Tuesday, May 3, 2011
Tuesday, March 15, 2011
Tuesday, February 22, 2011
Album Review:Wu-Tang Clan "Enter The 36 Chambers"
This debut revolutionized hip-hop (and launched half a dozen solo careers), as much for The RZA's raw barrage of off-kilter, off-key loops and sound effects as for its consistently violent lyrics. Martial arts,at least as they appear in kung fu movies--are the Wu-Tang Clan's favorite metaphor, but they're also the organizing principle of the group, a crowd of eight rappers, each with his own way-out-there "fighting style." They created their own little self-contained culture, with its own symbols and shifting identities, and let listeners figure it out for themselves. Unless you're willing to immerse yourself in its world, it can be baffling and a little dry, but its aggression and originality are undeniable. This is it. If an alien landed on earth and wanted to know what hip hop was I would play him this. This is the definition of (Near) perfect hip hop.
1.Bring Da Ruckus (Ghostface, Raekwon, Inspektah Deck, GZA)
Perfect opening song. Once you hear "Shaolin Shadowboxing" you know it's on. With a dark Beat from the RZA and equally dark rhymes from the rest of the clan. Great Song. 10/10
2.Shame On A N**** (Ol Dirty Bastard, Method Man, Raekwon, Ol Dirty Bastard)
The complete opposite of the first song. A funky, piano abundent beat with laid back rhymes. This is the first you hear of Ol Dirty Bastard and it's some of his best. It's also one of the only old upbeat RZA productions I've ever heard (even though I love this beat). 9.5/10
3.Clan In Da Front (Intro by the RZA, GZA solo)
My favorite Wu member (GZA), rips it up over a classic RZA piano loop. 9.5/10
4.Wu-Tang:7th Chamber
This song is so underrated just because it isn't one of RZA's best beats. But if you look past that this song holds some of the best rhymes on the album (RZA's, Ol Dirty Bastard's & Inspectah Deck's especially). 9.5/10
5.Can It Be All So Simple (Raekwon, Ghostface Killah)
A laid back track from Ghostface & Raekwon (Who went on to work together much more in depth) talking about the "Good ol Days" This song ends with an interview that has Method Man describing every member of the Wu. 9.0/10
6.Da Mystery Of Chessboxin (U-God, Inspektah Deck, Raekwon, Method Man, Ol Dirty Bastard, Ghost Face Killah, Masta Killa)
This song gets better the more you listen to it. The song starts with the familier use of kung fu samples. U-God makes an apperance and just destroys the first verse and makes this song a classic. Masta Killa appears on this song (this is actually like a guest apperance considering he wasn't part of the group at this time) and shows off his lyrical prowess with lines like "We have an APB on an mc killa/looks like the work of a masta" 9.5/10
7.Wu-Tang Clan Ain't Nuthin Ta F' Wit (RZA, Inspektah Deck, Method Man)
One of my favorite songs of all time, one of the greatest RZA productions and the energy on this track is crazy. 10/10
8.C.R.E.A.M. (Raekwon, Inspektah Deck, Meth on chourus)
RZA produces one of the best piano loops in rap EVER, and Raekwon and Inspektah Deck drop 2 of the best verses on the CD. 10/10
9.Method Man (Method Man)
Yes it is like the title says. Method Man gets a solo song. That can be good or bad however you look at it. I think it's a shame that method man and Ghostface are the only members of the clan to get much commercial exposure. However this song is still great but it may be a little too long for it's own good. Still it's hard not to get caught singing along with the chorus "M.E.T.H.O.D. MAN!" 9.5/10
10.Protect Ya Neck (Inspektah Deck, Raewkon, Method Man, U-God, Ol Dirty Bastard, Ghostface Killah, RZA, GZA)
This song is edited on this CD for some reason. This song features all Wu-Tang members except for Masta Killa, and everyone drops a hot verse, especially ODB & GZA. Classic Video. 10/10
11.Tearz (RZA, Ghostface Killah)
RZA puts his keyboards to good use in this song. The Catchy beat works perfectly here. RZA & Ghostface both leave you thinking with their verses which are both meaningful, disturbing and thought-provoking. 9.0/10
12.Wu-Tang 7th Chamber Pt.II (Raekwon, Method Man, Inspektah Deck, Ghostface Killah, RZA, Ol Dirty Bastard, GZA)
This is basically a remix of the original but with an even weaker beat. A conclusion to the interview started in Can It Be all so Simple is a nice way to close an album. 8.0/10
Final Rating:96 out of 100
Album Reveiw: The Notorious B.I.G. 'Life After Death"
I remember back in 1997 when this album was released, the whole hip hop scene seemed like all out war... Biggie had lifted the vacant King of New York crown back in 94 with his killer debut 'Ready To Die', but got killed on the streets of Cali weeks before this follow up album was released. Life After shows Biggie's growth as an artist and man. The storytelling is very cinematic and compelling. This is really a movie on wax for real. The paranoia is also raised on here and for good reason since Biggie spent 1996 fending off Pac's accusations and insults. In short, Biggie was a naturally gifted, personable, smart dude that's greatly missed.
