti on the train and look for their Das EFX tapes. Other bangers include “Specifics,” “Life Sucks” and “We Taking Over.”
While the overriding “Back In The Day” vibe may wear some fans out after repeated listening, Del and Tame have produced a dope album and one of the finest LP’s in either MC’s distinguished career.
Monday, October 19, 2009
Reviews October 2009
Grading System: Hispanic Causing Panic Edition
5: Big Pun
4: Cypress Hill
3: Angie Martinez
2: Fat Joe
1: Rico Suave
Kid Cudi: Man on the Moon: The End of Day
5+
Kid Cudi’s debut album does for the depressed what “Illmatic” did for project-dwellers and “The Slim Shady LP” did for white trash, it is the quintessential verbal and sonic embodiment of a mind state that is rarely addressed in Hip-Hop. While casual fans are familiar with Cudi from his anthem-like single “Day n Night” and his newer radio friendly “Poke Her Face” listeners should be prepared for more of the melancholy loneliness of the former and very little of the playful sexuality displayed on the latter. The album is organized to mirror a night in the life of Scott Mescudi and from dusk (the lullaby like “In My Dreams”) to dawn (the triumphant “Up, Up and Away”) the talented MC uses haunting soundscapes, singing/moaning/spoken word and quality guest appearances to convey his message of personal struggle and an impending sense of doom about the world outside of his own head.
“Man on the Moon” starts off with the bangin’ “Soundtrack to My Life” which traces Cudi’s evolution from a depressed youth playing with toys alone in his room, to a depressed adolescent with women troubles and finally to a depressed rap star that has to carry around hand sanitizer from getting so many handshakes. This song sets the tone for the album and lets fans know that Kid Cudi is not new to depression, but has actually been depressed at every level of the game. This commitment to a singular theme is rare in commercial Hip-Hop and allows Cudi to produce one of the year’s best albums because of the sonic and lyrical cohesion throughout the entire project (with the exception of the previously mentioned “Poke Her Face” which does not fit into the overall vibe and was clearly included as a stab at radio play and an opportunity to include verses from superstars Kanye West and Common). Following the introduction to the mind of Kid Cudi, the talented musician proceeds to address the down side of the constantly glorified “Rap Life” including, drug use (“Day n Night”), females (“My World” and “Enter Galactic”), alienation from peers (“Solo Dolo”) and the American Dream (“Pursuit of Happiness”).
Overall, “Man on the Moon” does an incredible job of setting a tone and presenting one unified message over the course of 60+ minutes of music. Most of the material on this album will not make it to radio and the overwhelming majority of it is not suitable for the club, however it is absolutely perfect for driving home from the club alone after a night of rejection and discouragement. This kind of “Sky Might Fall” realism may struggle to find a widespread audience in today’s climate of endless optimism sold to us by the government, churches, the school system, the news, self-help gurus and pharmaceutical companies, but it’s hard to argue it’s not a welcome change of pace.
KRS-ONE & Buckshot: Survival Skills
3.5
Finally! Every Hip-Hop head’s dream collaboration…in 1995! Boot Camp Clik and Boogie Down Productions have been intimately linked since Black Moon’s second single sampled KRS-ONE’s “How many MC’s must get dissed?” line in the summer of ’93. In the ensuing decade and half, both Buckshot and KRS have remained active in the industry, releasing albums every few years, constantly touring and otherwise thriving in the new internet-heavy/record-label-lite underground Hip-Hop marketplace. While this album might be a little late for most fans and it’s by no means a grand slam, it’s a solid double that scores some runs when the team (read: Hip-Hop) absolutely needs it.
The lead single “Robot” chastises the current crop of autotune-MC’s, and was actually released a few weeks prior to Jay-Z’s “D.O.A.” and the current single “How We Live” features Mary J. Blige in a reunion of early 90’s heavyweights for a song that is lyrically strong but still accessible for today’s Hot 97 listeners. The remainder of the album is solid, if not spectacular. The elder statesmen present numerous lessons to today’s Hip-Hop listeners and fans, ranging from being a good father to constantly pushing the boundaries of Hip-Hop and personal creativity. These songs are better than most of the material on recent releases by either Buck or KRS because of the contrast between the two MC’s vocal styles, KRS’s overpowering bombast is met with Buckshot’s laid back lyricism to create a sonic “Good Cop/Bad Cop” that is especially appreciated during extended listening. Musically, the majority of the beats are provided by up-and-coming producers that find a good middle-ground between early 90’s boom-bap and 2009 radio play that provides the two veterans with a perfect platform to school the 106 & Park crowd.
To be completely honest, this album has very little to offer fans of Soulja Boy or T-Pain, but for fans of golden-era Hip-Hop or adults that are not salivating over the next Kanye outburst, this is a solid listen with the right mix of nostalgia and that proverbial “next sh*t.”
Ghostface Killah: Ghostdini and the Wizard of Poetry in Emerald City
4
Like most Ghostface releases, this defies classification based on title (one of the longest ever?) and concept (a GFK R&B album, really?) alone. However, once you get passed the Wizard of Oz theme and idea of Ghost over all R&B tracks (something he has experimented with since 1996’s “Ironman”) it’s actually another quality project from one of the most consistent MC’s in the game.
The album features guest appearances by Shareefa, “Radio” Raheem DeVaughn (a nod to Spike Lee’s “Do The Right Thing”), Lloyd and most surprisingly Adrian Bailon, of Cheetah Girls and Kardashians fame, who absolutely murders “I’ll Be That.” Ghost maintains his normally off-kilter flow and off-the-wall references to address all aspects of male/female relationships from sex (“Stapleton Sex”) to having a child (“Baby”) to begging for forgiveness (“Do Over”) to cheating (“Guest House”) for a great concept album and one of the most engaging albums of the year.
The timing of this album is a bit questionable, coming mere weeks after Raekwon’s critical and commercial hit “OB4CL…Pt 2” but with two quality releases in less than a month the Wu-dynasty may be ready to shine again…protect ya neck.
