The Purple Tape

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 Now I know what some of you are thinking…”The Purple Tape” is only Built for Cuban Links.  Those three words are reserved for Raekwon The Chef, Ghostface Killah and any other Wu affiliates that may have been features on his classic debut album. However, if you’re a music nerd like myself and are reading this, then I would hope that you understand that there is another connotation that is associated with the color purple. The moment you press play it will become abundantly clear that The Purple Tape is an ode to the “Chopped and Screwed” subculture of Hip-Hop.

     Since the early 1990’s Robert Earl Davis Jr. best known as “DJ Screw” pioneered the technique of slowing down the tempo of popular hip-hop songs of the time. He achieved this sound by slowing tracks to 60 and 70 quarter note beats per minute. Once the optimal tempo was reached, he would then begin to apply record scratching, and stop-time effects. This would become known nationally as “Chopping” or “Screwed Up Music”. DJ Screw single-handedly created a genre and a legacy that lives on till this day.

     After his initial creation, other DJ’s in the Houston area would soon adopt the style and created their own chopped versions of songs throughout the region.  DJ Michael “5000” Watts emerged with his Swishahouse team along with OG Ron C with The Chopstars. Together Michael Watts and Ron C would form Swishahouse records and launch the careers of artists like Chamillionaire, Mike Jones, Paul Wall, Slim Thug. Still on the Southside of Houston, DJ Screw had “The Screwed Up Click”, a collective which included the likes of Lil Keke, Trae Tha Truth, Z-Ro, Big Moe, Fat Pat, Big Pokey, Big Hawk, Big Mello and a few others.

     The three DJ’s would continue to cultivate the sound until DJ Screw’s untimely death in November 16th, 2000. Since then, the sound created by Screw has managed to reach national appeal while still maintaining its sub genre classification. Unfortunately the dark side of the music is the forefront of the drug epidemic that is currently plaguing the country. The abuse has reached critical mass in the past 5 years with the death of other Hip-Hop artists, Most notably Pimp C, Big Moe and Fredo Santana. Admittedly these deaths were not entirely related to the drug but its use did contribute. Another notable artist Lil Wayne who openly discussed the drug in his music was reportedly hospitalized for seizures after repeated Drank abuse.

      Ironically DJ Screw himself denounced the use of Drank as it was not the ingredient that helped him to create the sound. It was merely a recreational vice that grew in popularity at the same time as the music. In ending, the legacy that DJ Screw left continues to be upheld by the aforementioned Chop DJ’s and a host of others throughout the country. November 16th will mark the 20th anniversary of DJ Screw’s death and I have no doubts that there will be a major celebration in Houston, Texas and throughout the world. Long Live DJ Screw, Long Live Chopped and Screwed Music…NahImsayin?!

The Three 6 Effect

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     The influence of Three 6 Mafia is at an all time high in terms of cultural relevance. From visual aesthetics to sonic reinterpretations of their music, The Mafia has managed to be “The Most Known Unknowns” for virtually 30 years. It’s a rather surreal and sobering moment for many of the 30 somethings out there that grew up on The Hypnotized Minds. The Tear the Club Thugs pioneered a style and sound that managed to permeate popular culture all while staying true to their underground roots while simultaneously achieving critical acclaim. 

     My earliest recollection of “The Backyard Posse” had to be around 1997 when they attempted “World Domination”. I was sitting at home being a kid, watching “The Box”  when the channel did their periodical most requested videos of the week. It was at that point when I was exposed to “Tear da Club Up 97”. The red tint and fish eyed lens video did enough to captivate me and my friends as we immediately called each other on the phone and ask feverishly if we all saw the same thing at the same time. The legend of the song only grew larger to me once I found out that the song was banned from being played at clubs in the south due to actual destruction of said clubs. To the parents of that generation it was a disgrace, but to the 11 and 12 year olds like us, it was a badge of honor….it was Hip-Hop.

     As The Mafia Six entered the new millennium, they not only upped the ante with their music, but continued to introduce me to other legends like Project Pat, La Chat, Lil Wyte and Frayser Boy. There was absolutely no escaping the sound that DJ Paul and Juicy J created in the early 90’s and the success of the aforementioned acts was proof of that. Project Pat alone had at least back two back Hip-Hop Classics with “Ghetty Green” and “Mista Don’t Play: Everythang’s Workin”. Both of those albums spawned regional and subsequently national notoriety. I truly believe that both of his albums helped plant the seeds of modern day trap music.

