5 burning thoughts and questions from an old school Hiphop head after watching 'Roxanne Roxanne'

SPOILER ALERT: This is not a movie review. However, if you haven't yet seen "Roxanne Roxanne," the biopic about pioneering female emcee Roxanne Shante, then you might want to log off right now.

The Falling Season: Masta Ace's Your Old Droog cosign is both unexpected and validating. Kind of

In Hiphop, it's all about the cosign. Rarely can a rapper come out with a hit song without a reputed affiliation with a respected figure. From Das EFX and EPMD to Em and Dre to Jay and Kanye, the list of Hiphop hat-tips resulting in lengthy, quality careers is a hearty one.

But the following example is not that. Kind of.

Your Old Droog, sometimes known as the fake Nas, has an eerily similar voice, cadence and flow(s) to one Nasir Jones. It's a comparison that Droog says isn't accurate. Kind of.

According to The New Yorker's Jay Caspian King, who wrote what appeared to be Droog's first formal interview with the mainstream press, the Brooklyn rapper says he's of a different mold. Kind of.

Though he respects Nas, he sees himself more in the lineage of Big L and Kool G Rap, rappers who shared his love of punch lines.

Not withstanding the fact that Nas is among the nicest with wordplay, Droog can rap with the best of them. His punch lines are ridiculously witty to the point that most are rewind-worthy to see if your ears were fooling you the first time around. But with the rise of other talented, new rappers who have seemingly based their entire careers' very existences on those of legendary and established emcees, Droog was instantly guilty by association. Kind of.

I am OBSESSED with DeJ Loaf

OK, I know I'm a little late to the party.

I usually pride myself on being up on the latest rap and Hiphop music, but in this instance I was late.

It's only been about a month since DeJ Loaf (pronounced "dayj") dropped her debut [hit] song, "Try Me," and already the track is all but a cult classic in the underground. But with the mainstream exposure she's getting -- I'm embarrassed to say that I was introduced to her by MTVJams, of all sources -- she will soon be signed to a major label.

It's only a matter of time.

'Jack of Spades' is the best rap song on a film's sountrack. Ever.

The beat.

The lyrics.

The concept.

It was an instant classic.

When a rap battle goes wrong...

Here is what's wrong with Hiphop right now.

A traditional Hiphop confrontation of rhymed words quickly devolved into an all out brawl, courtesy of a sucker punch for the ages.

Sheek Louch very well could be the most slept on rapper. Ever.

Whether you want to admit it or not, Sheek is a beast in the booth. He just happens to be part of a veritable supergroup that includes two rappers who are widely perceived as being just plain better than Sheek is. Or ever was.

But there's one serious flaw in that argument. Actually, way more than one.

The bastardization of Hiphop is alive and well!

Post by Sammydress.

There are so many things wrong with this sponsored ad that popped up on Facebook.

What's happened to the rest of Jamla?

Is it just me or has 9th Wonder been pushing his fem-cee Rapsody just a little too hard on the listening masses? Could it be true that sometimes — or at least in this case, for sure — less can indeed be more?

This is something that's been lingering on my list of Hiphop pet peeves for quite a while now, and this week's release of the much anticipated collaboration between new Jamla recording artist add-2 and Khrysis, the leader of the 9th's hefty stable of producers and beat makers, finally pushed that pet peeve right on up to the top of the totem pole of things in rap on my nerves right now.

Oh yeah, Jamla is 9th Wonder's label...

Ryan Leslie Solo Rap Album Coming Soon

Random news outlets are reporting that Ryan Leslie's upcoming album -- titled Les is More -- will be a Hiphop opus, an unexpected switch of genre from a singer who has cultivated a cult-like following from a successful career writing, singing and producing pop and R&B music.

Ryan Leslie has always been a fan and an active participant in both singing and rapping, and after being labeled a child prodigy and achieving a perfect score on his SATs, he attended and graduated from Harvard with a degree in Government -- all before he was 20 years old.

That's just a bit of background information to help put Leslie's rhyming endeavor in a bit of a better context. Because this guy is talented beyond belief, and, much like Pharrell, his vast range as a producer and songwriter is enough of a reason for me to give this album a serious listen.

