This poem is dedicated to my brethren in the hip hop conglomerate known as Gray Matter. It's an abstract vision of where we've been and where we are headed as a collective. The language may be coded for our own literary consumption, but once the reader absorbs the poetic meter, I feel that the painted picture will be in view. It's been quite a while since inspiration has been within my perimeter, but no time is better than the present, so here is my present, my gift to my hip hop brethren. Gray Matter for life!
HIP HOP GENESIS
Birthed by: The Most High
Inspired by: Gray Matter
Written by: WISDOM
From '68 to '70 a triumverate was destined to make silent noise,
Poised to grow and develop along with this thing we called hip hop...
Get props for being 33.3% of a whole, fractional brothers that would stretch diction and dialect,
Get rich or live trying, crying, vying for attention on urban asphalt...
Learnin' that faults can make collective stronger,
Hungering food for thought, souls not being bought...
Taught by those in the midst of the mist with a brown fist,
Raised in the air, raised in Berea...
Praised with a prayer, on knees with heads to sky,
Sky's the limit still reaching for apex...
Brotherhood know as Fraternity,
Aristocratic with drastic measures and rhymes of pleasure...
Meeting principles and greeting principals in schools of hard knocks,
And hip hop's the class of choice for shared voice...
Noise to some but artistry to we,
Marvelously free with style and flair...
Evolving into MC with nomenclature GQ,
Transforming into DJ on wheels of steel...
Thievery for Ed that was Crazy with table-turned skills,
Leaving me to provide TNT explosion into audio enhancement device...
The m.i.c. was our manifest destiny, a journey into parts unknown,
Yet smarts were honed at home in Middle East...
War zone at times but combat with rhymes,
Not gunslinging but bringing lyrical ammunition to battle...
No tales were tattled but cages were rattled by the three,
Trees of knowledge with fruit providing necessary nutrients...
Nucleus underground basement with flows for days,
Useless it would be to forego talent bestowed by Most High...
Could have wasted away like countless others but spirit still alive,
Thrive on culture that molded and scolded...
Uphold the tenets that divine design designated for our greatness,
Lateness better than never, ending dreams that would otherwise be deferred...
Preferred instead to tread path already laid by forefathers,
Who mixed and scratched so our backs would no longer itch...
From a mythical massa' swinging invisible whips,
We watched whips whipping through hood with visions of success,
Success though not predicated on materialism...
The material we sought was of a creative nature,
Pen to paper, voice to microphone, real to reel...
Sealed the deal once and for all,
All for one, one, two and three entities...
Lords Of Skill became moniker for trio with harmonic tendencies,
Triple beam shining from sun above, believing in the Son above...
A shared love for this thing called hip hop,
Pledged allegiance to red, black and green flags waving with purpose...
Afrocentric ideals being cultivated and nurtured,
While so-called Sucker MC's being murdered...
Beat playing from Run-DMC concoction in hearts and minds,
Sparkin' rhymes and beats with conviction...
Styles deemed illogical so we became Illogical,
Growth could be seen from lyrics philosophical...
A mission impossible this was not,
We would Tom Cruise the streets with ears and eyes open...
Our peers hoping to strike it rich, but we wanted to roll a spare instead,
Taking our times with methodical rhymes...
Method Man to our planned madness,
Would rather be judged on artistic phatness...
Than buried under gold chains,
Chains should've been broken when our ancestors were in fields...
Came from stolen lands so it was ironic when sounds were sampled,
Critics said that sounds instead were stolen but we used what we had...
The Lord above created sound so we utilized what He gave,
No longer slave to massa we in studios saving our masters...
Feelings and emotions plastered on vinyl for all to witness,
Voices and instruments on tapes and DATs...
Tapes were phat that Illogical mapped,
Following the road paved by Bambaataa, Herc, Caz, Red, Flash, Melle...
You feel me?
Reveal these truths to be self evident, that three men were created equal in this hip hop equation...
Roles uniquely defined, supremely divine,
New Era caps in this new era where 40 is the new 30...
And 50 is the new 'Pac,
But the ol' Pac was just fine, vintage like fine wine...
So influences as varied as KRS, Chuck, Kane, Rakim Allah, G Rap became amalgamation of trio,
Palms have mics to amplify voices still...
Hairs turning gray but three still matter,
The gray does matter so men became Gray Matter...
Brain matters expanding still from eons of neon shining in dark,
Illuminating nights and brightening days...
Brothers still existing to eliminate frustrating ways,
So make way for the ways we still have to pave...
No longer slaves, but still trying to master
Wednesday, November 24, 2010
Tuesday, November 23, 2010
WHY DOES "PROTOTYPE" STRIKE A CHORD WITH ME?
Essay written by: WISDOM
There is something beautiful, sexy, mysterious, futuristic, and dope about "Prototype", the Andre 3000 concoction that I've been in love with since it was unveiled. As the seventh track on Andre's portion of the dual album Speakerboxx/The Love Below, it instantly, and continually, touched on several emotions. I love the lush instrumentation, especially the guitar, sounding like Ernie Isley being channeled in the studio. It's a slightly atmospheric cut, where the listener feels like he or she is on a journey of sorts with Andre Benjamin, a journey that may never end. No problem with that, in my not so humble opinion, because I've been on the "Prototype" journey for the past six years since the 2004 release of the diamond-selling Speakerboxx/The Love Below.
The other part of the "Prototype" equation is the vocal performance of Mr. Benjamin himself. He is not the best vocalist, in the classical, Luther Vandross sense, but he is an absolute genius (and I am not just throwing that term around loosely) when it comes to emoting on record to complement a track. His vocals, to the unknowing, may sound amateurish or undeveloped. To me, that is the beauty of Andre 3000 on "Prototype". He allows the words and phrasing to paint the aural picture, instead of using vocal overexposure. Here is the simple, poignant way Andre painted that picture in Verse 1:
"Today must be my lucky day
Baby, you are the prototype
Do something outta the ordinary
Like catch a matinee
Baby, you are the prototype..."
He didn't have to resort to overzealous poetry in order to convey his message about the lady he is envisioning. He didn't try to construct the most abstract artistry ever. What he did do was marry the musical soundbed with the lyrical and vocal musings, with an end result one of the best songs in his career. It's definitely no secret that I am one of the biggest fans of OutKast; I'm happy that I was able to see and experience an artist at his best (along with often slept-on partner Big Boi). "Prototype" is a relatively new song, but it has already been covered by a few artists, such as Raheem Devaughn and Jesse Boykins III, both of which added a nice touch to an almost untouchable song.