     Currently, female rappers owe a great deal of gratitude to Gangsta Boo and La Chat respectively. Rappers like, Meg The Stallion, The City Girls, and Cardi B have been directly influenced by their unabashed lyricism. What was seen as a novelty then, is all the rage now. Although some would even argue that it wasn’t a novelty as many of the male rappers hold Gangsta Boo in high regard to this day. I for one refuse to tell the Three 6 Mafia story without Gangsta Boo and La Chat, it’s virtually impossible.

     2020 looks like it will be the year in which the entire Killa Clan will get their flowers. There are a string of songs that have dropped within the past year that borrow heavily from the entire collective. Acts like A$AP Mob and Raider Kllan who have been 3 6 stalwarts since their inception have been largely responsible for the present day resurgence of appreciation that we are all currently experiencing. It’s a wonderful time to see them get their just due and an even better time to share this with new ears for years to come. ONE TIME FOR THE MAFIA!!

J1da-Tc5:Free from the Past(Album Review)

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     The past few days have really gave new meaning to the term “Dog Days of Summer”. With temperatures reaching triple digits in some areas, the clear objective was to stay hydrated as much as possible. I know you’re probably asking me “Leeb, what does the weather have to do with J1da’s latest project Tc5: Free From the past?” I admit I am a way better journalist than meteorologist but trust me it makes sense in my mind. Follow me for a bit.

     The projects opens with the poignant “Love From my Brother” intro. I don’t have to do much in the way of explaining the intro because these are words from the man himself. It is a message of brotherly love and light and is a welcome departure from normal music driven introductions. It feels as if he is pulling back the veil and letting us into his world.

     The album’s official opener is the piano laden thumper “You Decide”. J1da wasted no time taking rappers to task on how he feels about them. It’s normal braggadocio rap but with his vocal tone and his lyrical assuredness, it comes across as a cool confidence and you better believe he will not be shaken.

     “Free” offers much of the same in terms of confidence but don’t mistake that for “swag rapping”. Once you bust down the lines, he along with Solis drop gem after gem about mental health and the stressors of living in this world. Sinai Rose adds sweet song vocals to the song which rounds out the track nicely.

     “Tonite” is the third straight thumper and pairs J1da with the vicious Laady J. Both prove that they are lyrically sharp and will be a hard out for any poor souls that dare to try and out rap them. Their respective tones complement each other superbly and this song in particular offers much replay value. I found myself running this back a few times.

     “Eye X3” is ridiculous!  The sense of urgency on the initial verse is palpable as the beat rises like a roller coaster and as soon as it creeps to the top, the beat switches and J goes off on a tear. His voice cuts through the low growl of the 808s as he gives us an unrelenting  performance…AND THENNNN! The beat switches again to a much more jubilant melody. J is still menacing on the track though and it proves for a very enjoyable listen. Much props to the producer, the third beat is a sample I recognized from Talib Kweli’s “Everything Man” off his Eardrum LP. Dope.

     “Upside Man (Interlude)” is where J takes his gloves off and proclaims his dominance over the rap game. I for one am here for it because Rap by and large is competitive. So if you’re rapping and you don’t feel like you’re the best at any given moment, there is absolutely no reason to rap, ever. My only gripe is the length of the song. I admit that I’m greedy but I wanted two more verses to add to the fire that he was already spewing.

     “Like That” is a tonal switch which is at the halfway point of the project. Normally I skip the obligatory “girl track” but there is something about this one that is different. The beat is supremely infectious and J1da wastes no time professing his love for the lady in life. This song feels like a calm summer night with a perfect temperature and equally perfect breeze, just perfect.

     “Keys from Samad” is another audio Skit, with Samad Savage. It’s a minute worth of jewels that I won’t tell you how to interpret as it is pretty straight forward with the message that he is conveying. You just have to listen for yourself and take the gems that resonate with you.

     “Self Therapy” carries the same energy as the previous skit but adds more flare to it with brassy horns and and crispy drums. I am trying to refrain from spewing nothing but superlatives but listen, this track is fire and I know that I am not doing it justice by saying that. Another short track grates my nerves a bit but I have to understand that sometimes brevity is best.

