I found an old mix cd i made today and i had a track with him and common on it called play this. i had totally forgot this dude existed he seems really decent. Anyone got some of his shyt they feel like sharing? Im willing to trade. HOLLA. check out this great hip hop article while you're at it.
One of the best places in the world for quality cultural interaction and entertainment has to be the barbershop. As I wait patiently for my barber to put the finishing touches on a customers fade, I take in all of the sights and sounds of my surroundings. Two televisions: One has a music video featuring Missy Elliot strutting her stuff, while the other has throngs of teenagers crowded around it playing the latest edition of Madden Football on X-box. I'm seated near a crackling speaker system, blaring an instrumental version of 50 cents hit song, "It's your Birthday", while a young kid wearing a faded Dallas Mavericks baseball cap walks by with a push broom.
All 16 chairs are full, and there are multiple conversations worth listening to. I overhear three middle-aged men whine about President Bush's practices, policies and beliefs. As they discuss, issues of downsizing, outsourcing and weapons of mass destruction, I decide to add my two cents by saying, "I bet none you brothers voted in the last election'. As each one shook their heads, my cynical smile quickly shifted as I reflected on my position regarding today's hip-hop scene. As much as I despise it, how do I propose to change it? At that point my barber motions for me to come forward and sit in the vacant chair. I tell him to give me "the usual", which consists of a Caesar and line-up. Pondering over my thoughts regarding hip-hop's "reconstruction", I believe that we must first ask ourselves what is it that we want to reconstruct? In essence, what is the embodiment of hip-hop?
I believe today's manufactured version of hip-hop is strictly one-dimensional, focusing more on the glorification of stereotypical images in an effort to increase market value, and maximize income potential. Hip-hop culture includes a strong sense of fashion, unique slang, expressive artwork, creative lyrics, turntables, dance and most of all the ability to freestyle at any given time. To bring attention to this dying art form, maybe Steven Spielberg should cast KRS-1 as Indiana Jones, and name his next installment of the series, "Raiders of the Lost Freestyle."
It is absolutely imperative that underground artists continue to freestyle in hopes that it seeps back into the mainstream culture. For example, if I walked up to Loon right now and asked him to "bust a quick freestyle", he would reach for his back pocket, and pull out some wack rhymes on a crumpled piece of paper. The problem is two fold: 1) the people that can freestyle, don't want to do it for free anymore, and 2) record companies don't care about the art of freestyling, and thus don't require this ability as an integral part of their 'resume.' Bringing this art form back through Internet downloads, Internet radio stations, and performances at local events would help stabilize the industry, and slow down the process of commercialized erosion.
Secondly, we should allow limited access to record companies from other countries to mass-produce, promote, and market their music within our borders, especially when some foreign groups are on American labels. For example, Toronto (which by the way, has an existing hip-hop culture that rivals yesteryear's American hip-hop scene) has several hip-hop acts, such as Cardinal Official and Saukretes that could sell out arenas across our nation, however their music has been intentionally omitted from radio waves in America. Coincidentally, Saukretes is on Def Jam's label, and is relatively unknown in America. Why is that, you may ask? The answer is simple: Its not just the traditional record companies that create self imposed sanctions against foreign groups to control what you hear, but you can guarantee that Russell Simmons has played the same game.
The language barrier in Brazil may pose a slight problem in regards to importing, but social conscience hip-hop acts still rein supreme thanks to acts such as Racionais MC's, and MV Bill. To understand the conscience of the Brazilian emcee, we must first examine South America from a historical context. During the triangular slave trade more Africans were shipped to South America than anywhere in the world. More importantly, in countries such as Bahia and Salvador, Blacks have maintained the bulk of their traditional customs and values that they brought with them via the Slave Trade. Making a generalized comparison, Blacks in this country have all but lost touch with their African heritage, and thus correlations exists between the African-American need to maintain their original traditions, and the African- American desire to wrestle from the music industry what they strived so hard to create. We can learn from these countries and appreciate their uncompromising approach to hip-hop. By importing, promoting and marketing foreign groups it would provide hip-hop heads with a refreshing alternative to the bizarre disillusionment of homogenized hip-hop.
Finally, we should have a multi-faceted approach when dealing with national record companies and radio stations. The best way to get the message across that "hip-pop" is unacceptable is simple: don't buy the CD. Most people complain about the content, but continue to purchase the CD. If the masses stop supporting these groups it will force the CEO's of the major labels to re-evaluate the market. When Napster, Audio galaxy, and Morphius were up and running, these record companies were taking such a hit in their pockets that they had to call upon the federal government to shut down these sites. Divesting, then re-investing in the production of our own Internet radio stations on websites such as
www.live365.com will provide greater accessibility to underground, and old school hip-hop. Additionally, if artists that are featured on these radio stations establish web sites, it is quite possible that listeners can click on the artists web site, and purchase directly from the artist, eliminating the middle man.
It is understood that everyone is not fortunate to have a computer or access to the Internet, but those that do can use this as a starting point. Take the Howard Dean Presidential campaign for example. The former Governor from Vermont used the Internet to single-handedly raise the most money ever during a primary election. The Internet provided Dean with instant name recognition, and the ability to reach potential voters that would have otherwise not cared about his platform. We can create the same enthusiasm by using the Internet to provide options to mainstream hip-hop.
"Wake up you're all done!" says my barber. With my eyes half open, I acknowledge my satisfaction by nodding my head, as I hold the mirror to review his handiwork. I smile as I give him a twenty before exiting the door. With a concerted effort by the masses of hip-hoppas that care about its legacy and preservation, I am confident that one day this industry will once again give me that same satisfaction.
www.globalblacknews.com/Slater2.html
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Who in here fukks with Saukretes? (CANADIAN)