" I think I'm in love, again..."
The chorus is succinct, yet very broad in scope. Andre Benjamin is not only singing about being in love (again), but doing so in such a way where he sounds almost surprised by the notion that this "Prototype" could put him in that ATLien state of mind. I believe that most, if not all, can identify with this song. At one point or another in your life, you've been captivated and mesmerized by someone, be it because of intellect, physical attraction, personality, sense of humor, or any combination of those qualities. Revisiting "Prototype" gave me the chance to appreciate the sheer artistic nature of Andre 3000, who along with OutKast partner Big Boi, have shaped hip hop, and music in general, for years to come. Now enjoy the video!
"PROTOTYPE"
by Andre 3000 (The Love Below, 2004)
Prototype_ Outkast the love below
Uploaded by lasc35. - See the latest featured music videos.
There is something beautiful, sexy, mysterious, futuristic, and dope about "Prototype", the Andre 3000 concoction that I've been in love with since it was unveiled. As the seventh track on Andre's portion of the dual album Speakerboxx/The Love Below, it instantly, and continually, touched on several emotions. I love the lush instrumentation, especially the guitar, sounding like Ernie Isley being channeled in the studio. It's a slightly atmospheric cut, where the listener feels like he or she is on a journey of sorts with Andre Benjamin, a journey that may never end. No problem with that, in my not so humble opinion, because I've been on the "Prototype" journey for the past six years since the 2004 release of the diamond-selling Speakerboxx/The Love Below.
The other part of the "Prototype" equation is the vocal performance of Mr. Benjamin himself. He is not the best vocalist, in the classical, Luther Vandross sense, but he is an absolute genius (and I am not just throwing that term around loosely) when it comes to emoting on record to complement a track. His vocals, to the unknowing, may sound amateurish or undeveloped. To me, that is the beauty of Andre 3000 on "Prototype". He allows the words and phrasing to paint the aural picture, instead of using vocal overexposure. Here is the simple, poignant way Andre painted that picture in Verse 1:
"Today must be my lucky day
Baby, you are the prototype
Do something outta the ordinary
Like catch a matinee
Baby, you are the prototype..."
He didn't have to resort to overzealous poetry in order to convey his message about the lady he is envisioning. He didn't try to construct the most abstract artistry ever. What he did do was marry the musical soundbed with the lyrical and vocal musings, with an end result one of the best songs in his career. It's definitely no secret that I am one of the biggest fans of OutKast; I'm happy that I was able to see and experience an artist at his best (along with often slept-on partner Big Boi). "Prototype" is a relatively new song, but it has already been covered by a few artists, such as Raheem Devaughn and Jesse Boykins III, both of which added a nice touch to an almost untouchable song.
" I think I'm in love, again..."
The chorus is succinct, yet very broad in scope. Andre Benjamin is not only singing about being in love (again), but doing so in such a way where he sounds almost surprised by the notion that this "Prototype" could put him in that ATLien state of mind. I believe that most, if not all, can identify with this song. At one point or another in your life, you've been captivated and mesmerized by someone, be it because of intellect, physical attraction, personality, sense of humor, or any combination of those qualities. Revisiting "Prototype" gave me the chance to appreciate the sheer artistic nature of Andre 3000, who along with OutKast partner Big Boi, have shaped hip hop, and music in general, for years to come. Now enjoy the video!
"PROTOTYPE"
by Andre 3000 (The Love Below, 2004)
Prototype_ Outkast the love below
Uploaded by lasc35. - See the latest featured music videos.
INTERVIEW WITH HIP HOP ARTIST YAHKEEM
MY DISCUSSION WITH HIP HOP ARTIST YAHKEEM
By: WISDOM
At “The Hip Hop Show” on Sunday, November 21st, I had the pleasure of meeting a down to earth artist----Yahkeem. Even though the music was blaring from speakers throughout 5 Seasons, the mid-town venue that hosted “The Hip Hop Show”, we were able t find a semi-quiet area at back of stage area to sit down at discuss the composition of the artist. I was introduced to Yahkeem soon after arriving at 5 Seasons by Mz. Undastood, a radio host for the “Konsider Dis” program on Da Beat 1650-AM, so setting up an impromptu interview on the spot was a good idea.
Yahkeem was at ease while I asked him a few basic questions about his influences and upbringing. He, of course, has the street pedigree, being raised in various urban environments such as New York City, Los Angeles, Atlanta, New Orleans, and of course the home of "The Wire". According to Yahkeem, he's been rhyming for about seven years now, with him recently having a fire lit under him to take his music to another level. "I got a purpose now", he retorted, when i asked Yahkeem about his mark he wants to leave on hip hop, not only from a Harm City standpoint, but on a national level. It was quite evident throughout the discussion that there is a bigger picture in place for the artist known as Yahkeem, who used self-promotion to his advantage by rocking a royal blue t-shirt emblazoned with his Twitter tag @Yahkeem.
I asked the gritty MC about his influences, and the requisite names came to mind: Pac and Biggie. The name that would shock some, or be unrecognizable to others was Spice 1, a Hayward, California product that is a legend in the Bay Area. Spice 1 definitely opened doors for others in a region that has been a hotbed of hip hop talent since the late 80's. It was a good thing to see the varying influences for Yahkeem, and he seemed to be a student of the game. "Method Man is also an influence", he stated while we continued our discussion, rounding out a nice list of artists representing different facets of the hip hop equation.
Yahkeem advised me during our conversation that his EP, entitled So Official, will be available on November 27th for public consumption. It will contain seven songs, each one shedding light on the man and artist. "Hit me up at www.yaheemmusic.com" he retorted when we talked about fans and listeners getting a piece of the musical pie. Yahkeem acknowledged that he loves the hip hop scene here in Baltimore, siting his musical kinship with other grind-minded artists like Nephew and E.N.V.I.E., even alluding to a collaboration with the lyrical-minded E.N.V.I.E.