But after listening to him sing years' worth of songs about his prowess with women, the new experience of hearing him spit a bunch of verses is surprisingly a let down. After all, he's had success with his rhyming on his own songs in the past. And his subject matter remains primarily the same as before -- women.

So what's different?

Well, it's one thing for a singer to kick an occasional hot 16 on one of his or her songs. But it's a completely different thing for that format to be reversed, with a singer rapping three verses while only singing on the hook -- on each and every track.

Maybe it's because of my dedication to Hiphop that I have such a hard time accepting a career R&B singer crossing over to make a rap album. Of course, this has been done before. But never by an artist whom I have such a great level of musical respect for.

And so I'm torn.

Hopefully, since the album is Hiphop in nature, it's more You Be Killin Em and less of the slower tracks. But hey, I guess since "Les is More," the jury will be out until I can hear the final product.

Until then, here are a couple of new songs from his album that is scheduled to be released on July 4, 2011:



Joan of Arc

Remembering GURU (7.17.61 - 4.19.10)

Today marks one year since the passing of GURU and there are still so many unanswered questions surrounding his death.

The rapping half of the legendary Gang Starr lost his fight with cancer while his then-musical partner Solar juiced the event for all it was worth, issuing press releases and generally just trumping up publicity for himself at the expense of a comatose and then finally dead GURU.

While GURU is resting in peace, Solar -- the self proclaimed "super producer" who ironically hasn't produced a single musical contribution in the year since GURU passed -- is no doubt still up to no good, probably firmly latched onto his next unsuspecting victim, bilking up a storm.

The curious association between Solar and GURU raised eyebrows, with GURU's family and previous Solar victims sharing their stories of Solar's shadiness.

But this post is not about Solar. It's about GURU's legacy that is still thriving to this day; his undeniable classics Hiphop contributions that are still relevant and cherished by his truest and newest fans alike.

GURU's family is taking part in a tribute this Thursday in his honor at the popular New York City nightspot Le Poisson Rouge, with all donations and net proceeds going to GURU's son, K.C. Elam.

GURU's life will also be honored next month in his hometown of Boston during the 5th Annual UNITY Festival.

I always felt that during his life GURU was completely unappreciated by his peers, rarely being invited to be featured on somebody's track. Instead, GURU created his own lane with the timeless hits from his first three Jazzmatazz offerings as well as his Gang Starr efforts with DJ Premier.

While GURU was featured on albums from some of the underground's favorites, the who's who of rappers never invited GURU to collaborate. It was always GURU who had to extend the invitation to other rappers to be included on his own projects.

By my estimation, the reason for this was either his fellow rappers were afraid to be shown up by GURU on their own albums or people were just hating. Probably a combination of the two, considering the industry-wide negativity directed at Solar during the last couple of years of GURU's life.

Here are some classic visuals to remind you of GURU's "mass appeal," which, contrary to popular belief, was due to a lot more than "mostly tha voice."

Mister Cee: The Gay DJ

Well, I'll be!

All this time we've been searching high and low for "the gay rapper" when we should have been looking for the gay DJ!

Or at least that's what I call it when you're being fellated by a member of the same sex, such as was the case last week with the world famous DJ Mister Cee, also known as Big Daddy Kane's DJ as well as the man largely credited with discovering and launching the career of The Notorious B.I.G.

Actually, his list of accomplishments is impressive and shows a life-long dedication to a genre in which he's been an active and pioneering participant since the so-called golden age.

All of which begs the question -- how will Hiphop as a whole react to this startling news?

So far he remains on the air with his popular daily Throwback at Noon show, but there are some notable absences among his few supporters, some of who seemingly agree with the far-fetched theory that Mister Cee is being set up by the NYPD.

But a review of Mister Cee's priors reveals an eerie pattern of soliciting sex, making his alibi almost unbelievable. Almost.

Now, the next question is... who cares? Aside from a severe lapse in judgment, I'm even surprised at myself when I say that I really don't care what this man did/does in his personal time.

I've never heard him say anything negative against gays, so I can't call him a hypocrite. In fact, come to think of it, I don't think I've ever really heard him speak too much at all, aside from with his hands. As a DJ, that is.

And that makes this all the more confusing, because if we as a Hiphop nation accept Mister Cee as a great DJ regardless of his sexual orientation and predilections, then why can we not accept other talented DJs and/or rappers as such? Because we know they exist. And if we don't accept them, won't that make us the same hypocrite that we so desperately want to label Mister Cee as?