     “Prove It” is for all intents and purposes the sequel to the “Like That”, I say sequel because it offers the flip side to an otherwise blossoming situation. It has J stepping out of his comfort zone flow wise here but it works. The urgency in his voice this time speaks to the potential loss of said love interest. Blaze the Rebel comes through with the assist on the track and offers his perspective. Songs like this always work best when both artists are on the same wavelength artistically. The cohesion is on full display here.

     “Just Right”- Is the polar opposite of the previous track. It’s not jarring to my ears because I am a fan of contrast but I can see how it be off putting to some listeners. It’s a good song but its doesn’t necessarily fit the tone of this project as a whole. 

     “Sober”-  Brings the familiar feel of the project back. J and Brickside Leem trade rapid fire flows and an awesome hook about the ills of living in an environment that is less than favorable  and how some people will self medicate to numb the pain. Great song.

     “Great” closes the album out with, J1da actualizing his true potential on the mic. Declaring that he knows that he’s great means more to who he is as a man than an MC. You can see it from both angles depending on your perspective and overall mood in that moment. Awesome closer.

     In ending, “Tc5:Free from the Past”  is a refreshing listen. There wasn’t a bar wasted on any song, and you will leave this project with a sense of clarity. Reviewing the album was very much akin to being in triple digit degree weather for the majority of your day and returning home to the tallest glass of water, iced tea or lemonade. This album is every bit of the thirst quencher that I’m saying it is. Don’t believe me, go ahead and press play then get back to me, I’ll be here, I promise.

Meek Mill-Championships (Album Review)

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cham·pi·on
/ˈCHampēən/
noun
  1. a person who has defeated or surpassed all rivals in a competition.
    synonyms: winnertitleholder, defending champion, gold medalist, titlistrecord holder.

    2. a person who fights or argues for a cause or on behalf of someone else
    synonyms: advocateproponentpromotersupporterdefender, upholder, backerexponent.

    When I think of the word “Champion” these are the definitions that first come to my mind. When this word is applied to Meek Mill and his latest offering “Championships” you can see how both definitions could apply. We as a Hip-Hop community have watched Meek grow in a literal and figurative sense. From “Dreams and Nightmares”, his stellar “DreamChasers” series and 2017’s “Wins and Losses”, Meek’s fourth solo effort seems to be a triumphant reflection of ALL of those experiences since 2011 when the first DreamChaser was released.

    By this time, if you don’t expect “The Intro” of any Meek Mill album to be something that is almost indescribable, then there is no reason to read this review any further honestly. The album begins with a haunting Phil Collins sample which is now synonymous with Hip-Hop because DMX used it 20 years earlier on his debut. It was a nice nod from Meek and I feel that it was definitely for the Hop-Hop historians out there. Awesome opener.

    “Trauma” doubles down on the homage. It’s instantly recognizable as Mobb Deep’s “Get Away” which is ALSO the second track on their “Infamy” album. I don’t believe that was coincidental in the slightest. Meek takes the track in a different direction however as he raps about the trappings of prison ,the oft-corrupt judicial system and how that can affect your psyche when living in the inner-city or densely populated areas.

    The third track “Uptown Vibes”  is so contrasting in tone that is takes me out of the album almost immediately, its a decent enough track as its a uptempo and bouncy SINGLE, but with such heavy topic matter from the previous two tracks it just feels out of place to me, the first misstep of the album.

    “On Me” keeps with the same energy as Uptown, its pretty forgetful though even with the Cardi B verse which is the honestly the only highlight of that track. Don’t feel bad if you feel the urge to skip this one its ok.

    “What’s Free” sends us back to the mood and feeling of the first two tracks and at this point I’m beginning to get annoyed. What album is this really? Are we sitting with this album and being reflective or are we turning up and celebrating? Don’t get me wrong we can do both because Balance but it has to be sequenced correctly. Meek continues with the sample homage as he, Ross and Jay-Z all takes turns tearing the “What’s Beef” track to shreds so whatever reservations I may have had about the early sequencing of the album has subsided for now.

    “Respect The Game” relies heavily on the essence of  “Dead Presidents II” which I also believe was by design considering Jay was on the previous track. When you listen to the track you can hear that Meek was really doing an updated version of the original and no one can be mad at that. I’m back on board now.