Yahkeem wants his music to inspire and teach, especially the youth, who are impressionable when it comes to this thing called hip hop music. When I asked him about how he sees himself within the hip hop matrix, he simply stated, "I'm just me". A simple, yet poignant artist looking to make a mark in that same hip hop matrix I just mentioned. Yahkeem figures that if he can survive the differing, yet oh so similar hoods he has seen or been a part of, then the hip hop matrix is something he can navigate. Let's hope that he does just that.
We were still discussing the state of hip hop when the show host, Mz. Undastood alerted us that the performances were about to begin. I gave Yahkeem a pound, with the understanding that this won't be the last time we'll discuss hip hop, artistry, and everyday living.
ONE LOVE!!!!
WISDOM-----SHEDDING A RAY OF LIGHT ON BALTIMORE HIP HOP
By: WISDOM
At “The Hip Hop Show” on Sunday, November 21st, I had the pleasure of meeting a down to earth artist----Yahkeem. Even though the music was blaring from speakers throughout 5 Seasons, the mid-town venue that hosted “The Hip Hop Show”, we were able t find a semi-quiet area at back of stage area to sit down at discuss the composition of the artist. I was introduced to Yahkeem soon after arriving at 5 Seasons by Mz. Undastood, a radio host for the “Konsider Dis” program on Da Beat 1650-AM, so setting up an impromptu interview on the spot was a good idea.
Yahkeem was at ease while I asked him a few basic questions about his influences and upbringing. He, of course, has the street pedigree, being raised in various urban environments such as New York City, Los Angeles, Atlanta, New Orleans, and of course the home of "The Wire". According to Yahkeem, he's been rhyming for about seven years now, with him recently having a fire lit under him to take his music to another level. "I got a purpose now", he retorted, when i asked Yahkeem about his mark he wants to leave on hip hop, not only from a Harm City standpoint, but on a national level. It was quite evident throughout the discussion that there is a bigger picture in place for the artist known as Yahkeem, who used self-promotion to his advantage by rocking a royal blue t-shirt emblazoned with his Twitter tag @Yahkeem.
I asked the gritty MC about his influences, and the requisite names came to mind: Pac and Biggie. The name that would shock some, or be unrecognizable to others was Spice 1, a Hayward, California product that is a legend in the Bay Area. Spice 1 definitely opened doors for others in a region that has been a hotbed of hip hop talent since the late 80's. It was a good thing to see the varying influences for Yahkeem, and he seemed to be a student of the game. "Method Man is also an influence", he stated while we continued our discussion, rounding out a nice list of artists representing different facets of the hip hop equation.
Yahkeem advised me during our conversation that his EP, entitled So Official, will be available on November 27th for public consumption. It will contain seven songs, each one shedding light on the man and artist. "Hit me up at www.yaheemmusic.com" he retorted when we talked about fans and listeners getting a piece of the musical pie. Yahkeem acknowledged that he loves the hip hop scene here in Baltimore, siting his musical kinship with other grind-minded artists like Nephew and E.N.V.I.E., even alluding to a collaboration with the lyrical-minded E.N.V.I.E.
Yahkeem wants his music to inspire and teach, especially the youth, who are impressionable when it comes to this thing called hip hop music. When I asked him about how he sees himself within the hip hop matrix, he simply stated, "I'm just me". A simple, yet poignant artist looking to make a mark in that same hip hop matrix I just mentioned. Yahkeem figures that if he can survive the differing, yet oh so similar hoods he has seen or been a part of, then the hip hop matrix is something he can navigate. Let's hope that he does just that.
We were still discussing the state of hip hop when the show host, Mz. Undastood alerted us that the performances were about to begin. I gave Yahkeem a pound, with the understanding that this won't be the last time we'll discuss hip hop, artistry, and everyday living.
ONE LOVE!!!!
WISDOM-----SHEDDING A RAY OF LIGHT ON BALTIMORE HIP HOP
Monday, November 22, 2010
HIP HOP FOR THE HOMELESS
Written by WISDOM
Hip hop is notoriously known for many negative connotations like misogyny, violent lyrics, advocating drug and alcohol use, as well as sexual promiscuity. When you listen to many songs and see images associated with hip hop, those negative aspects come to surface time and time again. So when hip hop showcases a positive spin, that needs to be addressed and shown to the masses as well. In the spirit of the Thanksgiving holiday, "Hip Hop For The Homeless" is the positivity in an otherwise bleak existence within the hip hop realm. The Baltimore hip hop community banded together, in the spirit of the late Bea Gaddy, to shed light and awareness on the homeless plight in America's 21st most populated city.
For a good 72-hour period, "Hip Hop For The Homeless" was collecting canned goods and clothing, all in support of the homeless and less fortunate in the surrounding area. The overall event culminated with a concert on the parking lot of Rim Source, a popular auto accessory spot located at 4810 Belair Road in Northeast Baltimore. 92Q hosted the event, with DJ Lil' Mic providing the sonic backdrop for much of the evening. It was very good seeing the community, especially those involved in hip hop, showing support and giving back. To many times in Baltimore, and similar urban landscapes, you here nothing but despair and negativity when discussing those of the hip hop persuasion. Looking around the vast parking lot area, you could see old and young, male and female, artist and audience, joining together for a common cause during this holiday season. Of course, what was missing from this historic event was the local news media. No Channel 11, no Channel 2, no Channel 13, no Channel 45, just street reporters ready to grace the microphones with tales of troubles and eventual hope.
There were so many artists on the bill, it could have been easy to forget what the event was about, but the organizers made sure to remind everyone that even though hip hop was the soundtrack for the evening, the movie in question was about the plights of those that may go through the holidays without a proper meal or clothing. What made "Hip Hop For The Homeless" a success, at least in theory, was the array of artists willing to give of their time and efforts for one common cause. Starting off the evening was The Bomb Squad, and they provided some lyrical treats for the crowd, making sure that jewels were dropped during their performance. Local hip hop legend Skarr Akbar came through as well, showing all why he is revered as one of Baltimore's dope emcees. A dope female emcee, Crystal, repping Queens, New York as well as Baltimore, also helped throughout the evening with the food drive. She also dropped knowledge and positivity for those in attendance. I had the chance to talk to her about how the hip hop community at large in Baltimore can give back and make a difference. It was good to hear her say that overall, this event was bigger than hip hop, but hip hop has a responsibility to give back. I agreed wholeheartedly with her.
