Episode # 7 is live as we’re joined by Hip Hop artists Ill Camille, Hip Hop publicist DeeDee Branch, Associate Director of Urban Talent at ASCAP Mir Harris, and 14 year old aspiring rapper Page Stevenson. This all-women panel discusses everything from Hip Hop culture and the music business to community activism and social justice. They went deep, spoke truth, and had fun doing it! Also, check out new music by Ill Camille, Akua Naru ft. Dynasty & Sa-Roc, Priest, and Sean Price(RIP). And don’t miss our young MC who spits a dope verse over a classic beat. As always, you can contact both hosts on Twitter at @SebIsHipHop and @ or on InstaGram @TakeNoPrisonersRadio. Spread the word!
Posts Tagged ‘lyrics’
Tags: African American, Black, CamilleH, Hip Hop, HipHopPublicist, Ill Camille, lyrics, MC's, Music, Music Industry, Rappers, Seb, Take No Prisoners Radio, youth
Tags: advice, African American, aspiring artists, Black, business, Camille H., conspiracy, controversy, De La Soul, Freedom of Speech, Hip Hop, Hot 97, lyrics, MC's, Music Industry, Open Mike Eagle, Paul Porter, Power 106, RA the Rugged Man, racism, Rap, RapRehab, Sa-Roc, SebIsHipHop, Take No Prisoners Radio
On the 3rd episode of Take No Prisoners Radio, hosts Seb and Camille H discuss the rise of socially conscious mainstream rap, “ratchet rap” and cultural misappropriation. For the second half, Paul Porter, entertainment industry veteran & founder of RapRehab joins the show to reveal the music industry’s dirty secrets. Also, check out new music by Open Mike Eagle, De La Soul ft. Chuck D, RA the Rugged Man and Sa-Roc.
Tags: 9th Wonder, Beauty and the Beast, Diamond D, Ghostface Killah, Hip Hop, Jay Electronica, lyrics, MC's, Music Industry, Rap, Rappers, RapRehab, Rapsody
Welcome to the 3rd edition of Seb’s Top 5 Hip Hop Picks where I pick my top 5 favorite Hip Hop related items for that month. This can include artists, videos, songs, events, books, shows or anything else that represents the best in Hip Hop culture. Keep in mind that my picks are strictly a matter of opinion. In no particular order, this list is just my way of celebrating what’s right with Hip Hop. Readers are free to agree or disagree. Don’t hesitate to share your feedback. Enjoy! Peace.
1. Rapsody – “Beauty and the Beast”
2. Diamond D – “The Diam Piece”
Legendary MC/producer Diamond D drops his long-awaited album “The Diam Piece”, featuring Pharoahe Monch, Talib Kweli, Masta Ace, Grand Daddy IU (yes, you heard that right!) and a host of other guests who deliver the goods over sample-heavy boom bap.
3. Ghostface Killah & BADBADNOTGOOD – “Gunshowers” featuring Elzhi
Ghostface Killah has joined forces with Canadian band BADBADNOTGOOD and released the guitar-laced “Gunshowers” featuring Elzhi. The word is that Ghost and the band are working on a full-length project slated for early 2015. This joint is a hell of a way to build anticipation!
4. Jay Electronica – “Into the Light”
The trailer for “Into the Light, a forthcoming film featuring Jay Electronica, shows the many adventures of the world’s most mysterious MC as he travels the world, hanging out with monks and living amongst the people. The cinematography looks amazing and I’m looking forward to checking out the full-length film.
5. Dynamic Equilibrium – “Dear Father”
This NY duo recently completed the video for “Dear Father”, a single off the album “Post Crack Era” released earlier this year. Sometimes,we just need to be reminded that you don’t have to be a household name to make quality Hip Hop!