VH1 Hip-Hop Honors
4
This year’s edition was pretty entertaining, here are some random musings:
HIGHLIGHTS: Eminem and Black Thought covering LL, Onxy still being angry after all these years, the amusing anecdotes from Rick Rubin, Russell Simmons and other Def Jam staffers, Tracy Morgan actually being funny.
LOW-LIGHTS: Trey Songz being the worst Nate Dogg ever, the rushed and poorly planned finale, The Roots organic live sound not fitting some Def Jam classics.
QUESTIONS:
If Murder, Inc. had to be included, why did they ignore “Holla, Holla” “Put It On Me,” and “Me and You” in favor of “Down A** B**ch” ?
Where the hell were Slick Rick, 3rd Bass, and anybody affiliated with Roc-a-fella?
How sick was Ja Rule’s shearling peacoat?
Where can I get some DMX sweatpants?
By including Rick Ross and not Slick Rick, didn’t they pick the wrong Rick?
Why did DMX do the worst song of his career?
Wouldn’t more cover versions and less original artists have been cool? I can see Meth and Red do “The Roc Wilder” anytime I want on youtube, but to see Drake and Kid Cudi cover it would have been amazing and traditionally that’s what this show is about.
5: Big Pun
4: Cypress Hill
3: Angie Martinez
2: Fat Joe
1: Rico Suave
Kid Cudi: Man on the Moon: The End of Day
5+
Kid Cudi’s debut album does for the depressed what “Illmatic” did for project-dwellers and “The Slim Shady LP” did for white trash, it is the quintessential verbal and sonic embodiment of a mind state that is rarely addressed in Hip-Hop. While casual fans are familiar with Cudi from his anthem-like single “Day n Night” and his newer radio friendly “Poke Her Face” listeners should be prepared for more of the melancholy loneliness of the former and very little of the playful sexuality displayed on the latter. The album is organized to mirror a night in the life of Scott Mescudi and from dusk (the lullaby like “In My Dreams”) to dawn (the triumphant “Up, Up and Away”) the talented MC uses haunting soundscapes, singing/moaning/spoken word and quality guest appearances to convey his message of personal struggle and an impending sense of doom about the world outside of his own head.
“Man on the Moon” starts off with the bangin’ “Soundtrack to My Life” which traces Cudi’s evolution from a depressed youth playing with toys alone in his room, to a depressed adolescent with women troubles and finally to a depressed rap star that has to carry around hand sanitizer from getting so many handshakes. This song sets the tone for the album and lets fans know that Kid Cudi is not new to depression, but has actually been depressed at every level of the game. This commitment to a singular theme is rare in commercial Hip-Hop and allows Cudi to produce one of the year’s best albums because of the sonic and lyrical cohesion throughout the entire project (with the exception of the previously mentioned “Poke Her Face” which does not fit into the overall vibe and was clearly included as a stab at radio play and an opportunity to include verses from superstars Kanye West and Common). Following the introduction to the mind of Kid Cudi, the talented musician proceeds to address the down side of the constantly glorified “Rap Life” including, drug use (“Day n Night”), females (“My World” and “Enter Galactic”), alienation from peers (“Solo Dolo”) and the American Dream (“Pursuit of Happiness”).
Overall, “Man on the Moon” does an incredible job of setting a tone and presenting one unified message over the course of 60+ minutes of music. Most of the material on this album will not make it to radio and the overwhelming majority of it is not suitable for the club, however it is absolutely perfect for driving home from the club alone after a night of rejection and discouragement. This kind of “Sky Might Fall” realism may struggle to find a widespread audience in today’s climate of endless optimism sold to us by the government, churches, the school system, the news, self-help gurus and pharmaceutical companies, but it’s hard to argue it’s not a welcome change of pace.
KRS-ONE & Buckshot: Survival Skills
3.5
Finally! Every Hip-Hop head’s dream collaboration…in 1995! Boot Camp Clik and Boogie Down Productions have been intimately linked since Black Moon’s second single sampled KRS-ONE’s “How many MC’s must get dissed?” line in the summer of ’93. In the ensuing decade and half, both Buckshot and KRS have remained active in the industry, releasing albums every few years, constantly touring and otherwise thriving in the new internet-heavy/record-label-lite underground Hip-Hop marketplace. While this album might be a little late for most fans and it’s by no means a grand slam, it’s a solid double that scores some runs when the team (read: Hip-Hop) absolutely needs it.
The lead single “Robot” chastises the current crop of autotune-MC’s, and was actually released a few weeks prior to Jay-Z’s “D.O.A.” and the current single “How We Live” features Mary J. Blige in a reunion of early 90’s heavyweights for a song that is lyrically strong but still accessible for today’s Hot 97 listeners. The remainder of the album is solid, if not spectacular. The elder statesmen present numerous lessons to today’s Hip-Hop listeners and fans, ranging from being a good father to constantly pushing the boundaries of Hip-Hop and personal creativity. These songs are better than most of the material on recent releases by either Buck or KRS because of the contrast between the two MC’s vocal styles, KRS’s overpowering bombast is met with Buckshot’s laid back lyricism to create a sonic “Good Cop/Bad Cop” that is especially appreciated during extended listening. Musically, the majority of the beats are provided by up-and-coming producers that find a good middle-ground between early 90’s boom-bap and 2009 radio play that provides the two veterans with a perfect platform to school the 106 & Park crowd.
To be completely honest, this album has very little to offer fans of Soulja Boy or T-Pain, but for fans of golden-era Hip-Hop or adults that are not salivating over the next Kanye outburst, this is a solid listen with the right mix of nostalgia and that proverbial “next sh*t.”
Ghostface Killah: Ghostdini and the Wizard of Poetry in Emerald City
4
Like most Ghostface releases, this defies classification based on title (one of the longest ever?) and concept (a GFK R&B album, really?) alone. However, once you get passed the Wizard of Oz theme and idea of Ghost over all R&B tracks (something he has experimented with since 1996’s “Ironman”) it’s actually another quality project from one of the most consistent MC’s in the game.