I'm going to wait for more facts to come out (no pun), but at first glance the writing on the wall is quite legible and requires no further translation.

Kid Cudi Quits Weed, Says It's For 'Kids'

Kid Cudi today announced via his Tumblr account that he has stopped using marijuana, an ironic move considering he owes all his fame to marijuana, the very topic of his breakout debut single Day 'N' Nite.

Going even further, he alienated his fans who may not want to see him quit, saying that he knows "misery loves company," implying that all of his fans who smoke weed are doing so out of a certain dissatisfaction with themselves.

He goes on to say that "hell does have an exit, and I found it. For those who are looking for a way out, i left the door open, and ill be waiting for whoever wants to grow with me," suggesting that anybody who desires to continue [or start] using marijuana is stunting their own development.

Adding that "Im happy being sober. Im happy being a new me. Giva fuck who thinks of me different, you didnt care about me in the first place if you cant be proud and happy for me growing up and starting a new chapter," another blatant insinuation that being intoxicated in general is juvenile at best.

What Cudi forgot to mention is that he earned his nickname Mr. Rager because of the wild behavior he displayed during his cocaine binges, which in one case resulted in him being arrested after literally tearing an apartment door off its hinges. So of course he now disapproves of marijuana use -- it's not particularly advisable for a recovering cocaine addict to use any narcotic of any type, period, lest he or she wants to fall of the proverbial wagon.

I can understand Cudi wanting to get clean after enduring his drug-induced problems, but for him to make such sweeping generalizations about people who use marijuana (including but not limited to his loyal fans who have helped him remain popular) is probably nothing more than a regurgitation of what his drug counselors told him at rehab, which is what I'm guessing prompted him to end his drug use.

But really the bigger question is that if Cudi now frowns upon smoking weed, will he still perform Day 'N' Nite -- his biggest hit to date -- at his concerts? If so, will he come off as a hypocrite? If not, will he maintain his loyal fanbase, some of whom buy concert tickets specifically to hear him perform that song?

Really, what is the point in publicly announcing that he will no longer be smoking weed? Why not just make that change in private? Or better yet, why not be creative and make a song about it?

Instead Cudi went the dangerous route of condemning all drug use, setting himself up for a very public relapse, not to mention this crazy PR move will probably not be met with open arms from the same Hiphop community that helped him maintain a high-ranking presence on the Billboard charts.

Part of Cudi's allure was that he was an unabashed, drug-using rebel. It will be interesting to see the transformation that his image undergoes for his next album since he can no longer rely on his bread and butter -- making songs about drug use.

Hiphop Remains Mostly Mum on Japan Tsunami

With such an exorbitant amount of revenue being generated from Hiphop music, and especially with rappers now earning more than they ever have, I find it pretty surprising that Hiphoppers as a group haven't done more to come to Japan's aid in the wake of this month's tsunami.

Apparently Linkin Park has a new song available for download with proceeds going to a relief fund, but what about real and actual rappers? Where are they during this time of need?

Let's start with Pharrell, who has made a ton of money with the help of Japanese designer and musician Nigo and his rap group the Teriyaki Boyz, even going so far as to open a clothing store in Tokyo (full of attire designed by Nigo) before helping Nigo open up his own stores in New York City and Los Angeles (now closed) for his Bape/Bathing Ape brand.

To date, the most Pharrell has done is issue through one of his Web sites a brief statement that lets readers know he is "devastated" before wishing Japan the best of luck, or "God's speed," as he put it. That's a pretty weak move considering all the money his clothing lines -- designed by Nigo -- have made from Japanese support.

Not to be outdone, 50 Cent tweeted some insensitive jokes in the hours after news broke about the tsunami before begrudgingly apologizing. However, Vitamin Water money notwithstanding, 50 has yet to make a donation that is not in the form of cruel humor.

Ironically, Nicki Minaj (who calls herself the Harajuku Barbie, a reference to the Tokyo neighborhood of the same name known for its outrageous and colorful style and fashion) is participating in a digital album being released by Universal Music Group to raise funds for the victims of the tsunami. While Universal is home to a long list of rappers, none besides Nicki have been confirmed for the album.

