Saturday, July 3, 2010

Hip Hop vs Civil Rights


We never said we had a perfect city, we never said we didn't have problems," said Newark New Jersey Mayor Sharpe James as he addressed his supporters at the Service Employees International Union, Newark. "But we've certainly come a long way."

James had just come from voting for himself in a contentious election for Mayor of Newark, in which federal poll observers had to be called in to monitor the race. James beat his opponent, freshmen Newark Councilman Cory Booker, 56 to 43 percent, in a heated campaign that spotlighted the generation divide within the black community and how this divide will become a prevalent issue within the African American community for years to come.

This could be seen in the make-up of the two candidates. Booker, a 33-year-old highly educated Ivy League black politician? an upstart "New Democrat," and James a 66-year-old Newark civil rights pioneer. While Booker had just moved to the Newark area 6 years before, James has been a Newark resident all of his life.

Booker advocated the use of school vouchers to get black students out of failing schools, decried government corruption and leading up into the campaign, he had made headlines for himself by holding a hunger strike outside a drug-infested housing project, and living in a trailer in front of some of the Newarks worst neighborhoods, to draw attention to the crime in the areas.

James, a long time political player in New Jersey politics, was one of the first black councilmen in Newark. During the campaign, he talked about the progress he helped to usher in as Newarks mayor. He took credit for a 50 percent drop in crime in the city, and the re-development taking place in Newark. Various Downtown businesses such as Prudential, Blue Cross, the New Jersey Performing Arts Center and a minor baseball stadium in recent years. .

While both James and Booker are Democrats, the friction on the political campaign between the two, is a good example of the divide taking place between the civil rights generation and the hip-hop generation. "The black generation gap is a divide that is as vast as the one that separated white America in the 1960s, as radical white youth culture broke from the mainstream and swept across the country," said Bakari Kitwana, author of 'The Hip-Hop Generation: Crisis in African-American Culture'.

On the campaign trail, James called Booker an interloper and he questioned his black authenticity. "You have to learn to be an African-American, and we don't have time to train you all night," said James of Booker.

James also brought out two stalwarts of the civil rights movement, the Reverend Jesse Jackson who called Booker a "wolf in sheeps clothing" and the Reverend Al Sharpton, to campaign for him. This helped to bring out older blacks to vote against the young upstart.

Booker had Spike Lee campaign for him, calling him the "right thing." He also talked about change and bringing efficiency to Newark government so everyone can benefit from the development and changes Newark was experiencing. He made a further drop in crime, more investment dollars into Newark, and a change in the educational system as his main campaign goals.

While Booker downplayed James comments on his authenticity, the comments point to the resentment some older blacks feel towards younger blacks. This gap can be found in continuing disputes over rap lyrics (dismissed as "obscenity" by many older blacks) and the casual use of the "N-word" as a term of endearment by many younger blacks.

It also can increasingly be seen politically. According to a recent study by the Joint Center for Political and Economic Studies found that younger blacks (ages 18 to 25) were six times (24 percent versus 4 percent) more likely than those ages 51 to 64 to say that the lack of good candidates is a reason not to vote. On issues such as on school vouchers, blacks under 50 are much more likely to support school vouchers than blacks over 50.

At 33 million, blacks make up about 12 percent of the U.S. population, and of that number, 18 million are under the age of 30. This group, often called the "hip-hop generation," is much more politically independent than their black elders who went through the civil rights movement.

While this challenge of the status quo was apparent in the Newark mayoral race, its also taken place in other cities. This could be seen in the November 2001 Detroit mayoral race between 31-year-old state Sen. Kwame Kilpatrick and 69-year-old Detroit City Council member Gil Hill. During that race, Hill made an issue of Kilpatrick's age, saying voters should choose "an experienced driver at the wheel, not someone with a learner's permit." While Booker lost to James the seasoned politician, Kilpatrick won in his race against Hill, as voters expressed change. As Black America changes, blacks from the hip-hop generation will want to lead cities, organizations and corporations and there ambition may come at the expense of blacks from the older generation. While this may be inevitable, if the black community is to succeed, the young will need wisdom and guidance of the older generation.