Al Great and War Zone Snakes had the opportunity to drop their separate brands of Baltimore hip hop on the unsuspecting crowd. Baltimore Ray and Igima performed together, energizing the crowd on the brisk late-fall evening. While mingling throughout the crowd, I noticed Baltimore Hood News on the scene, confirming my earlier comment about "street reporters" being the only news media at the event, but that was fine, because news spreads through the underground like wildfire. Si Notes, voted "Best Female MC" in the Baltimore City Paper, showed the Rim Source crowd why she was deserving of the crown. With a partner in tow, Si Notes captivated the crowd with her flow and charisma. Next on the bill was a treat, the G Boyz, a group of Cecil Elementary School students. They showed confidence and swagger as the crowd at Rim Source cheered them on.
Canned foods and gently used clothing poured in throughout the evening, with cars and vans pulling up to the Northeast Baltimore location throughout the evening. Even though there was a party atmosphere, the city showed that it had heart and compassion by showing and proving. Caddy The Don, using his performance as video material, came through with his Baltimore version of "BMF", shouting out Little Melvin and other Baltimore street individuals of years past. Even though it might be misconstrued as negative, given the circumstances of the food drive, you could tell that there was a spirit of redemption within the lyrical content. Even with negativity on the surface, the positive could be seen once you went below that surface. 100 Grandman was next, bringing some reality-based lyrics to the masses.
To my surprise, while observing the performance and surveying the crowd, Jeff Majors, the gospel musician and harpist, walked my direction. It was a pleasant surprise, so I introduced myself and noticed his humble, yet powerful demeanor. He was one of the organizers that constructed such a successful event, so it was an honor to be in his presence. I also had the pleasure of speaking briefly with Matthew Rice, known throughout the area as Mateo Blu. Mateo Blu is an artist, recognized for his various portrayals of urban life within his unique artwork. He was gracious enough to donate one of his creations, entitled "Destined". Proceeds from a raffle for the beautiful piece of art went towards "Hip Hop For The Homeless". A lucky winner was chosen at the end of the performances.
Before the end of the charity event, a few others performed, such as Poetic Just/Us, a gospel-flavored singer/emcee/poet, bringing a different flair to "Hip Hop For The Homeless". It was definitely good to see and hear spiritual-based artistry at the event, even if the sound quality during her performance left a little to be desired. As they say, "the devil stayed busy". Charm City C and T Sizzle, Authentic John Doe, D-Boi, and Brodie also showcased material on a local level, garnering crowd support during their respective sets. Towards the end of the evening, Fly Tone, Lo Boyz, and J Ruck performed for the crowd that stayed attentive during the close to four hour performance span. Closing out the evening was Guttaman, ending things with "World Premiere". It indeed was a "world premiere", placing Baltimore on the proverbial hip hop map with a purpose. Instead of Baltimore vying for respect in the hip hop community, the Baltimore hip hop community brought respect to the inner city by showing that social activism is alive and well. With the spirit and soul of Bea Gaddy permeating the atmosphere throughout the three-day event, "Hip Hop For The Homeless" was an event for the ages, and it was fitting to have Jeff Majors close out "Hip Hop For The Homeless" with a succinct prayer. He ended with a joyous "hip hop", giving hope that this culture we call hip hop will continue that legacy of social activism. Baltimore's hip hop community and supporters was as positively reflective as the multitude of chrome rims at Rim Source. We should all be so proud!
For further information regarding "Hip Hop For The Homeless", the e-mail address is hiphopforthehomeless@gmail.com.
Hip hop is notoriously known for many negative connotations like misogyny, violent lyrics, advocating drug and alcohol use, as well as sexual promiscuity. When you listen to many songs and see images associated with hip hop, those negative aspects come to surface time and time again. So when hip hop showcases a positive spin, that needs to be addressed and shown to the masses as well. In the spirit of the Thanksgiving holiday, "Hip Hop For The Homeless" is the positivity in an otherwise bleak existence within the hip hop realm. The Baltimore hip hop community banded together, in the spirit of the late Bea Gaddy, to shed light and awareness on the homeless plight in America's 21st most populated city.
 |
| RIM SOURCE |
For a good 72-hour period, "Hip Hop For The Homeless" was collecting canned goods and clothing, all in support of the homeless and less fortunate in the surrounding area. The overall event culminated with a concert on the parking lot of Rim Source, a popular auto accessory spot located at 4810 Belair Road in Northeast Baltimore. 92Q hosted the event, with DJ Lil' Mic providing the sonic backdrop for much of the evening. It was very good seeing the community, especially those involved in hip hop, showing support and giving back. To many times in Baltimore, and similar urban landscapes, you here nothing but despair and negativity when discussing those of the hip hop persuasion. Looking around the vast parking lot area, you could see old and young, male and female, artist and audience, joining together for a common cause during this holiday season. Of course, what was missing from this historic event was the local news media. No Channel 11, no Channel 2, no Channel 13, no Channel 45, just street reporters ready to grace the microphones with tales of troubles and eventual hope.
 |
| HIP HOP FOR THE HOMELESS FOOD DRIVE SIGN |
There were so many artists on the bill, it could have been easy to forget what the event was about, but the organizers made sure to remind everyone that even though hip hop was the soundtrack for the evening, the movie in question was about the plights of those that may go through the holidays without a proper meal or clothing. What made "Hip Hop For The Homeless" a success, at least in theory, was the array of artists willing to give of their time and efforts for one common cause. Starting off the evening was The Bomb Squad, and they provided some lyrical treats for the crowd, making sure that jewels were dropped during their performance. Local hip hop legend Skarr Akbar came through as well, showing all why he is revered as one of Baltimore's dope emcees. A dope female emcee, Crystal, repping Queens, New York as well as Baltimore, also helped throughout the evening with the food drive. She also dropped knowledge and positivity for those in attendance. I had the chance to talk to her about how the hip hop community at large in Baltimore can give back and make a difference. It was good to hear her say that overall, this event was bigger than hip hop, but hip hop has a responsibility to give back. I agreed wholeheartedly with her.
