The hip-hop world suffered a major loss this past week with the death of one of it’s earliest pioneers, who is arguably the most responsible for the spread of rap music. On Friday, October 2^nd, John Rivas, aka Mr. Magic, died of a heart attack in Brooklyn, New York at the age of 53.  Continue Reading

When was the last time you heard a Redman song on the radio?? Have you seen any Talib Kweli videos lately?? Ever heard Crooked I over the airwaves??

Yeah. Me neither.

And therein lays the problem with the current state of Hip-Hop music.  Somewhere, a few years back, the lines between supply and demand became crossed. The “powers that be,” and in turn the big money machine, now dictate what songs we hear over the airwaves and which music videos we see on television. In plain English, payola is not dead. Far from it. The big record labels have the money and the PR machine to push their artists. They pay for radio spins, to have videos aired, and for DJ’s to play their artists in clubs. Even worse, the major labels are only doing this for a handful of artists, while the majority stand by the wayside, hoping to get that big push at some point in their careers.

If you’re an artist on a smaller, indie, label good luck. At one time, just a few years ago, there were several rappers who had success going this route. However, the recent downturn in record sales overall, coupled with the larger labels tactics to stifle labels with less financial backing, has dried the well of success for most of these artists. Koch, the biggest indie label, which now goes under the moniker of E1, is facing financial hardship. The inability to expose their artists’ latest music to the public makes it virtually impossible for them to sell units. Thus, Cinderella is now being shut out from the ball.

So where does that leave the state of Hip-Hop??

Today’s Hip-Hop aficionado is not afforded the plethora of choices that were once available. Unfortunately, he or she is force-fed the same 9 songs on the radio (How repetitive does that get on a daily basis??), only to turn on the television and have the same 5 videos on the countdown for 2 months.  Barring access to the internet, the average fan would never have the opportunity to hear new music from a debuting artist or from a veteran they have enjoyed listening to for years. As a result of the lack of variety, Hip-Hop has reached a stalemate. Feeling pigeon-holed, many artists conform to the present trends in an attempt to keep their careers afloat, creating carbon copy music, causing further detriment to the genre.

I remember the “Golden Years” of Hip-Hop, where all types of rap music were available. I remember a time when A Tribe Called Quest, The Alkaholiks, and NWA may have all headlined the same tour. As a result, fans had a wide array of music in their coffers, whether it was the latest Compton’s Most Wanted album or one from X-Clan. If a song had a radio edit, there was a high probability of it being played on some radio station’s rap show. Ironically, the array of rap music receiving airplay was greater when stations were actually playing less of it. Go figure. It was during this era that Hip-Hop from all regions of the country was being played simultaneously. In the span of a one-hour rap program, you may have viewed videos from Too Short, Tupac, KRS-One, MC Lyte, NWA, The Geto Boys, MC Breed, EST, and The Too Live Crew. You may have also owned rap albums ranging from gangster to socially conscious. In fact, gangster rappers often made or collaborated on songs that were of a socially conscious nature. It is without coincidence that the Hip-Hop music of this time was also more authentic.

Presently, the south is on top of the food chain, partly because their music appeals to a wide range of fans. An artist from the Midwest, like Nelly for instance, has a heavy fan base in states such as Florida, the Carolinas, Alabama, Kansas, Texas, and Tennessee, his “country grammar” appeals to a much larger constituency than the earlier stars in Hip-Hop that commonly hailed from either New York or California, and whose music was seen as more secular or geared towards fans from metropolitan areas. Artists, like Nelly and David Banner, appeal to the masses that have never been on a subway. The Hip-Hop fan is not totally devoid of fault in this debacle.  Unlike the coastal listener, these southern rap fans are supporting their artists wholeheartedly. Seeing this outpouring of support, the major labels have resorted to saturating the market to meet the demand. As always, the bottom line is money talks.

Knowing such, the Hip-Hop fan must force the supplier to cater to the demand. We cannot sit idly by, like sheep, and allow the music we have loved over the years to be spoon-fed to us. If the radio is not playing what you want to hear, call in and make requests. If those requests are not honored, switch radio stations. The same goes for the music video shows. If their top ten is not your top ten, by all means, watch another program. If the “suits” will only pay attention to the bottom line, then that’s what must be affected. In addition, the artists on smaller labels must be supported by, us, the consumers in order to make the hierarchy take notice and promote a wider selection of talent. Do not be afraid to request artists that rarely receive air time. If we, the true Hip-Hop fan, create the demand they will have no other option but to supply the product. After all, fans should create stars for labels. Labels shouldn’t create stars for fans.