    Just as I was getting immersed into the album again, I’m taken out of it when “Splash Warning” starts. I’m normally here for all things Future but as this track follows two damn near perfect tracks, it pales in comparison and should have been paired with Uptown Vibes and On Me, not sandwiched in between The previous tracks and “Championships” which is so soulful that I’m actually upset that Splash Warning was even included.

    “Going Bad” IS NOT the reunion track from Meek and Drake that I wanted.  Meek sounded uninspired with the lazy flow and Drake outshines him period. I feel like Drake should have took more of  risk lyrically and let us in on some more personal dealings if he was on the previous track.

    “Almost Slipped” is cringe-worthy at best. Meek’s vocal tone is not suited for Auto-Tune and the entire track is drenched in the effect. Simply put it’s not sonically cohesive.

    “Tic Tac Toe” is a much better song by comparison. Subject matter is much to be desired but for better or worse its a banger…Generic…but a banger nonetheless. Kodak was sorely underused on the track, he deserved a verse. The type of track is better suited for Gunna or Lil Baby.

    “24/7” is a groove or as the kids say, a Bop. The production is crisp with the Beyonce vocal samples from “Me, Myself And I” weaved into the beat. The track is damn near perfection, with the addition of Ella Mai, this is a definite push for radio play and playlist placements, Here’s hoping Jacqueeeeeees doesn’t do a remix.

    “Oodles O’ Noodles Babies” brings it back to the original mood and tone of the album which bothers me. The songs that precede it don’t mesh with this song and should have been placed with the upper half of the album. The sequencing issues are apparently here to stay.

    “Pay You Back” feels like a bonus track, I can honestly say that I don’t know where this song fits anywhere on the albums spectrum. The tone goes from reflection to unapologetic braggadocio and I don’t see any room for “Hard Bars”.

    “100 Summers” is better use of Auto-Tune but its still a hard listen. The subject matter is relatable as it deals with loss, regrets, and survivors remorse. It’s the vulnerable aspect of the track that makes its listenable but that’t about it.

    “Wit The Shits” is a forgettable strip club anthem, I’m sure its serving a particular section of listeners but it’s just not for me and I’m okay with that.

    “Stuck In My Ways” is another Bonus Track addition, Although it fits the theme of all the songs with this similar tone on this album, it just comes off and repetitive and unoriginal especially when “Dangerous” is just as repetitive and could easily replace any of the aforementioned tracks.

    “Cold Hearted II”- Is the album’s closer and at this point I’m upset.  The previous three songs do not fit with this track. The content contained here is poignant and real and I’m left feeling hollow. This track could have easily followed Oodles O’ Noodles Babies and would have wrapped up the album nicely.

     

    This is a tale of two albums. There are certain tracks and belong together while others seem so out of place that as whole its comes off as disjointed. Depending on your preference there are 10 songs that are undeniable while the other 9 are serviceable but wont do much to warrant a “Classic” rating.  With this being his fourth album I can see the glimpses of growth but not enough to call it a re-brand or image overhaul. It is the same Meek Mill with some socially conscious and contemplative verses. The sequencing and overall bloated feel of the entire project is what hold it back for me. A more concise effort with none of the filler would made this a much more enjoyable listen. Maybe DreamChasers 5 will be the album I’m waiting to hear.

 

Final Grade-C+

 

 

 

It’s Dark And DMX….

ITS DARK AND DMX

 

They say when you’re a child, everything and everyone is larger than life. Every person or character is viewed as a being of mythic proportion, a superhero if you will. When you’re a child your imagination is in it’s purest state of freedom. Life at the time is vibrant and kaleidoscope-like. Music, whichever genre you gravitate towards, is the soundtrack to those vibrant, kaleidoscopic visions.  May 12th, 1998 offered a jarring contrast to what an 11-year-old boy originally understood about music, colors and though still in its infancy…life.

I was already an avid Hip-Hop fan by the time I was introduced to DMX’s music. We as a community were still reeling from the untimely deaths of  2Pac and The Notorious B.I.G. so needless to say there was a power vacuum taking place in mainstream hip-hop. Who was going to grab the torch from BOTH of these instant legends? That question was lingering throughout all of Rap and seemingly out of nowhere I began hearing a gravelly voiced MC from Yonkers bellowing out to anyone that dared to crossed his path to “STAY OUT THE DARK!”