The album features guest appearances by Shareefa, “Radio” Raheem DeVaughn (a nod to Spike Lee’s “Do The Right Thing”), Lloyd and most surprisingly Adrian Bailon, of Cheetah Girls and Kardashians fame, who absolutely murders “I’ll Be That.” Ghost maintains his normally off-kilter flow and off-the-wall references to address all aspects of male/female relationships from sex (“Stapleton Sex”) to having a child (“Baby”) to begging for forgiveness (“Do Over”) to cheating (“Guest House”) for a great concept album and one of the most engaging albums of the year.
The timing of this album is a bit questionable, coming mere weeks after Raekwon’s critical and commercial hit “OB4CL…Pt 2” but with two quality releases in less than a month the Wu-dynasty may be ready to shine again…protect ya neck.
VH1 Hip-Hop Honors
4
This year’s edition was pretty entertaining, here are some random musings:
HIGHLIGHTS: Eminem and Black Thought covering LL, Onxy still being angry after all these years, the amusing anecdotes from Rick Rubin, Russell Simmons and other Def Jam staffers, Tracy Morgan actually being funny.
LOW-LIGHTS: Trey Songz being the worst Nate Dogg ever, the rushed and poorly planned finale, The Roots organic live sound not fitting some Def Jam classics.
QUESTIONS:
If Murder, Inc. had to be included, why did they ignore “Holla, Holla” “Put It On Me,” and “Me and You” in favor of “Down A** B**ch” ?
Where the hell were Slick Rick, 3rd Bass, and anybody affiliated with Roc-a-fella?
How sick was Ja Rule’s shearling peacoat?
Where can I get some DMX sweatpants?
By including Rick Ross and not Slick Rick, didn’t they pick the wrong Rick?
Why did DMX do the worst song of his career?
Wouldn’t more cover versions and less original artists have been cool? I can see Meth and Red do “The Roc Wilder” anytime I want on youtube, but to see Drake and Kid Cudi cover it would have been amazing and traditionally that’s what this show is about.
Tuesday, September 15, 2009
Reviews September 2009
The following are technically “Reviews,” but because they are all so hot, I’m not going to bother assigning any kind of grading system. However, with the exception of Kanye and Lil’ Mama’s foolishness, it was a great week to be a Hip-Hop head!
Jay-Z: The Blueprint 3
“The Blueprint 3” is Grown-A**-Man-Rap at it’s best. Where Hova faltered by going over his audience’s head on most of “Kingdom Come,” he gets it right for the overwhelming majority of BP3. The beats provided by Kanye West, Timbaland and Pharrell are some of the most complex and multi-layered in the history of commercial Hip-Hop, but somehow all retain enough classic boom-bap to appeal to everyone from backpackers to hard rocks. Lyrically, Jay-Z holds it down as fans would expect, but definitely updates his style for 2009 and shows that he’s an older, wiser and more polished artist than he was when the original “Blueprint” was released in 2001. He still addresses beef with other rappers, but instead of calling them out by name or threatening to “see them outside” in his adlibs, he weaves an intricate metaphor of how most of his foes have taken themselves out of the game before he had to (“Thank You”) and then attacks the state of the entire music industry in the lead-off single “D.O.A. (Death Of Autotune)” with a track so powerful and convincing you could pretty much put autotune/ringtone rap in the same category as throwbacks, X5’s and Jaz-O, of things Jay completely deaded the first time you heard it.
The two commercial joints, “We Run This Town” and “Empire State of Mind” are poppy enough to be played on Top-40 radio, but the verses contain enough dope lyrics to keep Hip-Hop heads hitting the rewind button, no small feat indeed. The album continues with several nods to Hip-Hop’s next generation with collabos with Drake, Kid Cudi and J. Cole that all hold their own and illustrate just how relevant Jay-Z is in today’s music scene.
Like most Jay-Z albums, it’s difficult to pick standout tracks because they are all so good and the varied production, subject matter and overall vibe make it difficult to compare tracks, however they all fit together into one incredibly cohesive album that is one of the best of 2009 and one of the best of Jay-Z’s illustrious career.
Raekwon: Only Built for Cuban Linx...Pt. 2
In the summer of 1995 Rae’s OB4CL was such a vivid and visceral depiction of New York’s drug trade that herbs thought they knew how to import, package and distribute narcotics after one listen to “The Purple Tape.” The album cemented Wu-Tang as THE crew of the mid-90’s and paved the way for superstars like Jay-Z, T.I., Rick Ross and The Clipse to turn tales of drug dealing into massive record sales.
However, that was a decade a half ago and a lot has changed since OB4CL hit the streets. Here is an abridged list of things that have happened since that dude got his “Meat Lumped” : the internet, social networking sites, the terrorist attacks of 9/11, the Boston Red Sox broke the curse...twice, Jay-Z’s entire career, cassettes of any color have become totally obsolete and CD’s are on their death bed, Sony released Playstation 1, 2 and 3, Joe Budden got punched in the eye and ODB passed away. Despite all these changes, Rae manages to not only stay relevant but make one of the best albums of the year.
Where the original was the unified vision of Rae and The Rza (with Ghostface and other Wu-Tang members in supporting roles), the sequel is an eclectic mix of the best of Hip-Hop in 2009. Producers as diverse as J. Dilla (R.I.P.), Necro, Pete Rock and Dr. Dre provides sonic backdrops that don’t only compliment the vivid storytelling of the lyrics but actually make “RZA Beats” as good (if not better than) The Rza. And where the only non-Wu appearance on OB4CL was by a young Nas, Part 2 contains vocals from Slick Rick, Beanie Sigel, Busta Rhymes and Jadakiss & Styles P (judging by the quality of multiple Wu/Lox collaborations one has to wonder what would have happened if The Lox aligned themselves with Wu-Tang instead of Bad Boy in the mid 90’s).
Despite all the guest appearances and sick beats, the stars of the show are still Rae and Ghost. Raekwon’s intricate storytelling is offset by Ghostface Killah’s unique flow and wordplay for a combination that is unrivaled in Hip-Hop.