To make that happen, both sides of the gap must mend fences, acknowledge there past errors and foster dialogue between the generations. Hopefully, James and Booker can do this one-day.

Drake Cancels European Tour Due To Family Emergency


Rapper Drake has been forced to cancel the European leg of his Home Away From Home Tour due to a family emergency.

The situation involved his mother, who needed surgery and the cancellations could not be avoided, according to the rapper.

"Despite my best hopes, it is apparent that my mother will need surgery earlier than anticipated. In light of this news, I have made the difficult decision to cancel my European tour in order to support her during her recovery, just as she supported me through the years,” Drake said in a statement. “I cannot thank my European fans enough and look forward to performing abroad soon. I ask everyone to please respect my family's privacy during this time."

Drake has canceled a total of 10 dates on the European run of the Home Away From Home Tour, which was supposed to start tomorrow (July 2nd) in Norway.

Shows in Paris, Amsterdam and London are already being scheduled for November 2010, where tickets will be honored for the rescheduled date.

Drake will hit the road again on July 16th, when he resume’s the Home Away From Home Tour at Ottawa Bluesfest.

Canadian dates are listed below:

7/16 Ottawa, ON @ Cisco Ottawa Bluesfest 2010
7/17 St. John’s, NB @ Harbour Station
7/18 Montreal, @ Metropolis
7/21 Winnipeg @ Centennial Hall
7/23 Saskatoon, SK@ Credit Union Centre
7/24 Edmonton @ Edmonton Events Centre
7/25 Calgary, AB @ The Big 4
7/27 Vancouver @ Centre For Performing Arts
8/01 OVO Festival @ Molson Amphitheatre

Sighs The World Is Coming To An End: A 50 Year Oil Spill?


SIGNS THE WORLD IS COMING TO AN END

We are all collectively making a big deal over the BP Oil Travesty AND WE SHOULD! But, one of my favorite readers hit me with THIS! The New York Times recently did a story on an oil leak/spill that has been going on in Africa for the last 50 YEARS. Do you hear me? Let me spell it out – FIFTY YEARS! This is crazy and the culprit is SHELL oil company (Royal Dutch Shell)

Here are some excerpts from the story.

BODO, Nigeria — Big oil spills are no longer news in this vast, tropical land. The Niger Delta, where the wealth underground is out of all proportion with the poverty on the surface, has endured the equivalent of the Exxon Valdez spill every year for 50 years by some estimates. The oil pours out nearly every week, and some swamps are long since lifeless.

The oil spews from rusted and aging pipes, unchecked by what analysts say is ineffectual or collusive regulation, and abetted by deficient maintenance and sabotage. In the face of this black tide is an infrequent protest — soldiers guarding an Exxon Mobil site beat women who were demonstrating last month, according to witnesses — but mostly resentful resignation.

Small children swim in the polluted estuary here, fishermen take their skiffs out ever farther — “There’s nothing we can catch here,” said Pius Doron, perched anxiously over his boat — and market women trudge through oily streams. “There is Shell oil on my body,” said Hannah Baage, emerging from Gio Creek with a machete to cut the cassava stalks balanced on her head.

Here is the full article.

http://www.nytimes.com/2010/06/17/world/africa/17nigeria.html?src=mv

WHAT I HAVE TO SAY…

What is going on? I mean, seriously. First of all, I had not a clue that this thing even existed so kudos to the NY Times for even writing this powerful piece of journalism. But, on the flip side, it goes to show you that people don’t really care about those people in Africa. Not the media, anyway. Only when it affects us does it matter.

Jay-Z, Russian Billionaire and NJ Nets Make Bid On LeBron James


Mogul Jay-Z, the Nets billionaire owner Mikhail Prokhorov, and coach Avery Johnson all made a presentation and pitch to LeBron James to woo the basketball sensation to the New Jersey Nets.

The trio, along with several other team officials, made a 90-minute pitch to the two-time NBA MVP. James officially became a free agent at 12:01 today.