The song of note was LL Cool J’s “4,3,2,1” and I couldn’t get enough of it. I believe X’s verse at the time was probably the fastest I had ever knew a verse front to back, It had to be a matter of days. After that song was digested, another track was called “Pull It” featuring Cam’ron quickly filled the void for the contributions I craved. The music was dark, the feel was gritty and the tone was bleak. It seemed like even though the world was still grieving, X  was not about to offer recompense. It was HIS time and he was taking it.

 

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There was a different vibe in the air during the Spring of 1998. Before his first single dropped, we already had the a good sample size of what X  had to offer and what he was bringing the table. Aside from “4,3,2,1” and “Pull It” we also had “Money, Power, Respect” and 24 Hours To Live”. These core four set the stage for what was soon to some with DMX’s Debut album “It’s Dark and Hell Is Hot”.  Armed with arguably one of the most street lead singles ever in Hip-Hop history, “Get At Me Dog” shot through the game like Super Dave being blasted out of a cannon.

I knew there was something different about the landscape at the time, I was not the only one captivated by his music and his energy. Imagine being in a middle school science class, when your teacher inexplicably leaves the room, then out of nowhere the entire class erupts in unison, chanting the chorus from “Ruff Ryders Anthem”. Or being at Boy Scout Camp and trying to play basketball with your much more athletic friends, so you go sit on the bench , become a mascot and press play on the radio. A team that was down 7 was magically up by 10, I guess that’s just how Ruff Ryders roll.

 

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By the time Woodstock ’99 came around, there was only two other times in my young life where I had seen one person captivate a virtual sea of people with just their presence. The first one was a clip of Freddie Mercury absolutely destroying Live Aid, the volume  seemed endless and overwhelming, but Freddie seemed unfazed and continued to dazzle the concert goers. The second was Michael Jackson’s ” Live In Bucharest: The Dangerous Tour” in 1992. Again the amount of people affected by MJ’s effortless moves were simply awe inspiring. After seeing those two Megastars achieve those feats, to see someone from the Hip-Hop realm do it as well was truly something that only few will be able to do. The “IT” factor was on full display with DMX.

 

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“Its Dark and Hell is Hot” was such an impactful album, that many could not understand why it did not reach the pinnacle of success that it should have. It’s eventual Grammy snub was in fact the impetus for Jay-Z boycotting the ceremony for years. Jay-Z ladies and gentleman. HOV. Jiggaman. The God MC himself said that because of the committee’s refusal to acknowledge a true work of art, he would not partake in any festivities. This was 1998 Jay…not the 4:44 Jay…let that sink in.

Looking back on how well this album has aged in the 20 years that it has been here for consumption, I STILL find myself picking up new jewels and nuggets of wisdom within much of the content. As a kid I didn’t fully understand the hurt, the pain, the anguish that plagued him throughout much of his life.  I was not aware of the mental health issues that he shared with us on many of the tracks. Paranoia,  Manic Depression, Bi-Polar Disorder, and in some instances schizophrenia were all elements that were weaved throughout the project.  What sounded like entertainment then is now viewed as a soul bearing plea for help in the present day.

It was the honesty, authenticity, and brass tacks lyricism that captivated a young 11/12 year old kid from Orange, New Jersey. It figuratively and literally changed the way I heard music from that point on. The rawness of it all, the dystopian outlook aged me in ways I wasn’t aware of until much later in my adult life. Hearing this album made realize that 1998 was more than just another watershed moment in Hip-Hop. It let me know that this genre was tailored specifically for me, something to cherish, uphold and protect. At a time in where much of what was given was saccharin sweet to say the least, The guttural bellows of the gravelly voiced MC from Yonkers let me know that there would forever be a place in music, in art,and in life for something real. Earl “DMX” Simmons…..Legend.

 

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J Dilla’s Lasting Legacy

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James Dewitt Yancey was born on February 7th 1974.  What he was able to achieve in terms of musical progression in the 32 years that he was allotted on this earth was quite simply amazing. From original compositions and remixes in the mid to late 90’s to jaw dropping, mind-boggling soundscapes of the early 00’s, Dilla’s penchant for pushing boundaries is that something that is still lauded and awe-inspiring to this day, even 12 years after his death.