OB4CL is another Wu-Banger (I probably haven’t used that term in 10 years). Get your Wu-Wear out of the closet and support real Hip-Hop...Suuuuuuu!
Murs: Highline Ballroom 9/10/2009
Murs is arguably the best underground/independent artist of the 2000’s, he releases near classic albums on a yearly basis, is arguably the best lyricist in west coast history and his collaborations with 9th Wonder have attracted fans from all over the world. The fact that an artist of this caliber, with dozens of unbelievably good songs and an incredible stage show has to perform a half-empty ballroom is proof that there is no justice in the world.
Murs’ stage show is as bananas as any of his albums. He performed for over an hour with no hypeman, no special effects and nobody else’s material (a rarity today). His set was very “Murs 3:16” and “Murs For President” heavy, but also included lesser known cuts, older songs and his scathing diss of Rick Ross for stealing the “Biggest Boss” beat.
This show was live Hip-Hop at it’s best: great venue, show started on time and the performer shredded for over an hour of nothing but fire. Add the fact that Murs is so humble that he hangs out at his merchandise booth before the show (I shook his hand!) and takes pics with fans as soon as he gets off stage and you have one of the best underground rap experiences of 2009.
Jay-Z: The Blueprint 3
“The Blueprint 3” is Grown-A**-Man-Rap at it’s best. Where Hova faltered by going over his audience’s head on most of “Kingdom Come,” he gets it right for the overwhelming majority of BP3. The beats provided by Kanye West, Timbaland and Pharrell are some of the most complex and multi-layered in the history of commercial Hip-Hop, but somehow all retain enough classic boom-bap to appeal to everyone from backpackers to hard rocks. Lyrically, Jay-Z holds it down as fans would expect, but definitely updates his style for 2009 and shows that he’s an older, wiser and more polished artist than he was when the original “Blueprint” was released in 2001. He still addresses beef with other rappers, but instead of calling them out by name or threatening to “see them outside” in his adlibs, he weaves an intricate metaphor of how most of his foes have taken themselves out of the game before he had to (“Thank You”) and then attacks the state of the entire music industry in the lead-off single “D.O.A. (Death Of Autotune)” with a track so powerful and convincing you could pretty much put autotune/ringtone rap in the same category as throwbacks, X5’s and Jaz-O, of things Jay completely deaded the first time you heard it.
The two commercial joints, “We Run This Town” and “Empire State of Mind” are poppy enough to be played on Top-40 radio, but the verses contain enough dope lyrics to keep Hip-Hop heads hitting the rewind button, no small feat indeed. The album continues with several nods to Hip-Hop’s next generation with collabos with Drake, Kid Cudi and J. Cole that all hold their own and illustrate just how relevant Jay-Z is in today’s music scene.
Like most Jay-Z albums, it’s difficult to pick standout tracks because they are all so good and the varied production, subject matter and overall vibe make it difficult to compare tracks, however they all fit together into one incredibly cohesive album that is one of the best of 2009 and one of the best of Jay-Z’s illustrious career.
Raekwon: Only Built for Cuban Linx...Pt. 2
In the summer of 1995 Rae’s OB4CL was such a vivid and visceral depiction of New York’s drug trade that herbs thought they knew how to import, package and distribute narcotics after one listen to “The Purple Tape.” The album cemented Wu-Tang as THE crew of the mid-90’s and paved the way for superstars like Jay-Z, T.I., Rick Ross and The Clipse to turn tales of drug dealing into massive record sales.
However, that was a decade a half ago and a lot has changed since OB4CL hit the streets. Here is an abridged list of things that have happened since that dude got his “Meat Lumped” : the internet, social networking sites, the terrorist attacks of 9/11, the Boston Red Sox broke the curse...twice, Jay-Z’s entire career, cassettes of any color have become totally obsolete and CD’s are on their death bed, Sony released Playstation 1, 2 and 3, Joe Budden got punched in the eye and ODB passed away. Despite all these changes, Rae manages to not only stay relevant but make one of the best albums of the year.
Where the original was the unified vision of Rae and The Rza (with Ghostface and other Wu-Tang members in supporting roles), the sequel is an eclectic mix of the best of Hip-Hop in 2009. Producers as diverse as J. Dilla (R.I.P.), Necro, Pete Rock and Dr. Dre provides sonic backdrops that don’t only compliment the vivid storytelling of the lyrics but actually make “RZA Beats” as good (if not better than) The Rza. And where the only non-Wu appearance on OB4CL was by a young Nas, Part 2 contains vocals from Slick Rick, Beanie Sigel, Busta Rhymes and Jadakiss & Styles P (judging by the quality of multiple Wu/Lox collaborations one has to wonder what would have happened if The Lox aligned themselves with Wu-Tang instead of Bad Boy in the mid 90’s).
Despite all the guest appearances and sick beats, the stars of the show are still Rae and Ghost. Raekwon’s intricate storytelling is offset by Ghostface Killah’s unique flow and wordplay for a combination that is unrivaled in Hip-Hop.
OB4CL is another Wu-Banger (I probably haven’t used that term in 10 years). Get your Wu-Wear out of the closet and support real Hip-Hop...Suuuuuuu!
Murs: Highline Ballroom 9/10/2009
Murs is arguably the best underground/independent artist of the 2000’s, he releases near classic albums on a yearly basis, is arguably the best lyricist in west coast history and his collaborations with 9th Wonder have attracted fans from all over the world. The fact that an artist of this caliber, with dozens of unbelievably good songs and an incredible stage show has to perform a half-empty ballroom is proof that there is no justice in the world.
Murs’ stage show is as bananas as any of his albums. He performed for over an hour with no hypeman, no special effects and nobody else’s material (a rarity today). His set was very “Murs 3:16” and “Murs For President” heavy, but also included lesser known cuts, older songs and his scathing diss of Rick Ross for stealing the “Biggest Boss” beat.