The fabric of hip hop is one which was woven from the urban culture of inner city New York. It encompasses all of the characteristics of the gritty streets from which it evolved. Thus it should come as no surprise to hear about some rapper getting tangled up in legal woes of the criminal variety. But should we expect more from these artists that so many fans, young and old alike, have come to idolize? Or could it be that the criminal record is, in actuality, the 6^th element of hip hop?

Let me start off by saying that Lil Kim is exempt from this list, as she spent a year and a day in lock-up for obstruction of justice for initially refusing to snitch out people who were in her inner circle. She was more a victim of circumstance who paid a price for trying to protect friends.

But then there are the John Forte’s (who was just released from prison late last year), who actually was convicted of a serious criminal offense, cocaine possession. Or recently released rapper, Maysonne, who served 7-years for 2 armed robberies. Or Black Rob (2-6 yrs for burglary and criminal possession), who is still incarcerated. These are instances where life imitates art, and the charges are way more damaging to the artists’ life as opposed to beneficial to their careers.

The epitome of such bad judgment is Jamal Barrow, aka Shyne, who’s approaching the end of his 10-year sentence, after firing a weapon inside a New York nightclub and wounding several partygoers. Even worse was Remy Martin, who went as far as to shoot the same friend she entrusted to hold her purse, after accusing her of stealing money from it after a night of partying. Her decision landed her in Bedford Hills Correctional Facility in New York for a maximum of 8 years. If her behavior is better while incarcerated than on the night in question, she may come home in 6.

Remember Mystikal? Well Michael “Mystikal” Tyler is serving out a 6-year prison term after being convicted of sexual battery in 2004 in Louisiana. He was found guilty of coercing his former hairstylist to perform sex acts on him and two of his bodyguards, on tape, after accusing her of stealing money from him. Mystikal also settled a civil suit with the woman for $350,000.

C-Murder (real name Corey Miller), at one time, was living up to the name as he was convicted of second degree murder for his involvement in a night club shooting in Louisiana where a teenager was killed. The 2002 incident led to a conviction in 2003, and caused the younger brother of Master P to spend 3 years of his life in prison as he appealed the conviction and subsequent life sentence without parole. After plenty of legal rambling, he was eventually awarded his temporary freedom via an overturned conviction and new trial in 2006 after posting a half million dollar bond. His second trial began this January so we shall learn his fate in the near future. Best of luck to him.

Rock, one half of the rap duo Heltah Skeltah (who’s last album D.I.R.T. was released in late ‘08), is currently out on $125,000 bail and awaiting trial as he’s facing charges of attempted murder and assault. He is accused of shooting a man in the face in Brooklyn, New York, leaving him paralyzed. The alleged incident is said to have taken place over a prostitute as both Rock and the victim, a reputed Bloods gang member, have been suspected of pimping. Rock currently awaits trial on these charges.

“Hot Boy” Lil Turk, born Tab Virgil Jr., is anticipating his early release from prison, due to a possible sentence reduction, after being sentenced to 12 years in 2006. He was accused of shooting and injuring S.W.A.T. team members during a raid in a Memphis, Tennessee apartment in 2004. He was officially convicted for being a felon and a drug addict, on the run, in possession of a handgun. The raid, which took place in a 2 bedroom apartment, yielded no drugs. The incident left the apartment walls riddled with 189 bullet holes yet Turk was miraculously unscathed. He is presently awaiting word on his release.

Capone, from the rapper duo Capone-N-Noriega (CNN), served time for violating probation on a previous gun possession charge, which stagnated the group’s progress back in 1999. These problems, coupled with label issues, has made it impossible for CNN to achieve the buzz they once had.

Who can forget the ordeal Beanie Sigel experienced during the height of his career? Just when Team Roc-A-Fella was enjoying its best years, Beans was incarcerated on charges of attempted murder, aggravated assault, and weapons possession after he was alleged to be involved in a shooting outside a bar in his hometown of Philadelphia in the summer of 2003. Sigel turned himself in after performing on the Roc the Mic tour’s stop in Philly. After the first attempt to prosecute him ended in a mistrial in 2004, the “Broad Street Bully” was retried and acquitted by a jury of all attempted murder charges in 2005. He did, however, spend the year sandwiched between the two attempted murder trials in jail on federal weapons charges. His legal woes continue, as he was just sentenced, in January, to one day in federal prison for violating terms of his parole by having contact with a convicted felon. As a result, the judge also extended his probation by 18 months, and ordered the first 6 months of that period be spent in a halfway house, further delaying the release of Beanie Sigel’s next solo album The Solution.

The list of artists being paraded in front of judges, in one state or another, to face criminal charges seems endless.  I could go on and on about the Lil Wayne’s and the DMX’s of the hip hop world, but I think the point has been proven. The music derives from a culture that is infested with crime.