As as a youngster discovering sounds and more importantly Hip-Hop for the first time, I was introduced to J Dilla’s work long before I knew who he was. Listening to the likes of A Tribe Called Quest, The Pharcyde, Busta Rhymes, Erykah Badu, The Roots and D’Angelo I had no idea that many of the songs that I loved from these artists were in fact produced by him. It wasn’t until early in my college career that I discovered the man behind many of the songs that I deemed classics. If it wasn’t for “J.J.” I seriously doubt that I would have made those connections when I did, so for that I’m forever grateful.

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Once that light bulb went on however, I did my Due DILLAgence and began searching, scouring the net,  the brick and mortar stores and iTunes at the time for all things Jay Dee related. From there I really got into Madlib and Nujabes, the former is one who I strongly consider to be a direct contemporary. It was no coincidence that right after I had that thought, I came across “Champion Sound” which was sadly Jaylib’s lone collaborative project. It is a technical marvel in terms of sound and is rightfully considered an underground classic.

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Slum Village-Fan-Tas-Tic Vol.1

Slum Village was another important pickup for me while I was “digging” so to speak. “Fan-tas-tic Vol. 1” was the one that I gravitated toward, falling in love with the minimalist approach to crafting songs. “Welcome To Detroit” was yet another album that I have a ton of respect for. For me it sounded like more of what I was accustomed to in terms of the Slum sound and was a great addition to an already stellar catalog.  While listening to Slum Village, I was introduced to Elzhi and Black Milk.

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Khrysis and Elzhi are “Jericho Jackscon”

Even though most of Elzhi’s work was on subsequent Slum Village albums after Jay Dee’s departure from the group, there was still a bevy of material to sift through with Elzhi tearing apart Dilla Beats.  “Villa Manifesto” was the last time all four members of Slum Village were featured on a single project…Rest In Peace Baatin.  Even with the album pictured above that was released on February 23rd, 2018 the legacy lives on with Elzhi sounding as sharp as ever while Khrysis crafts beats that are reminiscent of  Dilla’s early work.

 

 

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Karriem Riggins- Headnod Suite

When “Headnod Suite” dropped on February 24th 2017, I declared then that if  J Dilla were alive today and dropped “Donuts 2”, It would sound exactly like this. From the chopped up loops, to abrupt breaks or “perfect mistakes” as I call them, It is abundantly clear that Mr. Riggins  has studied the techniques very closely and has arguably perfected the sound altogether. It’s also no coincidence that Karriem Riggins was entrusted with completing “The Shining” which was unfortunately only 75% completed at the time of Dilla’s passing.

 

Black Milk Fever
Black Milk-Fever

As mentioned earlier, while listening to Slum Village I discovered Black Milk while reading through the liner notes. Determined not to make the same mistake I did with J Dilla, I immediately bought “Popular Demand” and was blown away.  Any album that he has dropped since Dilla has passed has felt like he picked up the mantle of pushing boundaries musically. Every album sounds and feels different sonically.  The “Fever” album also dropped on February 23rd, 2018 and I implore all of you to go give this album a spin, you will not be disappointed.

 

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In ending, The words above summarizes my senitments on J Dilla entirely, to quote Black Thought’s heart-felt and soul stirring voicemail from the song “Can’t Stop This” he states:

“My man, JD, was a true hip hop artist
… I can’t explain the influence that
His mind and ear have had on my band
Myself and the careers of so many other
Artists.
 The most humble, modest, worthy

And gifted beatmaker I’ve known. And
Definitely the best producer on the mic
Never without that signature smile and head
Bouncin’ to the beat.
 JD had a passion for

Life and music, and will never be forgotten
He’s a brother that was loved by me, and I
Love what he’s done for us. And though I’m
Happy he’s no longer in the pain he’d been
Recently feelin’, I’m crushed by the pain of
His absence.
 Name’s Dilla Dog and I can only
Rep the real and raw.
 My man, Dilla, rest in

Peace.”