Disc one
1. Intro
Good intro that picks up right where "Ready To Die" left off (literally).
2. Somebody Gotta Die
My favorite song. This is Biggie at his storytelling best. He creates a vivid story of revenge and he lays out some amazing lyrics over this haunting beat. "Revenge I'm tastin at the tip of my lips. I can't wait to feel my clip in his hips." 10/10
3. Hypnotize
I hate this song. 3/10
4. Kick In The Door
Great song with some really tight lyrics from BIG. He's got some classic rhymes over this great beat by DJ Premier after a pretty funny skit with the Madd Rapper. "Ain't no other kings in this rap thing. They siblings, nothing but my chil'ren. One shot, they disappearin." 10/10
5. #!*@ You Tonight
Pretty nice song with R.Kelly for the ladies. Big's got some nice rhymes and it's got a good beat. Incredibly raunchy. 7/10
6. Last Day
Pretty hot song produced by Havoc. It features LOX and they all tear up their verses as does Biggie. "You still apologizing, analyzing, my size and your size and realizing, a fist fight would be asinine" 9/10
7. I Love The Dough
A little too poppy. I think of it as the sequel to "Brooklyn's Finest" on "Reasonable Doubt". Again, both Biggie and Jay-Z produce some great lyrics. "You ain't fazing the amazing. While your gun's raising, mine is blazing." 8/10
8. What's Beef?
Good song over a pretty catchy beat with a lot of strings. Puffy gets annoying but Biggie's got some more great, slow rhymes. It also contains one of the most fucked up lines in the history of rap. (Well besides that ONE song by DMX) 9/10
9. B.I.G. Interlude
Nothing special or notable other than that it's produced by The Notorious B.I.G. He just spells out his name.
10. Mo Money Mo Problems
Very catchy beat but it got overplayed. Still, Ma$e provides a nice verse as does Big. Puffy is OK. "Me lose my touch? Never that. If I did, ain't no problem to get the gat." 8/10
11. N****s Bleed
Another great song in which BIG tells a gripping story. It's got a great, dark beat. By the end of this song, you feel like you're in that hallway. "Nothing to lose, tattooed around his gun wounds. Everything to gain, embedded in his brain." 10/10
12. I Got A Story To Tell
Funny story BIG tells about what happens when a guy walks into his house where Biggie's with the guy's girl. Afterwards, BIG tells the story again but not in song. 9/10
Disc Two
1. Notorious Thugs
Good song with Bone Thugs-N-Harmony. Shows Biggie's range as he speed raps successfully with Bone Thugs. Catchy hook as well. "Doesn't it seem odd to you? Big come through with mobs and crews." 10/10
2. Miss U
Depressing song that Big sings about friends that have died (mainly about his homey "O"). "I'm a thug, but I swear, for three days I cried. I looked in the sky and ask God why. Can't look his baby girls in the eye." 9/10
3. Another
Pretty weak song featuring Lil Kim. Probably considered filler. Pretty bad techno sounding beat too. 4/10
4. Going Back to Cali
Okay song about Cali. average beat and some great lines by Big. Funny phone conversation between BIG and Puffy at the beginning. "All I got is beef with those that violate me. I shall annihilate thee." 8/10
5. Ten Crack Commandments
Classic song basically about how to be a successful drug dealer. Clever lyrics and delivery. "Don't you know Bad Boys move in silence or violence? Take it from your highness. I done squeezed mad clips at these cats for they bricks and chips." 10/10
6. Playa Hater
Very funny song with BIG singing about how to rob. It's just funny hearing him sing (or at least try). 9/10
7. Nasty Boy
I don't know. I don't think that there's anything really special about this song. The beat's kind of annoying and the song's not a standout by any means. I Cant fuck with this shit. 3/10
8. Sky's The Limit
Great inspirational song by Biggie who basically explains his ascent in the world. It's sad hearing him look forward to his future though. "Only make moves when your heart's in it and live the phrase 'Sky's The Limit'" 9/10
9. The World is Filled
Unnecessary song. Too Short and Puffy make guest appearances but they're not memorable. 7/10
10. My Downfall
Creepy song with BIG talking about people out to get him. Great beat and lyrics and DMC handles the chorus. "Not too many keep a mill in the briefcase. Infrared's help me sleep safe." 10/10
11. Long Kiss Goodnight
Another great, dark song at the end of this album. Some really great rhymes in here over really great beat by RZA (Wu-Tang Clan). "Laugh now cry later, I rhyme greater than the average player haters and spectators." 10/10
12. You're Nobody (Til Somebody Kills You)
Perfect ending for The album even though it's creepy as fuck listening to it. Classic lyrics and great beat by the Hitmen. "As I leave my competition respirator style. Climb the ladder to success escalator style." Crazy line. 10/10
With 2 discs, Life After Death gives the listener a lot of material by Biggie. Some reviewers criticize this as having some weaker stuff and annoying guest appearances, but I think that's just a function of having a bigger album. Some stuff inevitably will not be as good as the rest. And I think the guest appearances are fine. Lil Kim spews off a foul mouth on one track, but that's what she does in her own stuff. Anyway, there's lots of great raps on here. The album's a bit slicker and more produced, lacking some of the edge of Ready to Die, but I think things as a whole work very well. While maybe not quite as awesome, on a song by song basis, as Ready to Die, this album definitely has enough quality material for the an enjoyable listen.
