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TACH
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PostPosted: Wed Sep 24, 2008 5:55 am    Post subject:

Free_Kobe wrote:
rchanou wrote:
TACH wrote:
Free_Kobe wrote:
TACH wrote:
DJ Revolution f/ KRS-One - The DJ


Sick!

if they would only listen...
KRS-One brought the heat on that track.

Here's a few more new (to me) joint for you:

NeverBeTheOne - Blu
That Knack - DJ K.O. f. Wordsworth, Strickland, & Torae
kingme - Sene f. Blu
Paris, Tokyo (remix) - Lupe f. Pharrell, Q-Tip, & Sarah Green


I must say Blu is really growing on me.

I really like Sene... He's got a nice sound!


A buddy of mine passed me a bunch of his stuff (Sene) a couple of weeks ago. He has quite a few tracks with Blu (Stoopid, Dope4goldropes). I think they were in a group together called Patch Adams. Of his albums, Pavement Special is my fav....
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PostPosted: Wed Sep 24, 2008 10:23 am    Post subject:

TACH wrote:
Free_Kobe wrote:
rchanou wrote:
TACH wrote:
Free_Kobe wrote:
TACH wrote:
DJ Revolution f/ KRS-One - The DJ


Sick!

if they would only listen...
KRS-One brought the heat on that track.

Here's a few more new (to me) joint for you:

NeverBeTheOne - Blu
That Knack - DJ K.O. f. Wordsworth, Strickland, & Torae
kingme - Sene f. Blu
Paris, Tokyo (remix) - Lupe f. Pharrell, Q-Tip, & Sarah Green


I must say Blu is really growing on me.

I really like Sene... He's got a nice sound!


A buddy of mine passed me a bunch of his stuff (Sene) a couple of weeks ago. He has quite a few tracks with Blu (Stoopid, Dope4goldropes). I think they were in a group together called Patch Adams. Of his albums, Pavement Special is my fav....


Ive been listening to alot more of Sene this morning... Good Sh..!
btw, the link for "That Knack" is for the "Paris, Tokyo" song...
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♪ ♫One good thing about music, when it hits, you feel no pain...
So hit me with music! ♪ ♫
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TACH
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PostPosted: Wed Sep 24, 2008 11:08 am    Post subject:

Free_Kobe wrote:
TACH wrote:
Free_Kobe wrote:
rchanou wrote:
TACH wrote:
Free_Kobe wrote:
TACH wrote:
DJ Revolution f/ KRS-One - The DJ


Sick!

if they would only listen...
KRS-One brought the heat on that track.

Here's a few more new (to me) joint for you:

NeverBeTheOne - Blu
That Knack - DJ K.O. f. Wordsworth, Strickland, & Torae (FXIED)
kingme - Sene f. Blu
Paris, Tokyo (remix) - Lupe f. Pharrell, Q-Tip, & Sarah Green


I must say Blu is really growing on me.

I really like Sene... He's got a nice sound!


A buddy of mine passed me a bunch of his stuff (Sene) a couple of weeks ago. He has quite a few tracks with Blu (Stoopid, Dope4goldropes). I think they were in a group together called Patch Adams. Of his albums, Pavement Special is my fav....


Ive been listening to alot more of Sene this morning... Good Sh..!
btw, the link for "That Knack" is for the "Paris, Tokyo" song...


FIXED...
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TACH
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PostPosted: Wed Sep 24, 2008 3:10 pm    Post subject:

rchanou wrote:
TACH wrote:
Free_Kobe wrote:
TACH wrote:
DJ Revolution f/ KRS-One - The DJ


Sick!

if they would only listen...
KRS-One brought the heat on that track.

Here's a few more new (to me) joint for you:

NeverBeTheOne - Blu
That Knack - DJ K.O. f. Wordsworth, Strickland, & Torae
kingme - Sene f. Blu
Paris, Tokyo (remix) - Lupe f. Pharrell, Q-Tip, & Sarah Green


I must say Blu is really growing on me.