This show was live Hip-Hop at it’s best: great venue, show started on time and the performer shredded for over an hour of nothing but fire. Add the fact that Murs is so humble that he hangs out at his merchandise booth before the show (I shook his hand!) and takes pics with fans as soon as he gets off stage and you have one of the best underground rap experiences of 2009.
Friday, September 4, 2009
20 Questions: Summer 2009
How bad was the weather this summer? It rained everyday in June, there were violent thunderstorms throughout July and by August 15th I was wearing a jacket (I know my man Don Comerica will call me a “little B*tch” for that, but it got cold mad early this year.)
Why did millions of people support the Slaughterhouse MOVEMENT, but only 18,000 support the Slaughterhouse ALBUM?
With hot albums by Eminem, Cage and La Coka Nostra when did middle-aged white guys take over Hip-Hop?
Did the best beef of the summer really involve Mariah Carey?
Does the continued success of the Black Eyed Peas across all age, race and demographic lines make you think less of society?
Wasn’t The Rock The Bells/Paid Dues festival the best package tour in a long time? (for everybody but Joe Budden).
Does Joe Budden take more “L’s” than Prodigy?
How effin’ bad was Transformers 2?
Didn’t you miss GOOD summer blockbusters based on comic books?
Kobe won a championship without Shaq, but did anybody really care?
The Pittsburgh Penguins won the Stanley Cup, but did anybody even notice?
If the Jets trade for Brandon Marshall, will the AFC East have the Slaughterhouse of troubled offensive threats? (Randy Moss (NE), Ricky Williams (MIA), Terrell Owens (BUF) and now Brandon Marshall (NYJ)?)
How sick is the iPhone 3Gs?
Isn’t “The Hangover” the funniest movie since “Old School”?
Who is Flo-Rida extorting to get those beats?
Isn’t that Jay-Z/Rhapsody commercial absolutely bananas? I’m not eve sure what Rhapsody is, but I know I want one, now!
How did “Man vs. Food” get renewed for a second season? Despite the asinine premise of the show, the guy fails most of the time.
Busta Rhymes got back on his BS, but did anybody notice?
Did “The Other Two” Kardashians really get their own show?
Didn’t Summer 2009 go by way too fast?
Why did millions of people support the Slaughterhouse MOVEMENT, but only 18,000 support the Slaughterhouse ALBUM?
With hot albums by Eminem, Cage and La Coka Nostra when did middle-aged white guys take over Hip-Hop?
Did the best beef of the summer really involve Mariah Carey?
Does the continued success of the Black Eyed Peas across all age, race and demographic lines make you think less of society?
Wasn’t The Rock The Bells/Paid Dues festival the best package tour in a long time? (for everybody but Joe Budden).
Does Joe Budden take more “L’s” than Prodigy?
How effin’ bad was Transformers 2?
Didn’t you miss GOOD summer blockbusters based on comic books?
Kobe won a championship without Shaq, but did anybody really care?
The Pittsburgh Penguins won the Stanley Cup, but did anybody even notice?
If the Jets trade for Brandon Marshall, will the AFC East have the Slaughterhouse of troubled offensive threats? (Randy Moss (NE), Ricky Williams (MIA), Terrell Owens (BUF) and now Brandon Marshall (NYJ)?)
How sick is the iPhone 3Gs?
Isn’t “The Hangover” the funniest movie since “Old School”?
Who is Flo-Rida extorting to get those beats?
Isn’t that Jay-Z/Rhapsody commercial absolutely bananas? I’m not eve sure what Rhapsody is, but I know I want one, now!
How did “Man vs. Food” get renewed for a second season? Despite the asinine premise of the show, the guy fails most of the time.
Busta Rhymes got back on his BS, but did anybody notice?
Did “The Other Two” Kardashians really get their own show?
Didn’t Summer 2009 go by way too fast?
Monday, August 31, 2009
What Are These Kids So Happy About?
“I don’t understand this sudden popularity of Pop Music. It’s like listening to show tunes. Why are the youth not rebelling?”
-Howard Stern,1999
“Whatever happened to wildin’ out and being violent? Whatever happened to catchin’ a good old fashioned passionate a** whooppin’ and getting your shoes, coat and hat tooken”
-Eminem “Marshall Mathers,” 2000
“Eminem’s ‘Relapse’ didn’t sell that well because these kids aren’t mad like we were”
-Author, July 2009
What the hell is everybody so happy about? Despite the fact that today’s reality includes a world economy that is in shambles, US engagement in a war with no end in sight, a public education system that pushes students through regardless of knowledge acquisition so they can attend expensive universities that will put them into extreme debt and NOT prepare them to enter the workforce, a division of wealth that might as well place the very rich and the very poor on different planets, a healthcare system that is horribly broken, alcohol/tabacco/prescription drug use (the legal vices) keeping huge segments of our population in a narcotics-induced haze and the continual dumbing down of our population through reality TV, sports and internet, and the kids just want to rock expensive gear, acquire hundreds of facebook friends and copy dances they see on youtube. (Note: This abridged list of issues only addresses some of the problems of middle America and is in no way conclusive as it does not even attempt to address the issues of inner cities, the working poor, rural areas, young parents or many other sub-groups of teenagers and young adults).
It is hard to say exactly how or when this happened but the turn of the century is a good place to start. In the 2000’s menacing rappers have been replaced with family friendly versions like Nelly and Ludacris, intellectually challenging movies are relegated to small “art house” theaters while juvenile “the good guy always wins” action movies and romantic comedies with happy endings dominate the box office, on television provocative dramas and smart comedies are continually replaced with reality dating shows or endless sports talk and Harry Potter and esteem building self-help books dominate the best seller list. While there have been several works documenting this generation’s declining academic aptitude, narcissism and sense of entitlement there have been relatively few examinations of why in the world they are so damn happy. To the casual observer the most obvious reason is that there is simply nothing left to rebel against.