Lyrics: A-
Production: B+
Guest Appearances: C+
Musical Vibes: A-
Overall: B+
Top 5 Favorite Tracks:
1. Somebody's Gotta Die
2. I gotta Story to tell
3. Niggaz Bleed
4. Ten Crack Conmmandments
5. Sky's The Limit
Honorable Mention Tracks:
1. Whats Beef
2. You're Nobody (Till Somebody Kills You)
Friday, January 14, 2011
Sony HDR-FX7 3-CMOS Sensor HDV High-Definition Handycam Camcorder with 20x Optical Zoom
Shoot like a pro with the HDR-FX7 High Definition Handycam(R) camcorder. Capture amazing video and still images in high definition with the first HDV 1080i 3 CMOS sensor consumer-level camcorder and player in the world. The three - 1/4" ClearVID CMOS Sensors provide stunning detail and precision, while a 20x Optical Zoom Carl Zeiss Lens maintains image clarity. Since the HDR-FX7 records video in high-definition, you can dual record still images at the same time. So no matter what the occasion, the HDR-FX7 is the perfect camcorder for the situation. A Sony developed Real Time MPEG Encode/Decode system with reduced energy consumption and compact size to fit inside a personal camcorder. This provides efficient MPEG2 compression, and recording and playback of clear HD images at the same bit rate of the DV format, so that High Definition video can be recorded on the same cassettes as are used for MiniDV recording. From the authority in lens technology, the Carl Zeiss Vario-Sonnar T lens provides a high-quality 20x optical zoom which maintains image clarity and color while reducing glare and flare. Dual independent zoom and focus rings provide precise and detailed control over the amount of zoom and the overall focus of the image with just a turn of the rings. Fast, intuitive framing when zooming, and finely detailed focusing is easy with the natural "feel" of the rings. Easily adjust the amount of light entering the lens by adjusting exposure brightness in accordance with the iris and gain. The Iris control allows the volume of light to be adjusted (shutter speed and gain are adjustable). Though not small enough to carry with you to Disney, this camcorder opens up new opportunities for serious amateur and semi-professionals to record videos suitable for play on new widescreen HDTV sets. An IEEE1394 iLink port is provided for easy transfer to a PC or Macintosh for professional editing applications.
Tuesday, July 20, 2010
Album Reveiw:"Rick Ross-Teflon Don"
It's real hard to give Rick Ross a legit rating seeing I'm already so biased against him but I'll try. I tried to compare him to Nas(my favourite MC) where Nas calls himself Nas Escobar. But really I couldn't, while rappers have been stretching the truth for a long time, no rapper has ever called themselves a drug king pin then found out to be a prison officer. I understand the man had to eat, and a man that big eats alot. But it's a massive blow on his music, albums and his whole career. Unless you like his flow and voice you won't really like his album, so that's another blow for me. He no doubt has an ear for beats, I'd rather rather listen to his instrumentals then him to spit the truth, he's feature heavy so most the talent you come across on this album isn't even his. I can't give it a bad rating because the album isn't bad and I can't give it a good rating because it isn't that good, Rick Ross has barely any quotables or verses that hit you and make you think "Dammmn this mother fucker is off the chain" but it's reasonably solid. I wouldn't recommend this to anyone but I wouldn't advise against it. It's just got a neutral feeling.
Lyrics(Ross's only) - 2/5
Beats - 5/5
Originality - 2/5
-1 for being a CO but I'm not going to pitch that in the rating.
Saturday, June 12, 2010
25 Things That Killed (And Are Still Killing) Urban Music....
25 Things That Killed (and are Still Killing) Urban Music
In the midst of everyone's declarations that "Hip Hop is Dead" we somehow forgot the slow death that is spreading across all aspects of "urban" music, as the legacy of Soul and its close cousins has devolved into a writhing mass of commercialism, homogenization, thuggification and overall laziness. Now, in no particular order, I present to you the "25 Things That Killed (and are Still Killing) Urban Music" because you love lists and i'm not afraid to say what you're thinking. Keep in mind that there will be some overlap, as certain items gave way to others that deserve their own spanking.