Quote:
Johnson&Jonson
Johnson&Jonson
(Tres Records : 2008)
88
Posted on 09/22/2008

In a time when rappers run through producers like yellow lights over the course of an album, L.A.’s underground wunderkind, Blu, appears to be the rare serial monogamist. He bared his soul over the textured warmth of Exile’s soulful soundscapes on their 2007 masterpiece, Below The Heavens, then opened ’08 with free wheeling energy over Ta’Raach’s minimalist boom-bap as one half of C.R.A.C. Knuckles. Rounding out his trilogy of single-producer collabs, Blu teams with up and coming tracksmith, Mainframe, for Johnson&Jonson, and the mission of this marriage seems to be showcasing Blu’s emceeing in its purest form. Over raw, sample heavy tracks, the much heralded lyricist flows like conversation after the last bottle of Boone’s Farm has been emptied, and the results will no doubt put a Pee Wee Herman smile on the face of many a hip-hop enthusiast.

Sonically, Mainframe is the rare hip-hop traditionalist who seldom leads with his drums. While the percussion is propulsive, he tends to keep it lower in the mix than many of his peers, allowing the thick bass lines, gritty guitar samples, and airy keys to come to the forefront. As a result, Blu’s multi-syllabic flow unfurls conversationally in the open spaces, rather than being confined by slapping snares dictating where the rhymes must fall.

And one thing Blu can do is rhyme. Largely freed from the constraints of previous topic driven projects, the often pensive MC flexes a swagger that could lead to commercial success rarely seen by intensely lyrical rappers. “Wow” finds him unapologetically hitting the club over a breezy track with a carefree disco bounce. Unlike many underground stalwarts, Blu sounds every bit as comfortable popping bottles by the bar as pouring his innermost thoughts onto the page. “Half A Knot” is a rollicking freestyle rhyme buffet, in which he mercilessly molests a gritty, up tempo organ and guitar banger: “I learned the game quick/same with the flame spit/cause the game ain’t been the same since I changed it/No I didn’t stutter sucka, I said changed it/cause once you here this kid, you finna change quick.”

Despite the stream of consciousness vibe of the album, fans of Blu’s vivid personal narratives will find a few gems. Like Below the Heavens’ “In Remembrance of Me,” “Mama Always Told Me” mines childhood memories to a visceral effect. But while the former took a reflective tone, “Mama...” radiates with the type of playful whimsy of stories swapped at a summer cookout. Even better, is the unlisted treat, “Hold On John,” where Blu returns to the meditative self-reflection that gave his debut its resonance over John Lennon’s somber guitar chords.

Initially intended as a mixtape to accompany Below.., Johnson&Jonson, does not quite play like a proper album. A number of tracks feel incomplete, barely clocking in at two minutes, and while the project is not glaringly incohesive, you could probably bump it on shuffle without the overall effect being much different. Then again, who, besides your friendly neighborhood music writer, has actually spun an album front to back since Y2K? Blu and Mainframe have delivered fifteen tracks of dope beats and rhymes, and if that’s doesn’t warrant a place in your ipod, then there’s probably an episode of TRL in Tivo right now with your name on it.

- Jeff Harvey


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rchanou
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PostPosted: Wed Sep 24, 2008 8:47 pm    Post subject:

In honor of Sun Yue's press conference

Q-Tip - Gettin' Up
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PostPosted: Thu Sep 25, 2008 4:19 pm    Post subject:

Damn!! I just found this thread!!


Best.
Thread.
Ever!







LOVE Little Brother!!
LOVE Blue Scholars!!
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PostPosted: Thu Sep 25, 2008 4:53 pm    Post subject:

rchanou wrote:
In honor of Sun Yue's press conference

Q-Tip - Gettin' Up

he just got Mono...so "Gettin' it up", I dont think, is the problem!
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So hit me with music! ♪ ♫
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TACH
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PostPosted: Fri Sep 26, 2008 2:02 pm    Post subject:

Back when hip hop was hip hop.... Video
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PostPosted: Fri Sep 26, 2008 2:50 pm    Post subject:

TACH wrote:
Back when hip hop was hip hop.... Video

i dont know how it happened but i was watching the Big Daddy Kane video and i clicked a few other videos and some how got to this:
http://www.youtube.com/watch?v=SmqXKbxDoJ0

is there a better mc than Mos Def???
By far my favorite mc of all time.
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PostPosted: Fri Sep 26, 2008 2:59 pm    Post subject:

and then
I clicked and clicked and clicked a few other Mos Def videos and got to this one...
http://www.youtube.com/watch?v=NpoAQ0PMYhI

look who the only comment is...
Small World!!!
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TACH
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PostPosted: Fri Sep 26, 2008 3:47 pm    Post subject:

Free_Kobe wrote:
and then
I clicked and clicked and clicked a few other Mos Def videos and got to this one...
http://www.youtube.com/watch?v=NpoAQ0PMYhI

look who the only comment is...
Small World!!!
Too funny.... very very small world...