You can also find this Top 5 at http://raprehab.com/sebs-top-5-hip-hop-picks/
Tags: African American, aspiring artists, Black, Black Music, Blues, conspiracy, Hip Hop, Jazz, lyrics, MC's, Music Industry, R&B, racism, Rap, rapper, Rappers
Consisting of Spirituals, Gospel, Blues, Jazz, Rock & Roll, R&B, Hip Hop, House, and so many other genres, Black music birthed most popular music today. A matter of fact, Black music is so powerful that it has literally changed the world. Enslaved Africans sang Spirituals, not only as a source of strength, but as a way to pass on secret information about the Underground Railroad right under the slave master’s nose. The Blues gave people the means to channel their deepest sorrows. Rhythm & Blues drew from its predecessors to create Rock & Roll as well as the soulful sound of the 60’s and 70’s, epitomized by Motown, Stax, and other iconic labels. Legends like James Brown, Marvin Gaye, Donny Hathaway, Curtis Mayfield, Stevie Wonder, and Aretha Franklin provided the soundtrack of both the Civil Rights Movement and the Black Power Movement. Hip Hop culture and Rap music evolved from these rich traditions to become the voice of the voiceless and disenfranchised. In the 80’s and early 90’s, the likes of Public Enemy, Rakim, KRS-One, Queen Latifah, Poor Righteous Teachers, and X-Clan inspired teenagers around the world to wear African medallions, learn Black history, and become activists. The powers-that-be couldn’t possibly risk losing their much-coveted social status to a growing movement of highly-motivated, educated, and empowered young Black Hip Hop fans who stood on the shoulders of those heroes that came before them. Something had to be done.
The truth is, Black music’s erosion had begun years ago.
In 1972, a Harvard report titled “A Study of the Soul Music Environment” outlined how the music industry could market Black music to a broader, i.e. whiter audience. As a result, executives with no personal stake or interest in the preservation of Black music’s rich history and social significance were brought in to make decisions about its direction. While the music didn’t transform overnight, the seeds of change had undoubtedly been planted, starting with popularizing the term R&B over Rhythm and Blues to tone down the music’s southern roots and risk alienating white listeners.
In the late 70’s, the term “Black Music” was slowly being replaced with “Urban Music”. Going further, Black Music Departments at various labels across the nation were renamed Urban Music Departments. The industry, focusing on profit over culture, reasoned that this name-change would make Black music easier to market to mainstream audiences. Many suspected that this was done to disassociate Urban music from its African-American roots in order to make white consumers feel more comfortable. Today, it’s almost politically incorrect to use the term Black music for fear of excluding multi-cultural audiences. Ironically, the term Latin Music is embraced wholeheartedly. Could the word “Black” just be too much for mainstream audiences to digest? And what does “Urban” music mean anyway – city music?
Then, Hip Hop culture and Rap music emerged. Bold, groundbreaking, and rebellious, its do-it-yourself ethos shut out the mainstream industry, relying instead on independent and underground channels to grow and blossom. Eventually, major labels weaseled their way in and surprisingly allowed rap to flourish virtually untainted, probably because their inexperience with this new phenomenon had created an opportune moment for rap’s development. However, by the late 80’s/early 90’s, Hip Hop culture’s influence over Black youth had managed to put more fear than ever into the hearts and minds of the so-called “ruling party”. The music industry was no longer going to allow messages of unapologetic Black pride and rebellion to filter through its airwaves and distribution channels. Executive shot callers would make sure of that.
Urban Music, i.e. rap music, was used to sell anything ranging from Chicken McNuggets to Barbie dolls. With advertisers trying to appeal to younger demographics, rap was increasingly associated with branding, marketing, and consumerism, and decreasingly synonymous with culturally-affirming, rebel music. If rap music that celebrates Malcolm X and the Black Panthers was perceived as a threat by the powers-that-be, using rap to sell Fruity Pebbles in commercials would surely weaken the music’s potency in the public eye. Hip Hop’s new generation of critical thinkers couldn’t be allowed to grow and risk challenging the ruling order of the day.