1. The End of the "Event" Album: There was a time when albums encompassed an era that included a look, a feel, and a style that informed an artist's videos and live performances for as long as they (or the label) could squeeze revenue from a project by releasing singles. The "event" album can chiefly be credited to Jacksons Michael and Janet, who have entire timelines built around the idea of a "Thriller Era" or a "Rhythm Nation Era". Nowadays, instead of treating albums as what they are (a collection of songs with one unifying theme) artists are more likely to seek out the most ubiquitous Hip Hop beatmakers of the moment and record over a hundred songs from which to "pick" singles. Also, when you have artists that are too scared to release music with a healthy 3-5 year gap in between, the lines to between albums begin to blur, and the eras become indistinguishable, rendering them null.
2. Big Name Hip Hop Producers: With respect due to the beatmakers that introduce a track with the name of their production imprint, ad-lib all over it, and insert themselves as guest rappers 50% of the time, they overshadow the actual vocalist of a song. We certainly don't begrudge any of them the right to employment, but when an artist has to do an inventory of who produced her project to qualifiy it instead of telling us what the album is about, we have to take exception. Reality check: If you're trying to goad me into a purchasing your album because you have a Pharrell beat on it and I'm a Pharrell fan, then that's the only song I'm buying. Your album has to have legs of its own.
3. Deaths of The Notorious B.I.G. & 2Pac: You can probably draw a direct line from the deaths of Biggie and 'Pac to the current state of Hip Hop. The two of them cultivated a style that even a decade later is re- and misappropriated to the nth. Perhaps if they were still alive, they'd have pushed the genre forward. Or maybe they'd be wack and irrelevant. Hey, at least they died while they were still good.
4. "Neo-Soul": We understand the emergence of the "neo-soul" genre as a response to the growing commercialization of modern R&B. But even the artists lumped into this category began to the see that the term was as much a marketing ploy as the very things they eschewed. The language used to describe these artists ranged from "organic" to "avant garde" and any press materials would claim that he/she looks up to Stevie, Marvin and Donnie. And don't stand too close to the stage lest you get burned by the candles and frankencense! Before long, the audience would be fooled and we would either grow to love or loathe this music, defending the art of its purveyors and loudly wondering why they couldn't move as many units as their mainstream counterparts. Simply put, "neo-soul" has become a term used by people to describe music they respect but would never buy.
5. Reality TV: Aside from the manufactured Pop idols that are struggling to stay signed within their prize contracts, we have to question the motives of Sean Combs, Robin Antin and Missy Elliott, who have all aped the reality television format to generate acts for their own stable of artists. To be sure, reality TV has replaced proper Artist Development as a means for these entrepreneurs to cash in, stroke their egos and embarrass people who, 9 times out of 10, deserve it. Speaking of which, what's O'so Krispie doing?
6. Lazy A&R Departments: Did you know that A&R people are also responsible for Artist Development? Probably not, since these days a newly-signed artist is more likely to be stripped of their identity and given one that falls in step with what's popular or, even worse, none at all. Take Cheri Dennis for example. While her album has a respectable amount of solid R&B tracks, we still don't know who Cheri Dennis is, what sets her apart from everyone else or even what she sounds like. But, she has earned the distinction of being signed to her label for nearly a decade with no album to speak of. Did the A&R department utilize that time by playing Spades? Probably.
7. Scarface and The Untouchables: Okay, rapper, we get it, Scarface and The Untouchables are the greatest movies ever made; your life in celluloid, even. But, if you look close enough, you'll come to learn that you are neither Pacino or De Niro and should stop emulating them by using audio clips from the films in your interludes and the script in your lyrics. Too many of you are still doing this after all these years. Also, tell members of your crew to stop calling themselves "Ness" and "Nitti". Just, please, cut it out. Thank you.
8. Thugs: Not only do we have "Studio Thugs" that use de Palma films to inform their image (see above) but there's the "Corporate Thug" (robs an artist of his publishing and signs him to a hellified contract he could never fulfill) and the questionable "R&B Thug", which happened somewhere between R. Kelly and Jodeci and continues to this day. Along the way, labels got the bright idea that the way to a woman's heart was by selling drugs and beating up people. Sexy! This trend has also given rise to something else we'll never understand: "R&B Beef", in which two singers talk trash about each other to the media. Unfortunately, this doesn't result in a "sing-off" but pretty much makes everyone involved look kind of retarded.
9. Crime: Between violating probation, not paying child support, being pulled over and caught with an ounce of weed or cocaine, assaulting nail technicians, shooting people, tossing concertgoers off the stage, committing perjury, tax evasion, and urinating on minors, we have to wonder if being a good artist means being a bad citizen.
10. Ringtones: "Real Music Ringtones" were created as a way to distinguish your ringing cellular from someone else's while also bringing you closer to your favorite artist. Unfortunately, the labels realized this was the only way to generate revenue and started making music for the sole purpose of selling ringtones. Now, we have stripped-down keyboard beats and grunts and "yaahhs" instead of lyrics. Is that my cellphone ringing or yours? We'll never know, because we both downloaded Soulja Boy.
11. Lack of Music Programs in Schools: Programs like Garage Band have not only made producers lazy, but undercut the importance of immersing young would-be musicians in music history as well as basic composition. Unless a popular musician was trained in the church, they probably lucked into a contract without knowing how to write, play an instrument, or worse, sing a note.