I would of love to been at that show....

The original link wasn't the video I intended to post... this one is video
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TACH
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PostPosted: Mon Sep 29, 2008 11:49 am    Post subject:

For those in the NYC area:

Quote:
Monday, September 29th
Okayplayer presents
Q-Tip
For FREE @ The Knit!

The Knitting Factory
74 Leonard St. (b/t Church and Broadway), NY NY 10013
Doors open at 8:00pm

Text QTIP to 66937 to join and RSVP and you’re in for FREE!


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TACH
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PostPosted: Tue Oct 07, 2008 6:26 am    Post subject:

Finally De La Soul, the world's most underrated hip hop group gets the recognition they so deserve.....

De La Soul - Hip Hop Honors pt1

De La Soul - Hip Hop Honors pt2
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rchanou
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PostPosted: Tue Oct 07, 2008 9:05 am    Post subject:

TACH wrote:
Finally De La Soul, the world's most underrated hip hop group gets the recognition they so deserve.....

De La Soul - Hip Hop Honors pt1

De La Soul - Hip Hop Honors pt2


Cee-Lo singing De La Soul. Sick! Glad Lupe wasn't there to mess it up.
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PostPosted: Tue Oct 07, 2008 1:09 pm    Post subject:

rchanou wrote:
TACH wrote:
Finally De La Soul, the world's most underrated hip hop group gets the recognition they so deserve.....

De La Soul - Hip Hop Honors pt1

De La Soul - Hip Hop Honors pt2


Cee-Lo singing De La Soul. Sick! Glad Lupe wasn't there to mess it up.


I heard a remix of Paris,Tokyo with Q-Tip on it... I'm guessing it was just one big misunderstanding

Hip Hop Honor Mixtape - Track Listing

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PostPosted: Thu Oct 09, 2008 3:50 pm    Post subject:

this is my joint right now: Jake One Feat MF Doom

Ya'll pick up Jake One's new lp White Van Music. Some Northwest Flavor for your ears.
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PostPosted: Thu Oct 09, 2008 3:55 pm    Post subject:

Not trying to be rude and hijack this thread, but don't you guys think that good hip-hop will lack perceived credibility until:

A- the masses get tired of the crappy stuff that's commercially successful right now.

B- Acts can be comfortable marketing themselves without such ridiculously self-insulting names?
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PostPosted: Thu Oct 09, 2008 5:23 pm    Post subject:

Vancouver Fan wrote:
this is my joint right now: Jake One Feat MF Doom

Ya'll pick up Jake One's new lp White Van Music. Some Northwest Flavor for your ears.


Love the two Doom track... Blessed The Child is my fav from the album...

Here's another joint I've added to the iPhone. From NC to LA and all point between...

Beautiful Day (rmx) f. Evidence, Big Pooh, Aloe Blacc, Fashawn, Mickey Factz, Theo & Kes Kaos (prod. Debiase). Straight bananas...
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PostPosted: Thu Oct 09, 2008 5:33 pm    Post subject:

24 wrote:
Not trying to be rude and hijack this thread, but don't you guys think that good hip-hop will lack perceived credibility until:

A- the masses get tired of the crappy stuff that's commercially successful right now.

B- Acts can be comfortable marketing themselves without such ridiculously self-insulting names?


Hip hop has never had credibility to the mainstream. Its always been criticized. I remember when it was called a fad. Even during the so called 'golden era' of hip hop, it was always criticized, so what's going on today is no different then when NWA for PE first dropped.


Last edited by TACH on Thu Oct 09, 2008 10:27 pm; edited 1 time in total
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PostPosted: Thu Oct 09, 2008 9:14 pm    Post subject:

J Boogie - Soul Science
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PostPosted: Thu Oct 09, 2008 9:43 pm    Post subject:

TACH wrote:
24 wrote:
Not trying to be rude and hijack this thread, but don't you guys think that good hip-hop will lack perceived credibility until:

A- the masses get tired of the crappy stuff that's commercially successful right now.

B- Acts can be comfortable marketing themselves without such ridiculously self-insulting names?


Hip hop has never had credibility to the mainstream. Its always been criticized. I remember when it was called a fade. Even during the so called 'golden era' of hip hop, it was always criticized, so what's going on today is no different then when NWA for PE first dropped.