As I sit here 12 years after J Dilla’s passing, I can’t help but wonder where he would have taken music had he still been with us. What new technique would he have invented that would have changed the landscape entirely. J Dilla did indeed change my life, he changed the way I heard and understood music. He made me study music theory just so I could have a better appreciation of 3 second sample from an obscure record placed at an unconventional section that would normally destroy the structure of a song. A practice that if done by anybody else during that time, I’m not sure that it would have been executed with such precision. James Dewitt Yancey was born on February 7th 1974.  He was truly a one of one the likes of which we will most likely never see again…Maybe in our next lifetime.

The RapNerd’s Lament…

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“A Sad Man” by Javi Velazquez

 

As a life long fan of Hip-Hop, I find myself at a point where I’m extremely conflicted. Although my love for the art form has not wavered, I have begun to question much of the content and intent that has pervaded the mass consciousness of general music listeners. The more I listen, the more I absorb, the more I begin to realize a harsh truth. A truth that many will often defend to the point of being obnoxious, ignorant, selfish or just flat-out wrong. The truth is that we as a Hip-Hop Community hates women, Women in general but Black Women specifically.

On The Diplomats song “Once Upon A Time” Cam’Ron rapped:

“Welcome back to the hallway loiterers
I made mills off the white girl, I exploited her
No disrespecting the ladies, word from my team (why)
That’s the reason Dame smacked Harvey Weinstein.”

By now we should all know about the monster that is Harvey Weinstein and he deserves every punishment that can be given to him. While what Cam rapped about was something commendable on Dame’s behalf, I couldn’t help but think about all the times I went crazy every time “Wet Wipes” or  “Suck It Or Not” was played back in 2007. In 2018 I looked back on those songs began to cringe profusely.  I began to wonder how many men in their early 20’s 10 years ago feel the same way now as I do. As the conversation shifts ever so violently toward women’s rights. I found myself pondering what role if any does Hip-Hop play in the sphere of Misogynoir.

For those of you that don’t know, Misogynoir is defined as; misogyny directed towards black women where race and gender both play roles in bias. To break that down further, Misogyny is defined as; the hatred of, contempt for, or prejudice against women or girls.  Now when you take those definitions and apply them to the current landscape of Mainstream Hip-Hop (the most listened to genre of music in the world at the present day) There is a very serious issue that stands before us. How many times have we as fans been complicit in the systemic tearing down of black women?

Through the music we have allowed ourselves to fall victim to the politics of respectability. The medium of music videos has done more to marginalize black women. Entire social media and terrestrial media platforms have been created to further drive home that point. So much so, that we as consumers believe that any woman who is apart of these platforms is of low moral standing. We as a community has allowed this to happen.

Another branch of the misogynior tree is rape culture. To make it plain and simple, anytime a woman is forced, or coerced into sex without her consent is rape period. In a world where words or phrases like “thot”, “scrapes”, “stabs”, and “hoes” have become normal jargon, it can blind you to the fact that women, Black women are the targets of these words more times than not. When Rick Ross rapped:

“Put Molly all in her champagne, she ain’t even know it
I took her home and I enjoyed that, she ain’t even know it
Got a hundred acres I live on, you ain’t even know it
Got a hundred rounds in this AR, you ain’t even know it
Got a bag of bitches I play with, on cloud 9 in my spaceship”

he knowingly shared his tactics with us on how he beds women,and all we did was nod along and ran the song back.

There are varying degrees to which we as black men have been complicit with notions and concepts that are less than becoming or savory. Degrees that none of us are exempt from. As I sit here and continue to ponder, I ask myself, where did much is this originate from? On Kid Cudi’s song , “Make Her Say(Poke Her Face)” A song literally about receiving oral pleasure, Conscious Stalwart Common once implored women to “get their hair right and get up on this conscious dick”.  In that verse he answers a poignant question, while “Embodying everything from the Godly to the party” when he finally spit, “that’s the way I was raised in this Southside safari so….” That led me to believe that this has been passed down through generations as misogynoir normally is.

In ending, as I continue this mental exercise, I’m finding myself more confused than when I began. Where is the balance? How do I continue down this path of musical freedom while also being aware that Black Women continue to be marginalized? It’s literally coming from all sides. How do we raise this generation of young girls and boys? when is it the right time to expose them to the art form? While it is beautiful at its core, there is a bunch of muck that surrounds it. Muck that is profitable, Muck that is vibrationally frequent , Muck that is universal.