12. BET (and by extension its corporate owner) is on a mission to not only destroy urban music, but poison the perception of Black people in the process. If we were to use this network as a guide (and people unfortunately do), we would believe that "drug dealer > rapper > pimp" is a logical career path, alcoholic beverages can be used as bodysplash, women of exotic or indeterminate race are the standard of beauty, darker-skinned women are only valuable if they have a big ass and a tiny waist, a person's worth can only be determined by what they drive and what they wear, you ain't sh*t if you're over 30, and a week's worth of debauchery and decadence can be undone with a Sunday marathon of religious programming. It's funny because it's true.
13. The Radio: Used to be, you would turn on the radio and hear a variety of artists with a variety of sounds. But due to the "Clear Channeling" of Urban Radio, you'll hear a T-Pain song followed by 15 minutes of commercials, followed by a song featuring T-Pain, some shucking and jiving by unbearable radio personalities for five minutes, then something that resembles a T-Pain song, but isn't because just about everyone sounds like T-Pain now. And it's probably a commercial.
14. Spineless Club DJs: If you're going out to a club, you might as well sit in the house and blast the radio instead of paying the inflated cover charge. Once upon a time, DJs were tastemakers, but now so many of them are afraid they'll clear the floor by spinning something new that they just play album versions of songs people are tired of but are too drunk to notice. Then, they add insult to injury by showing off their "skills" with poorly-timed scratches, blends that don't line up and screaming over the music. And consider yourself lucky if you happen upon a DJ with ACTUAL! VINYL! RECORDS!
15. Mainstream Hip Hop Publications: Back in the 90's, holding one of these rags in your hands was like holding a monthly Bible to all things Hip Hop and R&B. Now, they've all been relegated to chasing blogs and reiterating things we already knew weeks ahead instead of properly utilizing the print medium to do something unique. Changes in personnel and ownership aside, they were already marching towards irrelevance. Even the covers suck now, but you probably won't get the damn thing delivered on time in order to find out.
16. Bloggers: Guilty as charged! Trifle few of us are qualified to be writing about music with any authority, especially since most of the people behind blogs haven't been alive long enough to have a healthy perspective on the subject. Although it can be argued that record companies rely on blogs for buzz, most of the music championed by popular websites is the same music that would've gotten attention anyway. Also, we have to point out that the commenting system has turned discussions about music into an unholy war of "haters" versus "stans", where everyone is an expert on what they hate or love, but have no concept of anything else including real life. Oh, and providing your readers with the URL to full album leaks doesn't "help" the artist.
17. Youtube & Myspace: On the Internet, everyone is a star (thank you, thank you). But while sites like Myspace and Youtube can provide mainstream and indie musicians with a means of cultivating and connecting with an audience, it becomes a chore to sort through the muck of people with a webcam and a login classifying themselves as "artists". And damn you all to Hell for having the crap you made in Grandma's basement on auto-play.
18. Singing Rappers, Acting Rappers & Rapping Athletes: We'll keep this short. Every now and then you'll happen upon someone that has been able to organically transition from one career to another. Will and Latifah come to mind. To everyone else (coughCurtiscough), stay in your lane. Again, we don't begrudge anyone the chance to make some extra ends; it just shouldn't be at the expense of the audience.
19. The End of Real Singing Groups: Once upon a time, you not only had singing groups that weren't put together by a reality show, but wherein each member contributed a distinct voice or purpose to the group. Sometimes they had members that barely sang a note, but who actually produced or wrote the song. Point is, throwing a bunch of strangers in a house with one phone and giving them makeovers doesn't create synergy. Also, name a recent singing group that wasn't created for a television show or for the purpose of launching someone's solo career. Exactly.
20. "Kanyitis" : is a temporary, yet frequent, illness that afflicts singers and rappers alike, wherein an artist waits until the precise moment they are in front of a camera, microphone or reporter to say something shocking and stupid, which will then be quoted by bloggers and searched on Youtube ad nauseum. Then the artist has to explain what they "really" meant, but by that time everyone already thinks they're nuts and doesn't care about a retraction.
21. Death of Aaliyah: Not that Aaliyah took an entire genre of music with her to the grave, but it can be argued that her passing made way for a wave of young, pretty dancers with okay voices and no personality. Only difference between them and Aaliyah is, Aaliyah had personality along with talent, ideas and a willingness to experiment. Also, she wasn't so full of herself.