I have a different perspective. As I have posted elsewhere, I find real hip-hop and particularly rap to be an elegant form of verbal jazz. As someone who writes a lot of poetry, I have a lot of respect for meaningful, eloquent lyrics dancing with a beat. I'm talking about talented people, real poets with something real to say, and the linguistic skills to express it. The sparseness of the format is made so elegant by it's urgent, sinuous delivery, by its interplay with beats and bits of melody. The lyrics carrying the weight that is filled in other forms with notes, is quite frankly riveting.

Much like improvisational jazz, it takes a bit of work to appreciate, and very few people do it well. Allowed to blossom in its true form, I don't think it would ever reach mainstream popularity, but I do believe it would have rightfully found a solid audience, and ultimately, critical acceptance as an art form.

All that being said, the music and apparel industries (thank you Tommy Hilfiger) moved quickly to take a small piece of the equation, cultural rebellion and anger in some of the work, and build a crude caricature out of it, embellishing it and selling it as some mythic "reality". They figured they had found a way to shock and appall mainstream parents, who by virtue of the sixties weren't shocked by much. They made the form about the lowest common denominator, figuring bored teens would eat it up, and they were right. It became about violence, gratuitous sex, and "bling-bling", a glorification of made-for-TV gangster wannabes, a lurid tale of debauchery without any soul whatsoever.

It played to the darkest of stereotypes, turning them back around as accessible, deliciously dangerous "urban" fantasies for vapid suburban teens consumed by plastic, pampered lives, apathy, and a desire to piss off their folks. Sideways hats, gold chains, guns, "hos", and lowbrow, deliberately illiterate-sounding names replaced the original, genuine, street-smart but honest culture, both borrowing and imparting elements of "style" as it progressed, until you couldn't tell the posers from the genuine article. Crude, poorly written and misogynistic lyrics replaced the poetry, and artificial icons deriving their popularity from "street cred" (mostly manufactured) rather than talent replaced the real artists.

So, ironically, you get the reverse of how things should be. Instead of a critically acclaimed artistic niche lacking mass appeal, you have astonishing mass appeal lacking substance and artistry, a juggernaut that, like every such hype-driven phenomenon, must constantly abase itself further to top the last abasement. All sizzle and no steak.

Frankly, as a poet and lover of most all forms of art, I'm hopeful that it all implodes, and that what's left are the guys who do it for the love of it...


OK, 24 went off on a bit of a rant there

Sorry guys, I'll bugger off now.
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PostPosted: Fri Oct 10, 2008 7:34 am    Post subject:

^^^ Hey 24, no referring to yourself in the 3rd person
jk.
actually good points there!

i have this friend who is practically a priest, told me to check out this website.
and check it out this album on the website.
especially for "christian rap"... its pretty decent!
http://www.phatmass.com/hiphop/massmatics/
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PostPosted: Fri Oct 10, 2008 7:48 am    Post subject:

Free_Kobe wrote:
^^^ Hey 24, no referring to yourself in the 3rd person
jk.
actually good points there!

i have this friend who is practically a priest, told me to check out this website.
and check it out this album on the website.
especially for "christian rap"... its pretty decent!
http://www.phatmass.com/hiphop/massmatics/



I thought it appropriate, given my unprovoked soap box moment...

BTW, in reference to the Christian rap, I'm an atheist, so you might be barking up the wrong tree there!
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PostPosted: Fri Oct 10, 2008 2:41 pm    Post subject:

24 wrote:
TACH wrote:
24 wrote:
Not trying to be rude and hijack this thread, but don't you guys think that good hip-hop will lack perceived credibility until:

A- the masses get tired of the crappy stuff that's commercially successful right now.

B- Acts can be comfortable marketing themselves without such ridiculously self-insulting names?


Hip hop has never had credibility to the mainstream. Its always been criticized. I remember when it was called a fade. Even during the so called 'golden era' of hip hop, it was always criticized, so what's going on today is no different then when NWA for PE first dropped.


I have a different perspective. As I have posted elsewhere, I find real hip-hop and particularly rap to be an elegant form of verbal jazz. As someone who writes a lot of poetry, I have a lot of respect for meaningful, eloquent lyrics dancing with a beat. I'm talking about talented people, real poets with something real to say, and the linguistic skills to express it. The sparseness of the format is made so elegant by it's urgent, sinuous delivery, by its interplay with beats and bits of melody. The lyrics carrying the weight that is filled in other forms with notes, is quite frankly riveting.