 |
| DJ LIL' MIC |
Al Great and War Zone Snakes had the opportunity to drop their separate brands of Baltimore hip hop on the unsuspecting crowd. Baltimore Ray and Igima performed together, energizing the crowd on the brisk late-fall evening. While mingling throughout the crowd, I noticed Baltimore Hood News on the scene, confirming my earlier comment about "street reporters" being the only news media at the event, but that was fine, because news spreads through the underground like wildfire. Si Notes, voted "Best Female MC" in the Baltimore City Paper, showed the Rim Source crowd why she was deserving of the crown. With a partner in tow, Si Notes captivated the crowd with her flow and charisma. Next on the bill was a treat, the G Boyz, a group of Cecil Elementary School students. They showed confidence and swagger as the crowd at Rim Source cheered them on.
 |
| SUPPORTERS OF THE CAUSE |
Canned foods and gently used clothing poured in throughout the evening, with cars and vans pulling up to the Northeast Baltimore location throughout the evening. Even though there was a party atmosphere, the city showed that it had heart and compassion by showing and proving. Caddy The Don, using his performance as video material, came through with his Baltimore version of "BMF", shouting out Little Melvin and other Baltimore street individuals of years past. Even though it might be misconstrued as negative, given the circumstances of the food drive, you could tell that there was a spirit of redemption within the lyrical content. Even with negativity on the surface, the positive could be seen once you went below that surface. 100 Grandman was next, bringing some reality-based lyrics to the masses.
 |
| GOSPEL HARPIST JEFF MAJORS |
To my surprise, while observing the performance and surveying the crowd, Jeff Majors, the gospel musician and harpist, walked my direction. It was a pleasant surprise, so I introduced myself and noticed his humble, yet powerful demeanor. He was one of the organizers that constructed such a successful event, so it was an honor to be in his presence. I also had the pleasure of speaking briefly with Matthew Rice, known throughout the area as Mateo Blu. Mateo Blu is an artist, recognized for his various portrayals of urban life within his unique artwork. He was gracious enough to donate one of his creations, entitled "Destined". Proceeds from a raffle for the beautiful piece of art went towards "Hip Hop For The Homeless". A lucky winner was chosen at the end of the performances.
Before the end of the charity event, a few others performed, such as Poetic Just/Us, a gospel-flavored singer/emcee/poet, bringing a different flair to "Hip Hop For The Homeless". It was definitely good to see and hear spiritual-based artistry at the event, even if the sound quality during her performance left a little to be desired. As they say, "the devil stayed busy". Charm City C and T Sizzle, Authentic John Doe, D-Boi, and Brodie also showcased material on a local level, garnering crowd support during their respective sets. Towards the end of the evening, Fly Tone, Lo Boyz, and J Ruck performed for the crowd that stayed attentive during the close to four hour performance span. Closing out the evening was Guttaman, ending things with "World Premiere". It indeed was a "world premiere", placing Baltimore on the proverbial hip hop map with a purpose. Instead of Baltimore vying for respect in the hip hop community, the Baltimore hip hop community brought respect to the inner city by showing that social activism is alive and well. With the spirit and soul of Bea Gaddy permeating the atmosphere throughout the three-day event, "Hip Hop For The Homeless" was an event for the ages, and it was fitting to have Jeff Majors close out "Hip Hop For The Homeless" with a succinct prayer. He ended with a joyous "hip hop", giving hope that this culture we call hip hop will continue that legacy of social activism. Baltimore's hip hop community and supporters was as positively reflective as the multitude of chrome rims at Rim Source. We should all be so proud!
 |
| A SPECIAL HIP HOP FOR THE HOMELESS MOMENT |
For further information regarding "Hip Hop For The Homeless", the e-mail address is hiphopforthehomeless@gmail.com.
"THE HIP HOP SHOW" AT 5 SEASONS
Written by WISDOM
5 Seasons is a hotbed for local Baltimore-based talent, especially from a hip hop perspective. Sunday night was no different as artists from the metropolitan area made their presence felt at the venue located at 830 Guilford Avenue. Billed as “The Hip Hop Show”, this hip hop extravaganza allowed local artists to showcase their skills and network at the same time. Hosted by the glamorous Mz Undastood from Da Beat 1650-AM, “The Hip Hop Show” was another cog in the machine for hip hop unity in the Baltimore-Washington region. DJ TNT provided the turntable wizardry for the evening, keeping the positive hip hop vibes flowing.
Even though the venue was not full to capacity for most of the night, there was definitely an air of excitement and anticipation from the somewhat sparse crowd. DJ TNT played underground hip hop staples throughout the evening, ranging from Jay-Z, Biggie, Wu-Tang Clan, and other notables. Inside 5 Seasons, many local artists and luminaries were present to show support for “The Hip Hop Show”. Consumer Voice Entertainment Group CEO Lew Williams came to lend support for the hip hop cause, along with emcees Ahmed The Last Born Child, E.N.V.I.E., Slay, and others. It was definitely a good sight to see the love and support flowing within the venue. Because 5 Seasons has a relaxed vibe with its décor, it appeared that most inside were at ease before the event started, either enjoying the television monitors throughout, relaxing on the sofas with drinks, or just networking and politicking with one another.
Just before the performances began, I had the opportunity to sit down and conduct a brief interview with one of the performers Yahkeem. Yahkeem definitely stood out with his Twitter self-promotion t-shirt denoting “@Yahkeem”. Yahkeem was a down-to-earth artist, willing to discuss his influences, upbringing, and vision for his music overall (there will be an article on the interview forthcoming). He showed during our brief conversation that he is poised to showcase his artistic passion for all to witness.
Mz. Undastood graced the microphone with her presence, alerting all in attendance that the show was to begin. First on the bill for the evening was Dunny, an East Baltimore-based artist. He displayed grit throughout his performance, delivering a slow-paced banger first. This song gave way to another joint that captured the attention of the crowd. Dunny let the crowd know that his final song, “Feel The Pain”, was an inspirational cut, and brought a rhyme accomplice by the name TX on stage with him. They both displayed a double-time flow, with TX standing out with his command on the microphone. Once Dunny finished his set, Mz. Undastood gave him an opportunity to talk about his music. Dunny announced that Grind Time is a new album coming out, and also discussed how Baltimore hip hop has influenced him.