(DAMN WE LOST A GOOD ONE...THIS ONE HIT CLOSE TO HOME AS A GOOD FRIEND OF MY FAMILY WAS ONE OF THE VICTIMS OF THIS TRAGEDY. AND I ACTUALLY SAW THAT PERSON AND GOT THE PRIVILEGE OF MEETING AALIYAH JUST WEEKS BEFORE THIS OCCURRED!!! AND SHE MIGHT POSSIBLY BE THE MOST BEAUTIFUL WOMAN I EVER SAW IN PERSON. AT LEAST FACE-WISE ANYWAY. SHE WAS VERY SLIM...ALMOST FRAIL BUT HER FACE WAS DOWNRIGHT BEAUTIFUL. SHE DEFINITELY HAD AN ANGELIC PRESENCE. CHICK WAS DAMN NEAR GLOWING IT SEEMED. JUST CRAZY!!! I DIGRESS.)::
22. Money: Even worse than artists releasing garbage because they know it sells is the audience's obsession with how much an artist makes. Unfortunately, we've given lack of artistry a pass because someone's "making that paper", which totally undermines the hard work of true creative talents that are constantly writing, recording, and performing. When I buy an album I don't want to hear an entrepreneur, which brings us to--
23. Products & Brands: Whether rappers and singers are inserting the names of designer alcoholic beverages into their lyrics or cable companies are inserting rappers and singers in their ad campaigns, things come to a point where we need to start realizing how owned these artists are. There's a thin line between businessperson and corporate slave. We'd also like to reiterate a fact that has been pointed out time and time again over the past 10 years: If you can't pronounce it, why should we care that you're wearing it, driving it, or drinking it?
24. People That Aren't in Any Way Associated with Music: Opportunities in the industry are built on connections and there's almost never been a time when someone didn't rise to stardom on someone else's coattails. But now, things have gotten way out of hand. Why be an actual artist when you can be someone that danced in videos, screwed a bunch of rappers and got a book deal? Or, you can be a butler or Executive In Charge of Umbrella-Carrying? Or, worse, be the "Fifth Mic" guy on stage and reliable instigator? Who needs a recording studio?
25. Teenagers: Young people have always had the power to determine trends in all genres of music, which is why corporations defer to them. However, today's teenagers seem to be slightly more insipid than they were in previous generations and definitely have a shorter attention span. Whether it's the teens themselves driving the garbage labels are releasing, or the labels that are leading teens down a path of ignorance, is totally up for debate. It's the chicken/egg question in its purest form.
In the midst of everyone's declarations that "Hip Hop is Dead" we somehow forgot the slow death that is spreading across all aspects of "urban" music, as the legacy of Soul and its close cousins has devolved into a writhing mass of commercialism, homogenization, thuggification and overall laziness. Now, in no particular order, I present to you the "25 Things That Killed (and are Still Killing) Urban Music" because you love lists and i'm not afraid to say what you're thinking. Keep in mind that there will be some overlap, as certain items gave way to others that deserve their own spanking.
1. The End of the "Event" Album: There was a time when albums encompassed an era that included a look, a feel, and a style that informed an artist's videos and live performances for as long as they (or the label) could squeeze revenue from a project by releasing singles. The "event" album can chiefly be credited to Jacksons Michael and Janet, who have entire timelines built around the idea of a "Thriller Era" or a "Rhythm Nation Era". Nowadays, instead of treating albums as what they are (a collection of songs with one unifying theme) artists are more likely to seek out the most ubiquitous Hip Hop beatmakers of the moment and record over a hundred songs from which to "pick" singles. Also, when you have artists that are too scared to release music with a healthy 3-5 year gap in between, the lines to between albums begin to blur, and the eras become indistinguishable, rendering them null.
2. Big Name Hip Hop Producers: With respect due to the beatmakers that introduce a track with the name of their production imprint, ad-lib all over it, and insert themselves as guest rappers 50% of the time, they overshadow the actual vocalist of a song. We certainly don't begrudge any of them the right to employment, but when an artist has to do an inventory of who produced her project to qualifiy it instead of telling us what the album is about, we have to take exception. Reality check: If you're trying to goad me into a purchasing your album because you have a Pharrell beat on it and I'm a Pharrell fan, then that's the only song I'm buying. Your album has to have legs of its own.
3. Deaths of The Notorious B.I.G. & 2Pac: You can probably draw a direct line from the deaths of Biggie and 'Pac to the current state of Hip Hop. The two of them cultivated a style that even a decade later is re- and misappropriated to the nth. Perhaps if they were still alive, they'd have pushed the genre forward. Or maybe they'd be wack and irrelevant. Hey, at least they died while they were still good.
4. "Neo-Soul": We understand the emergence of the "neo-soul" genre as a response to the growing commercialization of modern R&B. But even the artists lumped into this category began to the see that the term was as much a marketing ploy as the very things they eschewed. The language used to describe these artists ranged from "organic" to "avant garde" and any press materials would claim that he/she looks up to Stevie, Marvin and Donnie. And don't stand too close to the stage lest you get burned by the candles and frankencense! Before long, the audience would be fooled and we would either grow to love or loathe this music, defending the art of its purveyors and loudly wondering why they couldn't move as many units as their mainstream counterparts. Simply put, "neo-soul" has become a term used by people to describe music they respect but would never buy.