The Associated Press offered a detailed account of the meeting, but reports have sprouted in various media outlets.

"Prokhorov left with a few members of the Nets' entourage at 12:43 p.m. Lagging a few minutes behind them was Jay-Z a close friend of James, who was sitting in the back seat of a black sedan leaving the garage as the Knicks' motorcade - 2 sedans and 2 SUVs - pulled in," the AP wrote.

Sources with AllHipHop.com revealed that Jay-Z may have had a private, albeit brief, meeting with James. Avery Johnson reportedly stated the meeting "went well."

The sentiment echoed the New York Knicks views of their meeting right after the Nets.

"I think it went well,'' New York coach Mike D'Antoni told The Associated Press. "But obviously everyone that gets the chance to talk to him will probably say same the same thing."

James is expected to meet with the Miami Heat and the Los Angeles Clippers tomorrow.

Friday, July 2, 2010

Internet Killed The Mixtape Star


September, 2007, the Hip Hop world was rocked when a 17 year-old Georgia native named DeAndre Cortez Way, better known as Soulja Boy Tell'em watched his single “Crank That” (Soulja Boy) topped Billboard’s Hot 100 charts.

The then 16 year-old dropped a song that displayed little in the way of rhyme skill, with a maddeningly minimalistic beat. The same could be said for the dance craze it started. The result? Digital sales of 4,213,918 downloads, and 77,166,210 YouTube views. Instant fame for the teenage rookie, who joined 50 Cent, Eminem and The Game as Interscope Records' then-flagship stars. And still the biggest "southern ringtone hit" to date.

But that wasn’t the amazing part of Soulja Boy’s story.

What was crazy was how the guy got on. He didn’t drop off a CD to anyone. He wasn’t spotted in a talent show. He wasn’t an established artist's protege. He didn’t even drop a few bars in a chance, fairy tale encounter with a record executive in an elevator.

Soulja Boy was discovered on MySpace.Yup. MySpace. The site that everybody from 2005 to 2008 used for hook-ups and to pose with cars they didn't own, sunglasses on, and theme music they felt described them. Mr. Collipark, the southern veteran producer who was behind the Ying Yang Twins’ biggest songs, listened to Soulja Boy’s music, saw his "hit" potential, and from there arranged a meeting with his Atlanta neighbor. And the rest was history.

Well, history in the making. Because the MySpace star-making machine didn’t stop there. If you listen to Top 40 Radio, you have to know who Sean Kingston is. The young, portly said-to-be-teen also made music on his MySpace page. He was also an aspiring rapper (he does rap, although his biggest hits are his “singing” compositions.) And he also was discovered by a record producer. J.R. Rotem, the head of the label/production team Beluga Heights, signed Kingston to a deal, distributed by Epic/Koch. Kingston then dropped the single “Beautiful Girls” in 2007 (the same summer season that “Crank That” dropped).

In case you thought MySpace was the only place that Hip Hop dreams were made of (because you certainly can’t use it for hook-ups anymore), YouTube is a platform for young hopeful emcees as well. This past spring, Ohio native Jola posted a self made video for his single, “She Say.” The catchy, Journey-sampled song caught the eye of none other than Jermain Dupri. After watching and loving the song and video, he contacted Jola, flew him to Atlanta, and then signed the young spitter to his So So Def label.

What’s the point of telling these stories? The point is that new mixtape is….the Internet. If you want to get on, those physical CDs that you pressed up? You may want to invest in a wi-fi carrier and a flip-cam instead. The days of the showcase, the hand-to-hand CD hustle, the demo, even spitting on a radio show are numbered. For up and coming emcees, a digital camera and a username is the way to possible stardom, provided you have the traffic.

Looking at the state of the music industry, it’s easy to see why label execs are looking to the ‘net to find new acts. In the last few years, whole departments at imprints were gutted. So that means there just aren’t enough people at the labels to scout the country for talent. That’s one of the reasons A&R’s depend on BDS numbers to sign acts these days.