Much like improvisational jazz, it takes a bit of work to appreciate, and very few people do it well. Allowed to blossom in its true form, I don't think it would ever reach mainstream popularity, but I do believe it would have rightfully found a solid audience, and ultimately, critical acceptance as an art form.

All that being said, the music and apparel industries (thank you Tommy Hilfiger) moved quickly to take a small piece of the equation, cultural rebellion and anger in some of the work, and build a crude caricature out of it, embellishing it and selling it as some mythic "reality". They figured they had found a way to shock and appall mainstream parents, who by virtue of the sixties weren't shocked by much. They made the form about the lowest common denominator, figuring bored teens would eat it up, and they were right. It became about violence, gratuitous sex, and "bling-bling", a glorification of made-for-TV gangster wannabes, a lurid tale of debauchery without any soul whatsoever.

It played to the darkest of stereotypes, turning them back around as accessible, deliciously dangerous "urban" fantasies for vapid suburban teens consumed by plastic, pampered lives, apathy, and a desire to piss off their folks. Sideways hats, gold chains, guns, "hos", and lowbrow, deliberately illiterate-sounding names replaced the original, genuine, street-smart but honest culture, both borrowing and imparting elements of "style" as it progressed, until you couldn't tell the posers from the genuine article. Crude, poorly written and misogynistic lyrics replaced the poetry, and artificial icons deriving their popularity from "street cred" (mostly manufactured) rather than talent replaced the real artists.

So, ironically, you get the reverse of how things should be. Instead of a critically acclaimed artistic niche lacking mass appeal, you have astonishing mass appeal lacking substance and artistry, a juggernaut that, like every such hype-driven phenomenon, must constantly abase itself further to top the last abasement. All sizzle and no steak.

Frankly, as a poet and lover of most all forms of art, I'm hopeful that it all implodes, and that what's left are the guys who do it for the love of it...


OK, 24 went off on a bit of a rant there

Sorry guys, I'll bugger off now.


Very well said.... but I would disagree with some of your points. Crude, poorly written, misogynistic lyrics, having 'street cred' has always been a part of hip hop... it just now, for some (by most the label and media outlets) it represents hip hop. Let's now pretend NWA, Kool G Rap, Jay Z, Ice Cube, Snoop, Em, Tupac, Wu, Lil Kim, Biggie, Naughty By Nature, etc. didn't pen some crude, poorly written, misogynistic songs. I think sometimes we look back at the history of hip hop with revisionist eyes.

Hip Hop is no different then other genres of music... in that within it, there are very distinct sub-genres... and you know what, that's okay... as long as you don't characterize the whole genre by one particular sub-genre.

I wouldn't consider Rob Base's 'It Takes Two' as hip hop's equivalent of improvisational jazz, with meaningful, eloquent lyrics dancing with a beat, but it's was most definitely Hip Hop and a damn good party record (20+ years ago). And because it was a 'party record' doesn't make any less hip hop then an ATCQ track.

Sideways hats, gold chains, guns, "hos", and lowbrow, deliberately illiterate-sounding names didn't replace anything the original, genuine, street-smart but honest culture... just like throughout hip hop, its still there and can be easily found. There are times when some of that 'lowbrow' rap appeals to me, in the way some mindless action movies appeal to me.. or some lowbrow TV show appeals to me. But I wouldn't generalize all action movies as lowbrow.

I guess I'm saying what makes hip hop great to me is all that it encompasses. My issues is with the critics that generalize hip hop as being one thing, and not appreciating all sub-genres and all facets of the art form and recognizing that hip hop is not just sideways hats, lowbrow, poorly written, violence, gratuitous sex, misogynistic songs, nor it is just songs with meaningful, eloquent lyrics dancing with a beat. It's all that and them some.
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PostPosted: Fri Oct 10, 2008 2:49 pm    Post subject:

TACH wrote:
24 wrote:
TACH wrote:
24 wrote:
Not trying to be rude and hijack this thread, but don't you guys think that good hip-hop will lack perceived credibility until:

A- the masses get tired of the crappy stuff that's commercially successful right now.

B- Acts can be comfortable marketing themselves without such ridiculously self-insulting names?


Hip hop has never had credibility to the mainstream. Its always been criticized. I remember when it was called a fade. Even during the so called 'golden era' of hip hop, it was always criticized, so what's going on today is no different then when NWA for PE first dropped.