Next on stage was Kaspa, a relatively new emcee on the horizon who has been recently featured in The Source Magazine. It was quite evident that this white emcee represented hip hop to the fullest, starting off with “Where I’m From”, a neighborhood anthem for his beloved O’Donnell Heights community. This song prepped the crowd for more from Kaspa, who blessed the crowd with two more songs to round out his set. Kaspa displayed versatility with his flow, while maintaining his grittiness throughout his spirited performance. After his performance, he told the crowd about production from local hip hop head Skarr Akbar, who produced the three performed cuts for the evening. Kaspa also promoted his newest release, The Past, The Present, The Future. Once prompted by Mz. Undastood, Kaspa made sure to advise everyone in attendance that he could be reached via e-mail at kaspa443@yahoo.com or website at www.reverbnation.com/kaspa443.
Yahkeem, a street rhymer that has called New York, New Orleans, as well as Baltimore home, hit the stage next. Yahkeem wasted no time with his rough, rugged delivery, touching on tales of urban living with his first song. This song segued into the next profane cut about females, definitely striking a chord in the mostly male audience. His third selection was a song fueled by hating individuals, and the cut was met with some positive results. Overall, Yahkeem stayed true to his reality-based roots, spitting lyrics with conviction. After his performance, he told the audience during the artist introduction phase with Mz. Undastood about a collaboration with Nephew, another artist slated to perform later in the evening. Yahkeem urged the crowd to follow him on Twitter via @Yahkeem.
Mz. Undastood then took the time to not only shout out Da Beat 1650-AM and her program “Konsider Dis”, which has been a huge support for DMV-based hip hop artists, but to educate current and potential artists. She urged the artists that they are missing a huge opportunity by not submitting their music to the station and program, to the tune of $5500.00 per quarter for royalties when registered with BMI (Broadcast Music, Incorporated). BMI is an entity that collects license fees for songwriters and artists in order to compensate them with royalties. It was definitely insightful for those in attendance to hear an actual radio personality break down the dynamics of royalties from a business standpoint; that is something needed in today’s independent music community. Along with DJ TNT, Mz. Undastood is using “Konsider Dis” as a way to lend a voice to the underground, independent hip hop community.
The energy level increased once the next artist, Papi The General, and his small entourage hit the 5 Seasons stage. Dressed in military fatigues and boots, you could sense that Papi indeed was “The General” on stage, with his commanding presence. From a visual standpoint, Papi The General and entourage captivated the crowd with the American flag waving onstage. The first cut performed by the artist showed his allegiance to his military mindset, a good analogy with the war in the streets. His second song, “Amazing”, showcased Sharlee Rose, a dope female vocalist. Sharlee Rose captivated the audience with her vocal abilities on both the second and third selections for Papi The General, even coming into the crowd to sing some flirtatious lyrics to a surprised emcee, E.N.V.I.E. Once the electrified performance was over, Papi The General shared his heartfelt story about being homeless, and his experience in the military for six years. This moment showed just what hip hop can offer, a way to creatively express whatever ills an individual may have experienced in life. You can reach Papi The General at http://www.papithegeneral.com/.
Jay McGraw, artist and CEO for M.A.M. Records, allowed his presence be felt as soon as he touched the microphone. He asked for a brief moment of silence for K Swift and other fallen soldiers, before launching into “Grand Opening”, from his Grand Opening mixtape. The second song performed by McGraw was assisted by Dubbs Lane, a very dope lyricist who showcased his skills and persona while on the microphone. Jay McGraw also allowed another associate to shine, P-Shellz, who contributed a brief freestyle to the 5 Seasons contingent. McGraw showed that he is not only an artist, but a businessman and humanitarian, by detailing his 2nd annual food drive where food baskets will be passed out the day before Thanksgiving to needy families. Jay McGraw let the audience know that he could be reached via website at www.reverbnation.com/jaymcgraw or www.facebook.com/therealjaymcgraw. Dubbs Lane also let the crowd know that he was a force to be reckoned with, and advised those in attendance to hit him up at http://dubbslane.bandcamp.com/ to catch his Everybody Hates Chris…But Loves Dubbs album. He’s definitely an artist to be on everyone’s hip hop radar. Singleton Newman even came on stage to promote New Hope Management. As CEO for New Hope Management, she helps with management and talent booking throughout the DMV region and beyond.
During a brief intermission, DJ TNT continued to hit the crowd with underground hip hop music, taking the crowd back to an era where beats and rhymes were key. Once the crowd was fed another helping of good ol’ hip hop, the artist of the moment hit the stage. Nephew was on hand to celebrate, promote and preview his new mixtape Emotions Run Deep. Upon hitting the stage, it was evident through the crowd response that 5 Seasons was ready for the Nephew experience. Nephew was joined on his first joint by a female emcee, and they commenced to let the crowd know that "money be the topic here, paper be the souvenir". 'Phew then hit the audience with a more uptempo cut, being joined by DJ TNT. Quite a few in 5 Seasons knew word for word every joint presented by Nephew, letting him know that Emotions Run Deep had support in the streets. He then kicked an impromptu freestyle before going into his verse on "Doing Me". After some interaction with the 5 Seasons audience and DJ TNT, the "Clap Back" beat from Ja Rule dropped, allowing the artist of the moment to spit some heat. He wasn't through though; pleading with DJ TNT, "BMF" was next on the agenda, with 'Phew adding his own flair to the Rick Ross banger for the summer of 2010. It appeared that Nephew could have performed for the rest of the night, but the gems he had in store for the crowd would have to wait. He did let everyone in the venue to follow his music on www.reverbnation.com/bmorenephew. Following Nephew on stage was an emcee ready to show and prove on the open mic tip, but after he was finished, DJ TNT shut down the rest of the freestyle festivities, at least for the evening.
The party wasn't over at 5 Seasons after "The Hip Hop Show" performances, as DJ TNT supplied the music to rock the spot for the remainder of the evening. All in all, it was another successful evening for underground, independent hip hop in the region. More and more, I'm seeing the unity that has been lacking with the Baltimore hip hop community, and it was indeed a good thing. Much props are in order for 5 Seasons supplying the venue, Mz. Undastood for doing an excellent job hosting and keeping the show flowing, and DJ TNT for providing the musical backdrop on the turntables. Credit is definitely in order as well for each of the artists performing, because it's not going to take just one emcee to "put Baltimore on his or her back", so to speak. It's going to be a collective effort from these and many more artists in order for those outside the Baltimore and DMV periphery to recognize real. Let's hope for more positive events like this to spread throughout the region.