Pete Rock and DJ Premier were just touring Japan this past summer, and DJ Spinna regularly deejays there, but still there has been no indication that any of the turntablists/producers are doing anything to give back to the country that supports them by inviting them to perform.

It is possible that the above mentioned artists (and more) have indeed done more than talk about it, but it would be nice to confirm that the Hiphop artists who we have all helped get filthy rich do indeed care about their Japanese fans enough to make a sizeable donation for earthquake/tsunami relief and aid.

Sandra Bullock gave a full million dollars, which obviously goes above and beyond the call of duty, but it also shows that these donations (which are tax write-offs, another incentive for the wealthy) are but a small percentage of these celebrities’ wealth.

It’s’ only natural that a number of Asian celebrities are doing their part.

Lady Gaga has gone the creative route, designing bracelets and selling them on her Web site to raise money for the victims, already tallying $1.5 million.

Ne-Yo performed in Japan after the tsunami hit, meeting with fans. While it is assumed the concert proceeds went to support the victims, all Ne-Yo said for sure that he was doing was spreading love through music, which is still admirable because at the very least it helps keep the spirits up of those who were in attendance.

Hell, teenager Demi Lovato (who I know for sure has less money than Dr. Dre, Eminem and Jay-Z – who, coincidentally,have all done nothing to help) has given $1 million.

Speaking of Jiggaman -- also known as the man who once rapped “I put dollars on mine, ask Columbine, when the twin towers fell I was the first in line” -- he has been conspicuously absent from the conversation of what celebrities have done in the wake of this disaster.

Jay-Z, the man who Forbes magazine last August crowned as “Hip-Hop’s Cash King,” earned $63 million in the previous 12 months. Yet, Jay still has yet to make any type of donation to Japan.

Diddy, who is arguably the most financially secure of all Hiphop-related artists, at least took to Twitter to express himself and his concerns for Japan, imploring his fans and followers to send text messages to the Red Cross, which will help generate funds for relief.

But Jay, who isn’t on Twitter, didn’t even issue a statement or anything that would lead us to believe he has an ounce of concern for the tsunami victims.

NaS is experiencing some financial hardships right now, so I will give him a pass for not helping. But again, a simple statement or open letter to a media outlet could inspire his fans to do something. You wonder why more influential, popular rappers don’t do the same.

These are but a small sampling of rappers and Hiphoppers who could and should be doing more to support our fellow humans during this time of hardship. We say 911 is a joke but then we turn around and don’t do anything to help expedite emergency aid to those who are in immediate need it help. Ironic, to say the least.

Japan has been doing for years now more for Hiphop than most Americans do for it, helping to keep all four elements alive through still actively practicing deejaying with vinyl and breakdancing/b-boying. We already know that Japan has always been on the forefront when it comes to art and specifically their genre of Anime, but they are active participants in the graffiti culture, as well, a phenomenon that isn’t as celebrated as the other three elements.

Considering all the Japanese people have done to help keep Hiphop alive, it’s ironic that we Hiphoppers aren’t doing more to help keep the Japanese alive. Literally.

Japan's faithfulness to Hiphop culture has never been questioned. It's a shame the opposite isn't also true and the favor is not being returned.

Jim Jones + Rae and Ghost = Confusion

The curious case of Jim Jones being featured on Raekwon's as well as Ghostface's latest albums has left most if not all Wu-Tang fans dumbfounded, bewildered and stunned.

There is an overwhelming feeling that the inclusion of the Capo was not only unnecessary, but also a waste of precious space that should be reserved for only the most skilled of rappers -- something that Jim Jones falls well south of -- like Black Thought, who is also featured on both albums.

On Ghost's new album, the song with Jim Jones is something of a Ja Rule club track gone wrong (which is redundant, making it doubly worse), a sound and style that obviously has no business being on a Ghostface album. I always figured that if Ghost wanted us in the club he'd give us certified hits like Cherchez La Ghost, not this piece of wannabe pop fluff:

Handcuffin’ Them Hoes (feat. Jim Jones)


Not to be outdone, Raekwon has a song with Jim on his own album, but a recent performance on Jimmy Fallon sans Jim ironically shows that Jim's inclusion wasn't at all needed for the track as it is performed without a hitch.