But, the Internet is a big help to industry heads because…it’s easy. It’s easier for A&R’s to get on the’ net and find an artist. You can log into MySpace and see craploads of unsigned rappers and producers. Now, the hits each MySpace page gets (and the song plays) are a huge part of the MySpace equation. The hits equal buzz, and some skewed equation for potential buyers. The artists on MySpace do have to market themselves. They just cant put songs on their page and hope that somebody just stumbles across them. But, if an artist, producer, or deejay has a strong marketing game and great songs, MySpace can be an awesome way to be heard. And, for music industry folk, they can do searches for rappers city by city, state by state. If you’re looking for the next new sound, why not search for rappers and producers in Arizona?

Even though MySpace has it’s share of success stories, YouTube is starting to be the place for new talent. Since digital cameras are relatively cheap, it’s way easier for an unsigned act to make their own low budget video. (And, most artist budgets at a major label are no longer able to include Hype Williams for a $900,000 video shoot. Those days went the ways of shiny suits.)

Once indie stars such as Curren$y and Wiz Khalifa built massive followings via their YouTube videos. Wiz had a contract with Warner Brothers, left it, and then kept his buzz building through touring and self-made videos, song leaks and spot dates. Look him up on YouTube, then look at his video for his album release party in his hometown of Pittsburgh, Pennsylvania. The line outside of the venue looks like the line to opening night of Avatar. Curren$y also steadily built his buzz with a number of YouTube videos before recently singing to Def Jam. The former Young Money artist, plus the Taylor Gang leader, prove that Internet presence can do more for you than a major label - even or 2006-era Lil Wayne's cosign.

The pinnacle of YouTube success may come courtesy of the previously mentioned Jola incident. Jola was a rapper based out of Dayton-area Ohio who was pretty much unknown. He released the the self made video to his single, “She Say,” and garnered a fair amount of views. Some of his contacts he made in the industry while trying to get on knew Jermaine Dupri. Dupri was tipped off to Jola’s video, saw it, and flipped. He had to sign Jola, and he did. Did a connection help Jola? Certainly. But, Dupri saw Jola in the video. And he saw his star potential. That’s very important in today’s digital landscape. Star making visuals.

Even the hand-to-hand mixtape game has changed. In the past, rappers, deejays, and producers would hand out pressed up CDs to music industry execs in the hopes of getting heard. Now, most disscussions/converstaions are done via e-mail or text message. And if an artist wants to send some music, all he/she has to do is send the industry rep a YouTube or MySpace URL. It’s that easy now. The days of handing out pressed up CDs is all but over. (At least you don’t have to come out of a club with four or five CDs on your windshield anymore).

The explosion of “Tech-Hop” isn’t without it’s problems. Every Rap music media member has had loads of e-mails from rappers peddling their new digital mixtapes. And only a few of them are ever listened to, and even fewer are any good. Ditto with YouYube vids. Some are entertaining and fun. Others, shoddy and sloppy and pointless to the visual medium. Even on MySpace, some beginning rappers clearly need work on their craft before they post their songs online. And, an just because a kid kills on the ’net, doesn’t necessarily mean he’ll do damage on the radio.

All in all, we live in a world where the biggest label head may well be Steve Jobs. Nobody is pimping the game like iTunes. At this point, the least an artist can do is get on a webpage or some digital platform and post their music or videos. After all, in Hip Hop, the game is either to keep up with the Joneses or speed right past them, but never to get behind the times. Ayo technology.

Big Boi - Sir Lucious Left Foot: Son Of Chico Dusty

It’s hard to find an artist in any genre of music who has been in the game for 16 years and has sold over 15 million albums being doubted. But in some respects, that was the position Outkast's Big Boi found himself in during 2009, when plans to release his solo album stalled for the second consecutive year. Andre and Big Boi combined track record speaks for itself. But if you subtract Speakerboxxx/The Love Below from the equation, Big Boi and André's respective solo resumés only consist of a handful of acting roles, a few compilations and the polarizingsoundtrack.