Record labels began aggressively promoting gangsta rap during the peak of Hip Hop’s Afrocentric and Pro-Black era. While acts like NWA, Compton’s Most Wanted, and DJ Quik had comfortably coexisted with culturally-conscious rap, a more celebratory form of gangsta music was about to hit the world by storm. African medallions and X hats were replaced by marijuana chains and logos. Songs about Black Unity and Nubian Queens were being obscured by titles like “Murder Was the Case” and “Bitches Ain’t Shit”. Although such topics had always been part of rap (see Too Short, 2 Live Crew, Schooly D, etc), the climate that had once provided a balance for both messages had now been tipped in favor of guns, weed, sex, and crime. In the 1992 hit “Let Me Ride”, Dre raps, “No medallions, dreadlocks, or Black fists”. It couldn’t have been said any plainer. But Dre, Snoop, and the entire Death Row family were pawns, backed by an industry that had a bigger agenda than just making a few rappers rich.
Gangsta Rap had successfully changed the direction of music, inspiring the East Coast and Down South to become more thugged-out, and even forcing R&B to adopt the rising gangsta trend. 80’s favorites like Anita Baker, Regina Bell, Surface, and Alexander O’Neil couldn’t compete. Although artists like Digable Planets, Toni Braxton, The Fugees, TLC, Gang Starr, and Babyface would go on to experience success in their own right, rap music’s empowering Pro-Black messages and R&B’s clear-cut romance and sophistication had been overshadowed by wannabe pimps, players, boss bitches, and thugs. As long as weed, sex, alcohol, and violence distracted the masses, the powers-that-be no longer felt threatened by the former movement of musically-empowered critical thinkers. After all, who could possible feel threatened by a Young Thug?
During that time, former R&B artists such as Usher and Beyonce became pop stars, the term Hip Hop went on to include folks like Future and Chris Brown, and Iggy Azalea was crowned princess of rap. Traditional R&B is now considered alternative. Hip Hop music with a message is mostly underground. Today’s generation couldn’t distinguish Blues and Jazz from Country and Classical. And the term Black music is seen as offensive, if not flat-out racist.
Someone please tell me – where do we go from here?
This article also appears on RapRehab at http://raprehab.com/bet-awards-black-music-neutralized/
Tags: Black, Black Sheep, Dres, Fatherhood, Hip Hop, lyrics, MC's, Music Industry, Native Tongues, Propagation, racism, Rap, Rappers
Tags: African American, America, Beatnick, Black, Dead Prez, Ferguson, Gaza, Hip Hop, K-Salaam, lyrics, M1, MC's, racism, Rappers, Talib Kweli
Last month, the world watched as the city of Ferguson, Missouri transformed into a war zone. As a militarized police force came down on the town’s residents protesting the cold-blooded murder of Michael Brown, mainstream America caught a domestic glimpse of what millions living in war-torn countries experience everyday. For most, it was a wake-up call as both major and independent media outlets captured every angle of the unfolding drama. But who could have guessed that the people of the West Bank would also stand behind these American protesters by using social media to give them tips on how to overcome tear gas? Right then and there, a previously existing “under the radar” alliance became public, thanks to social media.
It’s this very alliance, or unspoken camaraderie, that Talib Kweli, M1 from Dead Prez, and producers Beatnick & K-Salaam are talking about in the new song and video “Checkpoints – Ghetto to Gaza”. The song draws parallels between America’s systemic oppression of people of color and all oppressed people around the globe, especially in Gaza. The chorus, “A check point, a check point, everywhere a check point”, references the various checkpoints erected across Palestinian land as well as countless American inner cities, highlighting the fact that the world’s disenfranchised are treated unjustly and under constant scrutiny, be it by law enforcement, military, or other nebulous forms of occupying forces.
For the MC’s, these issues hit home. A few weeks ago, Talib was a victim of Ferguson’s police attacks when he walked with the protesters. As for M1, the Dead Prez rapper visited Gaza during a previous tour and was able to bring wheelchairs, school supplies, and other materials residents urgently needed.
At a time when so many rap artists seem to have forgotten that Hip Hop music was originally meant to be the voice of the voiceless, it’s refreshing to see and hear the artform used for what it was initially intended – knowledge and unity.
Check out “Checkpoints – Ghetto to Gaza” by Beatnick & K-Salaam ft. Talib Kweli and M1.
You can also find this article at http://raprehab.com/hip-hop-ghetto-gaza/