My question is: when did this peculiar association between Jim Jones and Raekwon and Ghostface materialize? On what basis does Jim get to be featured on their albums, thus ruining the listening experience for die hard fans of both artists?

Hell, both albums are saturated with guest appearances anyway, why vex listeners even more with a studio gangster who used to rock a perm? But I digress...

A bit of research uncovered a video of Raekwon expressing his admiration for Jim, so I can only guess that the inclusion of Jim on Shaolin vs. Wu-Tang was borne out of that same esteem.

But Rae is coming off his most successful project since his debut in 16 years ago. Certainly his fans gave Rae no indication that they wanted to hear him on a song with Jim Jones. Jim -- who's recent attempt at getting attention by way of a convenient car crash failed miserably -- hasn't seen success in more than a few years.

Suffice to say, I'm confused and just slightly disappointed.

Remembering Biggie 14 Years Later

R.I.P. Christopher George Latore Wallace, May 27, 1972 - March 9, 1997

Things done changed.

And that’s an understatement considering the current landscape of Hiphop and rap music, what with all the emphasis being placed on Hip-Pop and em-singing instead of emceeing from rappers who are true to and respect Hiphop culture.

But through it all one voice has particularly remained consistent, reciting insightful rhymes that to this day still hold cultural value, meaning and relevance.

A voice that surprisingly still resonates with the finicky taste of Hiphop heads who routinely shun anything if it isn’t brand spanking new.

Despite the fact that most if not all the rhymes that we still hear from the Notorious B.I.G. are recycled [again and again] from his lone two studio albums that he recorded in life, he remains a top contender for the coveted title of greatest rapper of all time.

That is an amazing feat when you take into account the mass influx of quality [and not-so-quality] rappers that have paraded in and out of the industry (including the rappers he helped put on) since BIG’s passing 14 years ago on this day, March 9, 1997.

I was finishing up my senior year in college when I heard the news, which, since there was no Internet back then, was at first tough to confirm. No one wanted to believe that BIG was dead.

And more than a decade later it seems the same remains true.

With a successful biopic and countless rappers imitating BIG or shouting out BIG or sampling BIG lyrics (or even stealing Biggie’s lines), it is obvious he still remains a lyrical force to be reckoned with.

The only time I got to see BIG perform live was back in the mid 90s at a bowling alley-turned nightclub on Victory Boulevard in Portsmouth, Virginia. He had his snap cap, bright-colored shirt and Versace shades complete with a cane for the regal effect that he favored. He delivered his rhymes perfectly on stage with no hint of a lack of breath control (a true feat for a man of his size and weight) before gunshots rang out and the crowd hit the floor, scurrying to exit the building alive.

BIG survived that shootout before ultimately meeting his fate in another, but the memory of his lyrical mastery lives on well beyond those two incidents.

Below are a couple of my favorite Biggie moments. Enjoy.

A Portrait of the Rapper as an Author

Hiphop has become decidedly more literary as of late with a slew of rappers stepping away from the mic in favor of whetting their book writing skills on their way to becoming published authors.

It wasn't surprising when we all learned over a decade ago that Chuck D was going to write a book. He kicked knowledge on wax [and on TV] so why not on paper too?

Likewise, no one really raised an eyebrow even when a more mainstream artist like LL Cool J released his autobiography.

But nowadays the most unlikely of rappers are beginning to concentrate more and more on the literary side of their trade.

This includes and especially refers to Prodigy of Mobb Deep, who is currently incarcerated but has obviously made good time of his sentence by first landing a book deal and then penning his life story.

Not to be out done, though, is veteran rapper Buckshot of the legendary 90s group Black Moon, who just yesterday released a guide for how to navigate in the rap music and entertainment industries.

These tomes all come on the heels of Jay-Z's highly publicized and equally successful book that documents and breaks down a nice selection of his lyrics, succeeding where Yale University failed at attempting to explicate a wider range of Hiphop lyrics in general.

Considering how many rappers abuse the English language in their everyday speech, the casual observer cannot be faulted for incorrectly assuming that rappers -- if they know how to write at all -- would probably produce trashy street lit, adding insult to an already injurious literary genre.

But this past summer Styles P brought an innovative conception to life by independently publishing a novel that he wrote and simultaneously releasing an accompanying soundtrack of music inspired by the novel.