Most affluent 15-25 year olds grew up in households where parents were more concerned with being “cool” or “a best friend” than raising competent adults, further many of these households not only allow but encourage underage drinking, look at drug use and minor mischief as integral to the maturing process and place the children on such a high pedestal that when they are reprimanded by an authority figure it is often treated as the fault of the offending adult and not that of the child. Further, they live in a world were the President is one of the coolest men in the country (regardless of political views it’s hard to debate Obama’s cool factor) and has support from 90% of the entertainment industry, it is difficult to convince teens and young adults to beware government intervention in their personal lives when their favorite rappers, actors and reality stars all whole-heartedly embrace the administration. Over the past several decades public and private education as turned away from rote memorization of useful facts and reading classic (and in most cases challenging) literature, in favor of “student-centered” curriculum that aims to keep them engaged and “social promotion” ensures that everyone will graduate regardless of material mastery. Their television viewing, which takes up an alarming portion of their day, is dominated by “reality shows” that depict the rich and famous as demigods to be praised for their good looks and fabulous lifestyles and if they dare to turn on the news there are so many channels that networks can cater to nearly any set of views, so they are given only the news they want in the manner they want to digest. The internet further personalizes the media viewing experience by completely eliminating information the viewer does not want to see, if a 25 year old grown man is more concerned with the winner of “Dancing with the Stars” than the current economic crisis, a school shooting or natural disaster, he can have that information delivered to his desktop and be blissfully ignorant of any news he finds unpalatable.
This bizarre aversion to anything even the slightest bit unpleasant is in stark contrast to the youth of the previous decade. 90’s kids were pi**ed! In the 1990’s rappers killed each other, rock stars killed themselves, movies were ultra-violent, comedians were bitingly sarcastic and shows like “Cops” and “America’s Most Wanted” consistently showed Americans the seedy underbelly of our culture. The music of the 90’s was legitimately scary to older generations, rappers like Ice Cube, 2Pac and the Wu-Tang Clan took every opportunity to shine a light on the plight of the inner city, while other MC’s like B.I.G., Scarface and Jay-Z turned the light inward and detailed how life in post-Reagan America affected the psyches of young black males. The rise of grunge rock illustrated the growing discontent felt by suburban youth that were the product of broken homes, a failing school system and the rigid high school caste system. Movies were violent and thought provoking, Academy Award winners like “Natural Born Killers,” “Pulp Fiction” or even “Forest Gump” (a pretty sharp commentary on the last 50 years of American history and the idea that someone with an IQ of 75 would make the ultimate soldier is about as biting a critique of the military as you will find) would even see wide release in today’s “blockbuster or bust” climate. The pop culture of the 1990’s ended with a virtual orgy of anger, with 1999 being arguably the angriest year in American history: musicians like Eminem, DMX, Limp Bizkit, Korn, Rage Against The Machine and Kid Rock all either debuted or achieved widespread popularity and the multiplex was dominated by movies expressing extreme and thoughtful discontent at the state of American society, “Fight Club,” “The Matrix” and “American Beauty” were all huge hits, also,the year’s biggest concert, Woodstock ’99, was so packed with aggressive bands that the concert actually ended in a full scale riot (whether the music or the heat and extremely high concessions prices combined with high levels of drug and alcohol abuse actually caused the event to erupt in violence remains unclear, however it is rare to hear of a large, corporate-controlled event of this magnitude ending like this in today’s climate).
Compare that with the anything-for-a-dollar buffoonery of today’s commercial Hip-Hop, the whiny “Emo” that passes as rock and the movies made to cater to the lowest common denominator of intelligence that dominate the box office and the distinction is easy to observe. It is fair to say that the youth of the 2000’s are so radically different than their 1990’s counterparts that some of the biggest musical acts of the decade would either not exist or be niche/underground artist selling their music online and touring small bars and clubs. Today’s typical music consumer is so far removed from the overwhelming rage, frustration and anger displayed during the 90’s that multi-platinum artists like Wu-Tang Can, 2Pac, Nine Inch Nails, RATM, Korn, Eminem, DMX, Onyx, Ice Cube, the Geto Boys, M.O.P., Metallica, Alice in Chains, Soundgarden and Nirvana would fail to find an audience with today’s youth listeners. And while it may seem somewhat obvious that youth preferences change, up until the turn of this century, the underlying sentiments have been largely similar, even if the means of expression have been radically different. Frank Sinatra, Elvis Pressley, The Beatles, James Brown, The Rolling Stones, The Clash, Run-DMC and Guns-n-Roses all stood in stark contrast to the accepted status quo of the era and represented a legitimate threat to parents and the older generation as a potential influence on the youth. In contrast, today’s superstars like 50 Cent, Lil’ Wayne, Nickelback and Taylor Swift offer nothing more than a reinforcement of the materialistic ideals perpetuated by parents and teachers and an open celebration of living “The American Dream.” While several of today’s most popular artists are talented and entertaining, they are not revolutionary in terms of style, content or ideology.
The youth’s current obsession with happy, feel good music is not only illustrated by what they do buy (Brittany Spears, Flo Rida, Fall Out Boy, Soulja Boy and the bland pop singers turned out by American Idol), but by what they don’t buy. In 2009, records by Eminem, La Coka Nostra, Cage, Street Sweeper Social Club, and Slaughterhouse were all viewed as commercial disappointments (either by industry projections or the artist’s track record). These did not fail commercially because they were bad, in fact they were all very good, they failed because they were simply too aggressive for today’s youth consumer. It is not hard to see why they were overlooked by the legions of teens dressed in vans/tight denim/pastel hoodies and raised on artists like T-Pain, that music fan has no interest in hearing Joell Oritiz vividly detail life in the projects or Eminem graphically recount his near fatal drug addiction, that fan is too busy matching a scarf with his Supras and downloading the new Kid Cudi or Drake (a virtual one-man Bell Biv DeVoe) song to care about the problems of anyone else or even examine their own individual issues and challenges.