5. Reality TV: Aside from the manufactured Pop idols that are struggling to stay signed within their prize contracts, we have to question the motives of Sean Combs, Robin Antin and Missy Elliott, who have all aped the reality television format to generate acts for their own stable of artists. To be sure, reality TV has replaced proper Artist Development as a means for these entrepreneurs to cash in, stroke their egos and embarrass people who, 9 times out of 10, deserve it. Speaking of which, what's O'so Krispie doing?
6. Lazy A&R Departments: Did you know that A&R people are also responsible for Artist Development? Probably not, since these days a newly-signed artist is more likely to be stripped of their identity and given one that falls in step with what's popular or, even worse, none at all. Take Cheri Dennis for example. While her album has a respectable amount of solid R&B tracks, we still don't know who Cheri Dennis is, what sets her apart from everyone else or even what she sounds like. But, she has earned the distinction of being signed to her label for nearly a decade with no album to speak of. Did the A&R department utilize that time by playing Spades? Probably.
7. Scarface and The Untouchables: Okay, rapper, we get it, Scarface and The Untouchables are the greatest movies ever made; your life in celluloid, even. But, if you look close enough, you'll come to learn that you are neither Pacino or De Niro and should stop emulating them by using audio clips from the films in your interludes and the script in your lyrics. Too many of you are still doing this after all these years. Also, tell members of your crew to stop calling themselves "Ness" and "Nitti". Just, please, cut it out. Thank you.
8. Thugs: Not only do we have "Studio Thugs" that use de Palma films to inform their image (see above) but there's the "Corporate Thug" (robs an artist of his publishing and signs him to a hellified contract he could never fulfill) and the questionable "R&B Thug", which happened somewhere between R. Kelly and Jodeci and continues to this day. Along the way, labels got the bright idea that the way to a woman's heart was by selling drugs and beating up people. Sexy! This trend has also given rise to something else we'll never understand: "R&B Beef", in which two singers talk trash about each other to the media. Unfortunately, this doesn't result in a "sing-off" but pretty much makes everyone involved look kind of retarded.
9. Crime: Between violating probation, not paying child support, being pulled over and caught with an ounce of weed or cocaine, assaulting nail technicians, shooting people, tossing concertgoers off the stage, committing perjury, tax evasion, and urinating on minors, we have to wonder if being a good artist means being a bad citizen.
10. Ringtones: "Real Music Ringtones" were created as a way to distinguish your ringing cellular from someone else's while also bringing you closer to your favorite artist. Unfortunately, the labels realized this was the only way to generate revenue and started making music for the sole purpose of selling ringtones. Now, we have stripped-down keyboard beats and grunts and "yaahhs" instead of lyrics. Is that my cellphone ringing or yours? We'll never know, because we both downloaded Soulja Boy.
11. Lack of Music Programs in Schools: Programs like Garage Band have not only made producers lazy, but undercut the importance of immersing young would-be musicians in music history as well as basic composition. Unless a popular musician was trained in the church, they probably lucked into a contract without knowing how to write, play an instrument, or worse, sing a note.
12. BET (and by extension its corporate owner) is on a mission to not only destroy urban music, but poison the perception of Black people in the process. If we were to use this network as a guide (and people unfortunately do), we would believe that "drug dealer > rapper > pimp" is a logical career path, alcoholic beverages can be used as bodysplash, women of exotic or indeterminate race are the standard of beauty, darker-skinned women are only valuable if they have a big ass and a tiny waist, a person's worth can only be determined by what they drive and what they wear, you ain't sh*t if you're over 30, and a week's worth of debauchery and decadence can be undone with a Sunday marathon of religious programming. It's funny because it's true.
13. The Radio: Used to be, you would turn on the radio and hear a variety of artists with a variety of sounds. But due to the "Clear Channeling" of Urban Radio, you'll hear a T-Pain song followed by 15 minutes of commercials, followed by a song featuring T-Pain, some shucking and jiving by unbearable radio personalities for five minutes, then something that resembles a T-Pain song, but isn't because just about everyone sounds like T-Pain now. And it's probably a commercial.
14. Spineless Club DJs: If you're going out to a club, you might as well sit in the house and blast the radio instead of paying the inflated cover charge. Once upon a time, DJs were tastemakers, but now so many of them are afraid they'll clear the floor by spinning something new that they just play album versions of songs people are tired of but are too drunk to notice. Then, they add insult to injury by showing off their "skills" with poorly-timed scratches, blends that don't line up and screaming over the music. And consider yourself lucky if you happen upon a DJ with ACTUAL! VINYL! RECORDS!
15. Mainstream Hip Hop Publications: Back in the 90's, holding one of these rags in your hands was like holding a monthly Bible to all things Hip Hop and R&B. Now, they've all been relegated to chasing blogs and reiterating things we already knew weeks ahead instead of properly utilizing the print medium to do something unique. Changes in personnel and ownership aside, they were already marching towards irrelevance. Even the covers suck now, but you probably won't get the damn thing delivered on time in order to find out.