5 Seasons is a hotbed for local Baltimore-based talent, especially from a hip hop perspective. Sunday night was no different as artists from the metropolitan area made their presence felt at the venue located at 830 Guilford Avenue. Billed as “The Hip Hop Show”, this hip hop extravaganza allowed local artists to showcase their skills and network at the same time. Hosted by the glamorous Mz Undastood from Da Beat 1650-AM, “The Hip Hop Show” was another cog in the machine for hip hop unity in the Baltimore-Washington region. DJ TNT provided the turntable wizardry for the evening, keeping the positive hip hop vibes flowing.
Even though the venue was not full to capacity for most of the night, there was definitely an air of excitement and anticipation from the somewhat sparse crowd. DJ TNT played underground hip hop staples throughout the evening, ranging from Jay-Z, Biggie, Wu-Tang Clan, and other notables. Inside 5 Seasons, many local artists and luminaries were present to show support for “The Hip Hop Show”. Consumer Voice Entertainment Group CEO Lew Williams came to lend support for the hip hop cause, along with emcees Ahmed The Last Born Child, E.N.V.I.E., Slay, and others. It was definitely a good sight to see the love and support flowing within the venue. Because 5 Seasons has a relaxed vibe with its décor, it appeared that most inside were at ease before the event started, either enjoying the television monitors throughout, relaxing on the sofas with drinks, or just networking and politicking with one another.
Just before the performances began, I had the opportunity to sit down and conduct a brief interview with one of the performers Yahkeem. Yahkeem definitely stood out with his Twitter self-promotion t-shirt denoting “@Yahkeem”. Yahkeem was a down-to-earth artist, willing to discuss his influences, upbringing, and vision for his music overall (there will be an article on the interview forthcoming). He showed during our brief conversation that he is poised to showcase his artistic passion for all to witness.
Mz. Undastood graced the microphone with her presence, alerting all in attendance that the show was to begin. First on the bill for the evening was Dunny, an East Baltimore-based artist. He displayed grit throughout his performance, delivering a slow-paced banger first. This song gave way to another joint that captured the attention of the crowd. Dunny let the crowd know that his final song, “Feel The Pain”, was an inspirational cut, and brought a rhyme accomplice by the name TX on stage with him. They both displayed a double-time flow, with TX standing out with his command on the microphone. Once Dunny finished his set, Mz. Undastood gave him an opportunity to talk about his music. Dunny announced that Grind Time is a new album coming out, and also discussed how Baltimore hip hop has influenced him.
Next on stage was Kaspa, a relatively new emcee on the horizon who has been recently featured in The Source Magazine. It was quite evident that this white emcee represented hip hop to the fullest, starting off with “Where I’m From”, a neighborhood anthem for his beloved O’Donnell Heights community. This song prepped the crowd for more from Kaspa, who blessed the crowd with two more songs to round out his set. Kaspa displayed versatility with his flow, while maintaining his grittiness throughout his spirited performance. After his performance, he told the crowd about production from local hip hop head Skarr Akbar, who produced the three performed cuts for the evening. Kaspa also promoted his newest release, The Past, The Present, The Future. Once prompted by Mz. Undastood, Kaspa made sure to advise everyone in attendance that he could be reached via e-mail at kaspa443@yahoo.com or website at www.reverbnation.com/kaspa443.
Yahkeem, a street rhymer that has called New York, New Orleans, as well as Baltimore home, hit the stage next. Yahkeem wasted no time with his rough, rugged delivery, touching on tales of urban living with his first song. This song segued into the next profane cut about females, definitely striking a chord in the mostly male audience. His third selection was a song fueled by hating individuals, and the cut was met with some positive results. Overall, Yahkeem stayed true to his reality-based roots, spitting lyrics with conviction. After his performance, he told the audience during the artist introduction phase with Mz. Undastood about a collaboration with Nephew, another artist slated to perform later in the evening. Yahkeem urged the crowd to follow him on Twitter via @Yahkeem.
Mz. Undastood then took the time to not only shout out Da Beat 1650-AM and her program “Konsider Dis”, which has been a huge support for DMV-based hip hop artists, but to educate current and potential artists. She urged the artists that they are missing a huge opportunity by not submitting their music to the station and program, to the tune of $5500.00 per quarter for royalties when registered with BMI (Broadcast Music, Incorporated). BMI is an entity that collects license fees for songwriters and artists in order to compensate them with royalties. It was definitely insightful for those in attendance to hear an actual radio personality break down the dynamics of royalties from a business standpoint; that is something needed in today’s independent music community. Along with DJ TNT, Mz. Undastood is using “Konsider Dis” as a way to lend a voice to the underground, independent hip hop community.
The energy level increased once the next artist, Papi The General, and his small entourage hit the 5 Seasons stage. Dressed in military fatigues and boots, you could sense that Papi indeed was “The General” on stage, with his commanding presence. From a visual standpoint, Papi The General and entourage captivated the crowd with the American flag waving onstage. The first cut performed by the artist showed his allegiance to his military mindset, a good analogy with the war in the streets. His second song, “Amazing”, showcased Sharlee Rose, a dope female vocalist. Sharlee Rose captivated the audience with her vocal abilities on both the second and third selections for Papi The General, even coming into the crowd to sing some flirtatious lyrics to a surprised emcee, E.N.V.I.E. Once the electrified performance was over, Papi The General shared his heartfelt story about being homeless, and his experience in the military for six years. This moment showed just what hip hop can offer, a way to creatively express whatever ills an individual may have experienced in life. You can reach Papi The General at http://www.papithegeneral.com/.
Jay McGraw, artist and CEO for M.A.M. Records, allowed his presence be felt as soon as he touched the microphone. He asked for a brief moment of silence for K Swift and other fallen soldiers, before launching into “Grand Opening”, from his Grand Opening mixtape. The second song performed by McGraw was assisted by Dubbs Lane, a very dope lyricist who showcased his skills and persona while on the microphone. Jay McGraw also allowed another associate to shine, P-Shellz, who contributed a brief freestyle to the 5 Seasons contingent. McGraw showed that he is not only an artist, but a businessman and humanitarian, by detailing his 2nd annual food drive where food baskets will be passed out the day before Thanksgiving to needy families. Jay McGraw let the audience know that he could be reached via website at www.reverbnation.com/jaymcgraw or www.facebook.com/therealjaymcgraw. Dubbs Lane also let the crowd know that he was a force to be reckoned with, and advised those in attendance to hit him up at http://dubbslane.bandcamp.com/ to catch his Everybody Hates Chris…But Loves Dubbs album. He’s definitely an artist to be on everyone’s hip hop radar. Singleton Newman even came on stage to promote New Hope Management. As CEO for New Hope Management, she helps with management and talent booking throughout the DMV region and beyond.