However, somewhere along the line, we expect those who have reached a considerable level of success to realize that their actions are counterproductive to, not only their careers, but to the movement as a whole. We have reached the pinnacle of success where almost every facet of life is influenced, one way or another, by hip hop. That says something for a movement which originated from a place in which nobody wanted to venture. With that in mind, let us not take a step backwards and give the haters ammunition for their mission to forever stigmatize hip hop as a culture of hooligans.

 Sticky Fingaz getting knocked out on MTV, a picture of Prodigy in a ballet outfit displayed on a huge projection screen at a rap mega-concert, photos of Rick Ross in a Correction Officer uniform.Not exactly the images we’ve come to know, but more so the images that have come to light for these artists. Do these revelations damage their image, lyrical integrity, and ultimately their record sales? Should all rappers who claim to be keeping it real be taken to task when it is discovered that they are just putting on airs?

There have been more than a few rappers who have had the truth revealed about embellished accounts of their past which they have glorified in their music. In interviews, Akon tells of a torrid past filled with criminal acts, hence the name of his label, Konvict Music. Truth is, while Akon does have numerous arrests on his record, he has only been convicted of one felony (gun possession) for which he received 3 years probation back in 1998. That same year, in Atlanta, Akon was arrested and charged with possession of a stolen BMW. He was held for months and released as all charges related to the car theft were dropped against him. Not exactly a member of a major car theft ring as he has alleged to belong to on several occasions to boost his street rep and give credence to the name of his company.

Judging by the movie 8 Mile, one would guess that Eminem spent a large portion of his formidable years in a trailer park. Em later revealed, and his mother confirmed, that while moving often in his younger years, he spent most of his time as a resident of Warren, Michigan, a suburb of Detroit. Rather than trump up an arrest record that can be proven false, he chose the white trash route of ghetto realness the trailer park conveys.

Lil Wayne acknowledges his allegiance to the Bloods gang in damn near every verse we hear. Yet past videos offer proof, or rather stir up doubt, of his true membership. There are numerous instances in the past where Weezy is seen wearing a blue bandana either around his head or in his back pocket. There is also footage of him wearing a red bandana in his back pocket, albeit on the wrong side. His affiliation has been questioned on several occasions.

The latest culprit is Rick Ross, who initially denied the reports that he was once a Correction Officer in Florida. He was forced to backtrack after pictures and other proof surfaced on the internet showing William Leonard Roberts was indeed employed from December of ‘95 to June ‘97 at the South Florida Reception Center in Dade County. We’ll see if this has an impact on his drug lord persona as well as his record sales. His latest album, Deeper than Rap, is scheduled for release this month.

Should we attribute these lies to creative license or should these artists be taken to task for such fabrications? Hip-hop is a music and a movement birthed from the mean streets of the South Bronx. One of the earliest depictions of life in urban communities in hip hop music, The Message, was a gritty narration told to us, first hand, by rapper Melle Mel. We like to think that today’s artists “keep it 100″ when they share their tales from their respective hoods just the same. 

But that ain’t always the case.

This alarming trend, of questionable lyrical authenticity in hip-hop music, not only weakens its fabric, but also compromises the integrity of the artists. I mean, shouldn’t they feel a certain way about glorifying the very vices that are responsible for the destruction of the urban neighborhoods they so proudly represent? Where is the social and artistic responsibility? Is it not detrimental to the culture to have posers perpetrating a fraud? From its inception, hip-hop was art imitating life at its most visceral level, making the music surreal.

But what happens when more and more artists are revealed as something other than what we perceive them to be? Suppose 50 Cent had never been shot 9 times and it was actually his cousin’s story being told as his own? Would he have reached the superstar status he still holds to this day? Has the business of the music caused it to morph into a culture where life now imitates art? Has it become acceptable in hip-hop to sell an image, no matter how far fetched from the truth, for the sake of record sales?

At the end of the day, the old adage still applies: “Believe half of what you see and even less of what you hear.” The bottom line is there are posers everywhere; in your school, on your block, in your circle (hopefully not!!!), and even in your music. But here are some words of wisdom to all rappers: Practice what you preach!! If you are talking it, and not walking it, be ready to face the music. Beware, the damage from being outed as a farce is irreparable in the hip-hop community. You “Scarface babies” may want to think twice before constructing that false persona. The career you save may be your own.

What if your favorite rapper had help writing that hit single you so fondly posted to your MySpace page? You may love the song just the same but how about the artist? How can rappers boast of being the best, if the words aren’t even theirs? Should it be considered cheating? I read an article once where ghostwriting was likened to “lyrical steroids.” When we listen to hip hop music, we assume that we are listening to the thoughts and experiences from that artist first hand.