In the seven years since Speakerboxxx/The Love Below dropped and subsequently sold over
11 million copies, the two men who some claim have become Hip Hop’s greatest duo have sold pitbulls, clothes and a few movie tickets—almost everything except for another proper Outkast album.

We likely won’t see another group offering until 2011, but Big Boi gladly picks up where Speakerboxxx left off, vacillating between a shit-talking B-boy, social commentary spitting vet and a ladies man with a wandering eye. Tracks such as “Turns Me On” and "Tangerine" could easily have been substituted for 2003’s “The Way You Move,” which is certainly not a bad thing. The Dungeon Family’s trademark, thick 808-driven basslines are complemented by live instrumentation and vocalists who accent the songs without pandering to Top 40 radio, showing that Big Boi has managed to pull of the difficult task of finding a winning formula without becoming formulaic.

Obviously aware of his legacy and still more than willing to compete and collaborate with his peers, Big avoids the pitfall so many emcees fall into of compartmentalizing any of the album’s topics into one song. With 2008’s " Somethin's gotta give" essentially serving as a mulligan, there’s no one “club song” or heavy-handed “this is me being socially conscious” offering. On "Follow us" he runs the gamut of all the album’s topics in less than eight bars, saying, “I know some of y’all done wrote a nigga off/ Like the leases on these cars and these homes you think is bought / Stay then / With so many bosses why are they still layin’ niggas off their job / Nigga for real / Go on give a nigga a gig then / Help a brother get up out this pigpen / But nobody wants to keep it pimpin’ or a hundred and ten / So with this pen / I illustrate from within...”

Aside from showcasing his underrated, nimble flow, Sir Lucious Leftfoot’s best quality is the way in which guests are seamlessly added in without overshadowing Big Boi. Hearing the underrated half of Outkast next to newcomers like B.o.B and Yelawolf is a reminder of his ear for finding emerging talent. After all, Big Boi has been instrumental in the careers of artists like killer Mike, Janelle Monae, Slimm Calhoun and Vonnegutt. While a glance at the liner notes will tell you all but three tracks have guest features, the reality is that Big more or less holds things down himself on half of the album by relegating guests to choruses.


Given his success at melding the modern Rap aesthetic with the blueprint laid by the O.G.’s such as Too Short and 2 live crew he namechecks, Sir Lucious Leftfoot is essentially a successful exercise in contradiction. He does everything the unimaginative rappers he takes to task do—making songs about chasing ass, custom ringtones (“Theme Song”) and even has the much-maligned Gucci Mane on his album (“Shine Blockas”). The difference is that Big Boi sounds great by putting a new spin on all of the above, so why nitpick? This time around listeners can judge Big Boi without juxtaposing his album right next to Andre 3000’s. It’s the audio equivalent of seeing Scottie Pippen thrive in the triangle offense while Michael Jordan was chasing flyballs in the minor leagues and realizing just how good Pip was on his own. Big Boi flying solo isn’t as good as an Outkast album, but it serves as a great appetizer until the next one comes along. Moreover, when 2011 arrives, we’ll likely look back at this as one of the year’s best offerings.

Eminem Lands Massive First Week Sales, #1 On Three Charts


Eminem’s sixth album Recovery sold over 741,000 copies in its opening week, giving the rapper the best selling album since 2008.

According to Billboard, Recovery is Eminem’s sixth straight #1 album putting the rapper second to Jay-Z for the most chart-toppers.

Recovery is the follow-up to Eminem’s 2009 album Relapse, which moved 608,000 copies during its first week on the shelves.

On the digital side, Recovery proved to be a big seller as well.

The album moved another 255,000 copies, given it the second biggest opening week in digital sales history, with Coldplay’s Viva La Vida or Death And All His Friends, which debuted with 288,000 downloads in 2008.

Eminem’s single “Love the Way You Lie” with Rihanna is also sitting at #1 on the Digital Songs charts this week, after selling 338,000 downloads of the song.

Recovery is also the #1 album in the United Kingdom, after selling over 140,000 copies last week.