Rappers -- many of whom in the past few years appear to be uninspired and fading from relevancy quickly -- who are talented enough to conceive and write novels and/or other literary contributions should take a hint from Styles and work on their own version of that book-CD package that can not only possibly revitalize CD sales but also encourage the Hiphop community to actually pick up a book and read something other than the daily Lottery numbers.

Seeing the current financial woes being suffered by Nas, now is the time for him to branch out and write that novel he has long talked about wanting to publish. Not to mention he could exact some type of revenge against his the mother of his daughter/author of a recent tell-all book that used Nas's name to make herself a profit.

If C-Murder can write a book, Nas should have no problem.

But leave it to 50 Cent to pull his trump card, bypassing the role of aspiring author and starting his own publishing company that, according to Wiki, has 11 titles to its credit, including and culminating with 50's own top-selling book being published in 2009 on the G-Unit Books imprint.

Some rappers have even been asked to write a foreword for books, an honor usually reserved for more academically-inclined individuals.

2Pac's legacy was further tarnished and abused by one of the many posthumous exploitations of the rapper. This time it was in the form of a book of poems that many accomplished poets spoke highly of.

Of course there are always the lazy rappers who, ruining it for other potential rapper-authors, gladly and readily accept hefty book advances only to never even think about writing a rough draft, let alone single chapter for the books they were contracted to write.

Malice of Virginia rap duo the Clipse has been readying and steadily building anticipation for his novel with an innovative marketing technique of sporadically released online video vignettes that feature random excerpts.

Other improbable but noteworthy rappers-turned authors include:

• Ma$e
• KRS
• Ice-T (who ironically inspired a future Hiphop-related author to write her own series of books...)
  
• Lil' Troy (who apparently penned this guide to success in the Hiphop industry, an ironic opus considering his last [and only] taste of success in rap was over a decade ago.)
• RZA (two books)
  
• Ghostface
• Sister Souljah

Not bad for a group of mostly high school dropouts.

Let me know if I missed anybody.

Let the Horns Blow

In years past the use of horns on a hiphop track (either sampled or live) was the recipe for instant success, but over the past decade or so the soundscape to our treasured music form has been noticeably absent of those trusty trumpets and saxophones that were omnipresent in the 80s and much of the 90s.

From Public Enemy's signature wailing, looped high-pitched horns found on classics such as Don't Believe the Hype and Rebel Without a Pause to Big Daddy Kane's more subtle brass sounds on Smooth Operator and Young Gifted and Black, you couldn't find an album without at least a few songs that prominently featured horns.

But now, what was once the calling card of Pete Rock, the Beatnuts and Large Professor (and others) has now become a lost art.

Instead, the horns were seemingly replaced by hard drums (not necessarily a bad thing) as well as synths, which admirably simulate horns but unfortunately lack the desired effect created in the past. The result was, ironically, and still is, the music being popularized beyond belief while at the same time losing much of its authenticity and so-called “realness” on which the music was originally based.

But certain producers have seemingly made a recent effort to bring back the horns in a major way, showcasing how the addition of one or more brass instruments can significantly liven up any song while simultaneously paying homage to their predecessors, thus revitalizing the soundtrack to my formative years. It’s refreshing.

We’re not quite back in mid-90s mode, but with the below showings from the past few years, it seems the hiphop horn is making a serious comeback.

Significant recent contributions have come from unexpected sources, Young Buck and Lil' Wayne, as well as from the usual suspects like Freddie Foxxx and 9th Wonder.

None of these songs are popular by any means, but the vast range of styles each rapper has shows no one is immune to the magic horns create on a good, solid hiphop track. Hell, even Sheek Louch got in on the fun on his recent mixtape with his reworking of the Jungle Brothers 20-year-old classic The Promo.

Hopefully this is a sign of things to come and producers are bringing it back to the essence, as music has always been a cyclical art.

Here are but a few examples of what the game’s been missing, in no particular order:

Digable Planets - Rebirth of Slick
Uploaded by oublierleracismeskyblog. - Music videos, artist interviews, concerts and more.

Honorable mention:

Surprisingly much of the material from many of the game’s more celebrated producers -- Dilla and Dr. Dre immediately come to mind -- is absent of horns.

I know I forgot plenty of examples.

What are your favorite hiphop songs -- new or old -- that feature live or sampled horns?