I have a different perspective. As I have posted elsewhere, I find real hip-hop and particularly rap to be an elegant form of verbal jazz. As someone who writes a lot of poetry, I have a lot of respect for meaningful, eloquent lyrics dancing with a beat. I'm talking about talented people, real poets with something real to say, and the linguistic skills to express it. The sparseness of the format is made so elegant by it's urgent, sinuous delivery, by its interplay with beats and bits of melody. The lyrics carrying the weight that is filled in other forms with notes, is quite frankly riveting.

Much like improvisational jazz, it takes a bit of work to appreciate, and very few people do it well. Allowed to blossom in its true form, I don't think it would ever reach mainstream popularity, but I do believe it would have rightfully found a solid audience, and ultimately, critical acceptance as an art form.

All that being said, the music and apparel industries (thank you Tommy Hilfiger) moved quickly to take a small piece of the equation, cultural rebellion and anger in some of the work, and build a crude caricature out of it, embellishing it and selling it as some mythic "reality". They figured they had found a way to shock and appall mainstream parents, who by virtue of the sixties weren't shocked by much. They made the form about the lowest common denominator, figuring bored teens would eat it up, and they were right. It became about violence, gratuitous sex, and "bling-bling", a glorification of made-for-TV gangster wannabes, a lurid tale of debauchery without any soul whatsoever.

It played to the darkest of stereotypes, turning them back around as accessible, deliciously dangerous "urban" fantasies for vapid suburban teens consumed by plastic, pampered lives, apathy, and a desire to piss off their folks. Sideways hats, gold chains, guns, "hos", and lowbrow, deliberately illiterate-sounding names replaced the original, genuine, street-smart but honest culture, both borrowing and imparting elements of "style" as it progressed, until you couldn't tell the posers from the genuine article. Crude, poorly written and misogynistic lyrics replaced the poetry, and artificial icons deriving their popularity from "street cred" (mostly manufactured) rather than talent replaced the real artists.

So, ironically, you get the reverse of how things should be. Instead of a critically acclaimed artistic niche lacking mass appeal, you have astonishing mass appeal lacking substance and artistry, a juggernaut that, like every such hype-driven phenomenon, must constantly abase itself further to top the last abasement. All sizzle and no steak.

Frankly, as a poet and lover of most all forms of art, I'm hopeful that it all implodes, and that what's left are the guys who do it for the love of it...


OK, 24 went off on a bit of a rant there

Sorry guys, I'll bugger off now.


Very well said.... but I would disagree with some of your points. Crude, poorly written, misogynistic lyrics, having 'street cred' has always been a part of hip hop... it just now, for some (by most the label and media outlets) it represents hip hop. Let's now pretend NWA, Kool G Rap, Jay Z, Ice Cube, Snoop, Em, Tupac, Wu, Lil Kim, Biggie, Naughty By Nature, etc. didn't pen some crude, poorly written, misogynistic songs. I think sometimes we look back at the history of hip hop with revisionist eyes.

Hip Hop is no different then other genres of music... in that within it, there are very distinct sub-genres... and you know what, that's okay... as long as you don't characterize the whole genre by one particular sub-genre.

I wouldn't consider Rob Base's 'It Takes Two' as hip hop's equivalent of improvisational jazz, with meaningful, eloquent lyrics dancing with a beat, but it's was most definitely Hip Hop and a damn good party record (20+ years ago). And because it was a 'party record' doesn't make any less hip hop then an ATCQ track.

Sideways hats, gold chains, guns, "hos", and lowbrow, deliberately illiterate-sounding names didn't replace anything the original, genuine, street-smart but honest culture... just like throughout hip hop, its still there and can be easily found. There are times when some of that 'lowbrow' rap appeals to me, in the way some mindless action movies appeal to me.. or some lowbrow TV show appeals to me. But I wouldn't generalize all action movies as lowbrow.

I guess I'm saying what makes hip hop great to me is all that it encompasses. My issues is with the critics that generalize hip hop as being one thing, and not appreciating all sub-genres and all facets of the art form and recognizing that hip hop is not just sideways hats, lowbrow, poorly written, violence, gratuitous sex, misogynistic songs, nor it is just songs with meaningful, eloquent lyrics dancing with a beat. It's all that and them some.


Fair enough, my gf always tells me I'm too much of a purist anyway.
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