An easily identifiable example of the change in the amount of aggression seen in the youth of today as compared to the youth of the 1990’s can be seen by comparing popular white rappers of each era. House of Pain were “dirty white boy” hooligans and the kind of guys you hoped wouldn’t show up to the bar because they would get belligerently drunk, tear the place up and maybe take your girl. On the other hand, 2009’s favorite white rapper, Asher Roth, is the kind of affable young man you hope does come to the bar because he’s probably buying everybody drinks with his dad’s credit card. Or to put it another way, House of Pain said “This is the House of Pain/To come inside is insane” and Roth says “Hey, come on over and let’s hang out, it’s all good, there’s no tough guys or egos around here.” While artists like Roth and similar non-confrontational rappers like Kanye West, Lil’ Wayne and Charles Hamilton make Hip-Hop more accessible for the uninitiated, it does remove some of the intimidating mystique associated with the genre in the 80’s and 90’s and the complete lack of awareness about the state of the world around them could eventually prove problematic for the culture as a whole.
Another glaring example of the differences between pop culture today and that of the previous decade is the designer drug of choice (a clear indicator of the desires of any demographic). In the 1990’s ecstasy rose to prominence, largely through the rave and underground dance music scene. Looking back it is clear that the youth of the era were so angry and disconnected that they needed chemical enhancement just to feel emotions, dance and connect to others the same age. In the 2000’s the drug of choice is Crystal Meth, which basically has no euphoric or hallucinogenic properties, but keeps the user awake for days at a time. This basically shows that these kids are so happy and self-satisfied that they don’t want to sleep and miss a second of their charmed existence. While this example is somewhat comical, the explosion of ecstasy in the 1990’s is probably a legitimate indicator of the anger, and the subsequent need to subdue it with drugs, commonplace in that generation.
Today’s teenagers and young adults are so brainwashed by the version of American society force fed to them by their parents, schools, government, churches, radio stations, television channels, websites, entertainers, athletes, reality TV shows, news outlets, gossip magazines and social networking sites that they completely lack any sense that rebellion is necessary or even a viable option. They are the first generation since the advent of Rock &Roll over a half century ago to not only accept but embrace the fact that, for them, resistance is futile.
-Howard Stern,1999
“Whatever happened to wildin’ out and being violent? Whatever happened to catchin’ a good old fashioned passionate a** whooppin’ and getting your shoes, coat and hat tooken”
-Eminem “Marshall Mathers,” 2000
“Eminem’s ‘Relapse’ didn’t sell that well because these kids aren’t mad like we were”
-Author, July 2009
What the hell is everybody so happy about? Despite the fact that today’s reality includes a world economy that is in shambles, US engagement in a war with no end in sight, a public education system that pushes students through regardless of knowledge acquisition so they can attend expensive universities that will put them into extreme debt and NOT prepare them to enter the workforce, a division of wealth that might as well place the very rich and the very poor on different planets, a healthcare system that is horribly broken, alcohol/tabacco/prescription drug use (the legal vices) keeping huge segments of our population in a narcotics-induced haze and the continual dumbing down of our population through reality TV, sports and internet, and the kids just want to rock expensive gear, acquire hundreds of facebook friends and copy dances they see on youtube. (Note: This abridged list of issues only addresses some of the problems of middle America and is in no way conclusive as it does not even attempt to address the issues of inner cities, the working poor, rural areas, young parents or many other sub-groups of teenagers and young adults).
It is hard to say exactly how or when this happened but the turn of the century is a good place to start. In the 2000’s menacing rappers have been replaced with family friendly versions like Nelly and Ludacris, intellectually challenging movies are relegated to small “art house” theaters while juvenile “the good guy always wins” action movies and romantic comedies with happy endings dominate the box office, on television provocative dramas and smart comedies are continually replaced with reality dating shows or endless sports talk and Harry Potter and esteem building self-help books dominate the best seller list. While there have been several works documenting this generation’s declining academic aptitude, narcissism and sense of entitlement there have been relatively few examinations of why in the world they are so damn happy. To the casual observer the most obvious reason is that there is simply nothing left to rebel against.
Most affluent 15-25 year olds grew up in households where parents were more concerned with being “cool” or “a best friend” than raising competent adults, further many of these households not only allow but encourage underage drinking, look at drug use and minor mischief as integral to the maturing process and place the children on such a high pedestal that when they are reprimanded by an authority figure it is often treated as the fault of the offending adult and not that of the child. Further, they live in a world were the President is one of the coolest men in the country (regardless of political views it’s hard to debate Obama’s cool factor) and has support from 90% of the entertainment industry, it is difficult to convince teens and young adults to beware government intervention in their personal lives when their favorite rappers, actors and reality stars all whole-heartedly embrace the administration. Over the past several decades public and private education as turned away from rote memorization of useful facts and reading classic (and in most cases challenging) literature, in favor of “student-centered” curriculum that aims to keep them engaged and “social promotion” ensures that everyone will graduate regardless of material mastery. Their television viewing, which takes up an alarming portion of their day, is dominated by “reality shows” that depict the rich and famous as demigods to be praised for their good looks and fabulous lifestyles and if they dare to turn on the news there are so many channels that networks can cater to nearly any set of views, so they are given only the news they want in the manner they want to digest. The internet further personalizes the media viewing experience by completely eliminating information the viewer does not want to see, if a 25 year old grown man is more concerned with the winner of “Dancing with the Stars” than the current economic crisis, a school shooting or natural disaster, he can have that information delivered to his desktop and be blissfully ignorant of any news he finds unpalatable.