16. Bloggers: Guilty as charged! Trifle few of us are qualified to be writing about music with any authority, especially since most of the people behind blogs haven't been alive long enough to have a healthy perspective on the subject. Although it can be argued that record companies rely on blogs for buzz, most of the music championed by popular websites is the same music that would've gotten attention anyway. Also, we have to point out that the commenting system has turned discussions about music into an unholy war of "haters" versus "stans", where everyone is an expert on what they hate or love, but have no concept of anything else including real life. Oh, and providing your readers with the URL to full album leaks doesn't "help" the artist.
17. Youtube & Myspace: On the Internet, everyone is a star (thank you, thank you). But while sites like Myspace and Youtube can provide mainstream and indie musicians with a means of cultivating and connecting with an audience, it becomes a chore to sort through the muck of people with a webcam and a login classifying themselves as "artists". And damn you all to Hell for having the crap you made in Grandma's basement on auto-play.
18. Singing Rappers, Acting Rappers & Rapping Athletes: We'll keep this short. Every now and then you'll happen upon someone that has been able to organically transition from one career to another. Will and Latifah come to mind. To everyone else (coughCurtiscough), stay in your lane. Again, we don't begrudge anyone the chance to make some extra ends; it just shouldn't be at the expense of the audience.
19. The End of Real Singing Groups: Once upon a time, you not only had singing groups that weren't put together by a reality show, but wherein each member contributed a distinct voice or purpose to the group. Sometimes they had members that barely sang a note, but who actually produced or wrote the song. Point is, throwing a bunch of strangers in a house with one phone and giving them makeovers doesn't create synergy. Also, name a recent singing group that wasn't created for a television show or for the purpose of launching someone's solo career. Exactly.
20. "Kanyitis" : is a temporary, yet frequent, illness that afflicts singers and rappers alike, wherein an artist waits until the precise moment they are in front of a camera, microphone or reporter to say something shocking and stupid, which will then be quoted by bloggers and searched on Youtube ad nauseum. Then the artist has to explain what they "really" meant, but by that time everyone already thinks they're nuts and doesn't care about a retraction.
21. Death of Aaliyah: Not that Aaliyah took an entire genre of music with her to the grave, but it can be argued that her passing made way for a wave of young, pretty dancers with okay voices and no personality. Only difference between them and Aaliyah is, Aaliyah had personality along with talent, ideas and a willingness to experiment. Also, she wasn't so full of herself.
(DAMN WE LOST A GOOD ONE...THIS ONE HIT CLOSE TO HOME AS A GOOD FRIEND OF MY FAMILY WAS ONE OF THE VICTIMS OF THIS TRAGEDY. AND I ACTUALLY SAW THAT PERSON AND GOT THE PRIVILEGE OF MEETING AALIYAH JUST WEEKS BEFORE THIS OCCURRED!!! AND SHE MIGHT POSSIBLY BE THE MOST BEAUTIFUL WOMAN I EVER SAW IN PERSON. AT LEAST FACE-WISE ANYWAY. SHE WAS VERY SLIM...ALMOST FRAIL BUT HER FACE WAS DOWNRIGHT BEAUTIFUL. SHE DEFINITELY HAD AN ANGELIC PRESENCE. CHICK WAS DAMN NEAR GLOWING IT SEEMED. JUST CRAZY!!! I DIGRESS.)::
22. Money: Even worse than artists releasing garbage because they know it sells is the audience's obsession with how much an artist makes. Unfortunately, we've given lack of artistry a pass because someone's "making that paper", which totally undermines the hard work of true creative talents that are constantly writing, recording, and performing. When I buy an album I don't want to hear an entrepreneur, which brings us to--
23. Products & Brands: Whether rappers and singers are inserting the names of designer alcoholic beverages into their lyrics or cable companies are inserting rappers and singers in their ad campaigns, things come to a point where we need to start realizing how owned these artists are. There's a thin line between businessperson and corporate slave. We'd also like to reiterate a fact that has been pointed out time and time again over the past 10 years: If you can't pronounce it, why should we care that you're wearing it, driving it, or drinking it?
24. People That Aren't in Any Way Associated with Music: Opportunities in the industry are built on connections and there's almost never been a time when someone didn't rise to stardom on someone else's coattails. But now, things have gotten way out of hand. Why be an actual artist when you can be someone that danced in videos, screwed a bunch of rappers and got a book deal? Or, you can be a butler or Executive In Charge of Umbrella-Carrying? Or, worse, be the "Fifth Mic" guy on stage and reliable instigator? Who needs a recording studio?
25. Teenagers: Young people have always had the power to determine trends in all genres of music, which is why corporations defer to them. However, today's teenagers seem to be slightly more insipid than they were in previous generations and definitely have a shorter attention span. Whether it's the teens themselves driving the garbage labels are releasing, or the labels that are leading teens down a path of ignorance, is totally up for debate. It's the chicken/egg question in its purest form.
Thursday, April 1, 2010
Man....
I havent been on here in a while....Check out my Youtube channel at Youtube.com/ThisizweezyF. Cheers!!
Friday, October 16, 2009
Monday, October 12, 2009
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