The truth of the matter is ghostwriting has been a part of rap since its inception. In fact, some have placed the amount of ghostwritten lyrics in today’s rap songs at 40%. Some artists, like Smitty, have used ghostwriting to gain exposure in the industry, and eventually, as a stepping stone to securing their own record deal. Only now, it’s really brought to the forefront as people are far more attentive to the credits inside the CD insert these days. Magazines, television shows, DVDs, and, you guessed it, websites, afford everybody the opportunity to shine, from the MC, to the DJ, to the producer, to the label owner, and, yes, even the ghostwriter. There are plenty of cats eating well on account of their pen skills. There’s Jay-Z, Cam’Ron, Pharoahe Monch, and Skillz to name a few. And they’ll all tell you that publishing checks are a beautiful thing.

But on the flip side, if artists don’t write, then what do they have? What are they bringing to the game? Most artists, who we know utilize ghostwriters, are more or less label owners and producers (i.e. Dre, Diddy, Jermaine Dupri) seeking to enjoy a different facet of the game. In which case, we accept what is usually, for the most part, a radio-friendly club song, for what it is. These artists rarely make it into the discussion of elite lyricists, but I’m sure that wasn’t their goal from the start. In these instances, the rap fan is more lenient. But what about the artist paying the ghostwriter for exclusive rights, and we are made to believe that the lyrics were written by the artist themselves? Is this lyrical fraud??

See, rap is different from all other genres of music. Rappers don’t play instruments and, thus, have no use for sheet music. Voice training is moot as holding a note is not required (as one can attest to with the plethora of tone-deaf rappers singing their own hooks). The one skill rappers do take pride in possessing is the art of arranging words uniquely. Flow. Word play. Ghetto prose. The best take pride in being a triple threat; a hit song maker, hot freestyler, and slick battle rapper. Those who have expertise in the “Trilogy of Rap,” are your true Masters of Ceremony. MC’s. Rappers of the highest integrity. These are the artists who are proven authentic. Record sales aside, I’m talking about dudes that spit!!! I understand it’s a business and I’m not knocking the ghostwriter who is cashing the check. But at the end of the day as an MC, if the words ain’t yours, then what are you good for?? If the lyrics aren’t yours then neither is the story, in which case, you are merely reading a script. Actors belong in Hollywood. MC’s belong in the booth.

Ghostwritten songs through out Hip-Hop history:

Shots ring out disturbing a hot, but otherwise tranquil, summer night. The sounds of scattering feet drown out the faint melody from the ice cream truck down the block. A teenage girl lets loose a scream reminiscent of a horror film. But this is no movie. In a New York minute, the shots cease as the gunman, who in actuality is no man but a 15 year-old kid, disappears out of sight with the pistol still in hand, too hot to place back on his waist from which all this drama began.

That’s when you notice the little boy who lay motionless, the blood beginning to trickle from the visible wound in his side. He doesn’t appear to be conscious.

The sirens grow louder, as what seems like an eternity passes, until they finally reach the scene. Of course, it’s the police that arrive first and not the ambulance. It always seems to happen that way in the hood. Finally, EMS makes its way to the scene, and after a few futile pumps on his chest, the tyke is whisked away. Later that night, not to your surprise, you learn that the little boy didn’t make it. The next morning it’s the usual ghetto protocol; hysterical relatives, a growing makeshift memorial of candles, cards, and teddy bears…and homicide detectives lurking on the block. You know the story behind the shooting and the person responsible for shorty’s untimely demise.

Do you tell what you know to the authorities?

See, snitching ain’t always so cut and dry. When is it civic duty? When is it selling out? Just imagine if you say nothing, assuming others will, and nobody is held accountable for such a heinous act? That sight of a life so young ending before it really began is all too vivid a memory. Is it snitching when the shooter is free to live life after taking one and altering countless others? Don’t mistake my tone, as I, too, struggle with this very issue. I once refused to give a beat reporter for the local newspaper any info on a crime that had already been solved. I am also from the hood and this is deeply ingrained in our culture.

But at what expense?

Do we turn a blind eye until the rape victim is an aunt or a sister? Do we wait until it’s grandpa who falls prey to the push-in robbery? Now, I don’t condone diming out your neighbor for stealing cable tv, or any other person committing acts against the penal code that cause no detriment to you or any other innocent people. No harm, no foul. Mind yours!!! And let’s be clear, not all victims are innocent. The local gang war casualty, or drug deal gone bad is no business of mine. You chalk that up to “the game.”

But let us not lose focus on just who is meant to be protected. After all, isn’t it supposed to be the innocent, as in those who did not deserve the fate they were dealt? Snitching to get your sentence reduced? That’s non-cipher. But when the innocent are the victims and the perpetrators reap the rewards, don’t we have the game twisted?