This bizarre aversion to anything even the slightest bit unpleasant is in stark contrast to the youth of the previous decade. 90’s kids were pi**ed! In the 1990’s rappers killed each other, rock stars killed themselves, movies were ultra-violent, comedians were bitingly sarcastic and shows like “Cops” and “America’s Most Wanted” consistently showed Americans the seedy underbelly of our culture. The music of the 90’s was legitimately scary to older generations, rappers like Ice Cube, 2Pac and the Wu-Tang Clan took every opportunity to shine a light on the plight of the inner city, while other MC’s like B.I.G., Scarface and Jay-Z turned the light inward and detailed how life in post-Reagan America affected the psyches of young black males. The rise of grunge rock illustrated the growing discontent felt by suburban youth that were the product of broken homes, a failing school system and the rigid high school caste system. Movies were violent and thought provoking, Academy Award winners like “Natural Born Killers,” “Pulp Fiction” or even “Forest Gump” (a pretty sharp commentary on the last 50 years of American history and the idea that someone with an IQ of 75 would make the ultimate soldier is about as biting a critique of the military as you will find) would even see wide release in today’s “blockbuster or bust” climate. The pop culture of the 1990’s ended with a virtual orgy of anger, with 1999 being arguably the angriest year in American history: musicians like Eminem, DMX, Limp Bizkit, Korn, Rage Against The Machine and Kid Rock all either debuted or achieved widespread popularity and the multiplex was dominated by movies expressing extreme and thoughtful discontent at the state of American society, “Fight Club,” “The Matrix” and “American Beauty” were all huge hits, also,the year’s biggest concert, Woodstock ’99, was so packed with aggressive bands that the concert actually ended in a full scale riot (whether the music or the heat and extremely high concessions prices combined with high levels of drug and alcohol abuse actually caused the event to erupt in violence remains unclear, however it is rare to hear of a large, corporate-controlled event of this magnitude ending like this in today’s climate).
Compare that with the anything-for-a-dollar buffoonery of today’s commercial Hip-Hop, the whiny “Emo” that passes as rock and the movies made to cater to the lowest common denominator of intelligence that dominate the box office and the distinction is easy to observe. It is fair to say that the youth of the 2000’s are so radically different than their 1990’s counterparts that some of the biggest musical acts of the decade would either not exist or be niche/underground artist selling their music online and touring small bars and clubs. Today’s typical music consumer is so far removed from the overwhelming rage, frustration and anger displayed during the 90’s that multi-platinum artists like Wu-Tang Can, 2Pac, Nine Inch Nails, RATM, Korn, Eminem, DMX, Onyx, Ice Cube, the Geto Boys, M.O.P., Metallica, Alice in Chains, Soundgarden and Nirvana would fail to find an audience with today’s youth listeners. And while it may seem somewhat obvious that youth preferences change, up until the turn of this century, the underlying sentiments have been largely similar, even if the means of expression have been radically different. Frank Sinatra, Elvis Pressley, The Beatles, James Brown, The Rolling Stones, The Clash, Run-DMC and Guns-n-Roses all stood in stark contrast to the accepted status quo of the era and represented a legitimate threat to parents and the older generation as a potential influence on the youth. In contrast, today’s superstars like 50 Cent, Lil’ Wayne, Nickelback and Taylor Swift offer nothing more than a reinforcement of the materialistic ideals perpetuated by parents and teachers and an open celebration of living “The American Dream.” While several of today’s most popular artists are talented and entertaining, they are not revolutionary in terms of style, content or ideology.
The youth’s current obsession with happy, feel good music is not only illustrated by what they do buy (Brittany Spears, Flo Rida, Fall Out Boy, Soulja Boy and the bland pop singers turned out by American Idol), but by what they don’t buy. In 2009, records by Eminem, La Coka Nostra, Cage, Street Sweeper Social Club, and Slaughterhouse were all viewed as commercial disappointments (either by industry projections or the artist’s track record). These did not fail commercially because they were bad, in fact they were all very good, they failed because they were simply too aggressive for today’s youth consumer. It is not hard to see why they were overlooked by the legions of teens dressed in vans/tight denim/pastel hoodies and raised on artists like T-Pain, that music fan has no interest in hearing Joell Oritiz vividly detail life in the projects or Eminem graphically recount his near fatal drug addiction, that fan is too busy matching a scarf with his Supras and downloading the new Kid Cudi or Drake (a virtual one-man Bell Biv DeVoe) song to care about the problems of anyone else or even examine their own individual issues and challenges.
An easily identifiable example of the change in the amount of aggression seen in the youth of today as compared to the youth of the 1990’s can be seen by comparing popular white rappers of each era. House of Pain were “dirty white boy” hooligans and the kind of guys you hoped wouldn’t show up to the bar because they would get belligerently drunk, tear the place up and maybe take your girl. On the other hand, 2009’s favorite white rapper, Asher Roth, is the kind of affable young man you hope does come to the bar because he’s probably buying everybody drinks with his dad’s credit card. Or to put it another way, House of Pain said “This is the House of Pain/To come inside is insane” and Roth says “Hey, come on over and let’s hang out, it’s all good, there’s no tough guys or egos around here.” While artists like Roth and similar non-confrontational rappers like Kanye West, Lil’ Wayne and Charles Hamilton make Hip-Hop more accessible for the uninitiated, it does remove some of the intimidating mystique associated with the genre in the 80’s and 90’s and the complete lack of awareness about the state of the world around them could eventually prove problematic for the culture as a whole.
Another glaring example of the differences between pop culture today and that of the previous decade is the designer drug of choice (a clear indicator of the desires of any demographic). In the 1990’s ecstasy rose to prominence, largely through the rave and underground dance music scene. Looking back it is clear that the youth of the era were so angry and disconnected that they needed chemical enhancement just to feel emotions, dance and connect to others the same age. In the 2000’s the drug of choice is Crystal Meth, which basically has no euphoric or hallucinogenic properties, but keeps the user awake for days at a time. This basically shows that these kids are so happy and self-satisfied that they don’t want to sleep and miss a second of their charmed existence. While this example is somewhat comical, the explosion of ecstasy in the 1990’s is probably a legitimate indicator of the anger, and the subsequent need to subdue it with drugs, commonplace in that generation.
Today’s teenagers and young adults are so brainwashed by the version of American society force fed to them by their parents, schools, government, churches, radio stations, television channels, websites, entertainers, athletes, reality TV shows, news outlets, gossip magazines and social networking sites that they completely lack any sense that rebellion is necessary or even a viable option. They are the first generation since the advent of Rock &Roll over a half century ago to not only accept but embrace the fact that, for them, resistance is futile.
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