During a brief intermission, DJ TNT continued to hit the crowd with underground hip hop music, taking the crowd back to an era where beats and rhymes were key. Once the crowd was fed another helping of good ol’ hip hop, the artist of the moment hit the stage. Nephew was on hand to celebrate, promote and preview his new mixtape Emotions Run Deep. Upon hitting the stage, it was evident through the crowd response that 5 Seasons was ready for the Nephew experience. Nephew was joined on his first joint by a female emcee, and they commenced to let the crowd know that "money be the topic here, paper be the souvenir". 'Phew then hit the audience with a more uptempo cut, being joined by DJ TNT. Quite a few in 5 Seasons knew word for word every joint presented by Nephew, letting him know that Emotions Run Deep had support in the streets. He then kicked an impromptu freestyle before going into his verse on "Doing Me". After some interaction with the 5 Seasons audience and DJ TNT, the "Clap Back" beat from Ja Rule dropped, allowing the artist of the moment to spit some heat. He wasn't through though; pleading with DJ TNT, "BMF" was next on the agenda, with 'Phew adding his own flair to the Rick Ross banger for the summer of 2010. It appeared that Nephew could have performed for the rest of the night, but the gems he had in store for the crowd would have to wait. He did let everyone in the venue to follow his music on www.reverbnation.com/bmorenephew. Following Nephew on stage was an emcee ready to show and prove on the open mic tip, but after he was finished, DJ TNT shut down the rest of the freestyle festivities, at least for the evening.
The party wasn't over at 5 Seasons after "The Hip Hop Show" performances, as DJ TNT supplied the music to rock the spot for the remainder of the evening. All in all, it was another successful evening for underground, independent hip hop in the region. More and more, I'm seeing the unity that has been lacking with the Baltimore hip hop community, and it was indeed a good thing. Much props are in order for 5 Seasons supplying the venue, Mz. Undastood for doing an excellent job hosting and keeping the show flowing, and DJ TNT for providing the musical backdrop on the turntables. Credit is definitely in order as well for each of the artists performing, because it's not going to take just one emcee to "put Baltimore on his or her back", so to speak. It's going to be a collective effort from these and many more artists in order for those outside the Baltimore and DMV periphery to recognize real. Let's hope for more positive events like this to spread throughout the region.
Saturday, November 20, 2010
"The Intellectual Side of Hip Hop"
Written by: WISDOM
With the recent release of the Jay-Z book "Decoded", the literary aspect of hip hop has been illuminated. "Decoded" originally was envisioned as a biographical release on the life and music of Shawn Corey Carter, but that written collaboration with journalist dream hampton was not released. Instead, "Decoded" is a collection of Jay-Z lyrics, walking readers through the mind of arguably hip hop's most influential figure. The book is garnering much attention from different walks of life, including inclusion on Oprah's Ultimate Favorite Things listing.
There is a proliferation of hip hop-themed writings from various entities. You have the aforementioned "Decoded" by Jay-Z. "The Anthology Of Rap", constructed in part by editors Adam Bradley and Andrew DuBois, is a collection of more than three hundred hip hop lyrics cross-referencing thirty-plus years of the culture. "Wretched, Pitiful, Poor, Blind & Naked" is the first book from The Clipse own Malice, detailing experiences from the eyes of a man who has recently found Jesus as the source of his inspiration. Kanye West released a book entitled "Kanye West Presents Thank You and You're Welcome", a compilation of witty West rants and sayings. Styles P wrote his first novel, "Invincible", as an urban novel about the trappings of the street. More literary projects are slated from a hip hop slant, including writings from Nas, Common.
What is this signaling? It seems that it's a two-sided coin. On one side, you have artists willing, and able, to go outside of their familiar comfort zone to put pen to paper from a somewhat different angle. Hip hop artists are showing that those skills that have been cultivated to rock microphones can now be applied in a somewhat different manner for literary consumption. It also shows a literary community willing to accept what the voices of hip hop have to say. There was a time when hip hop culture was seen as a fad, but now because it's a cash cow, it's taken more seriously. I'm definitely not mad at either side of that proverbial coin, because hip hop has a voice in literature, and the masses are ready to read what we have to say, instead of just hearing it "twenty times per day", as Pharoahe Monch so eloquently put it before.
Of course, there are some question marks. For instance, with "The Anthology Of Rap" being a recent release, information has surfaced about inaccuracies with the lyric transcriptions throughout. It seems that not enough research was put forth to ensure that the lyrical content inside "The Anthology Of Rap" was on point and fully representative of the words of the artists included. Unfortunately, there may be some glaring errors that may taint the words, not giving the readers true context into the minds of some of hip hop's finest. In addition, I'm hoping that the books that are going to be released are of good literary quality. There are a plethora of books on shelves that are not of good quality, and I don't want hip hop artists to be classified as uneducated individuals not able to articulate themselves properly. With hip hop intellectuals like Dr. Michael Eric Dyson and Dr. Cornel West lending positivity to hip hop as a whole, I sense that the culture will expand in a literary sense. I'm proud of where the culture is headed, as long as there is advancement in different facets. Before long, I'll be throwing my hat in the hip hop literature ring, so I'm excited!
WE ARE HIP HOP!!!
With the recent release of the Jay-Z book "Decoded", the literary aspect of hip hop has been illuminated. "Decoded" originally was envisioned as a biographical release on the life and music of Shawn Corey Carter, but that written collaboration with journalist dream hampton was not released. Instead, "Decoded" is a collection of Jay-Z lyrics, walking readers through the mind of arguably hip hop's most influential figure. The book is garnering much attention from different walks of life, including inclusion on Oprah's Ultimate Favorite Things listing.
There is a proliferation of hip hop-themed writings from various entities. You have the aforementioned "Decoded" by Jay-Z. "The Anthology Of Rap", constructed in part by editors Adam Bradley and Andrew DuBois, is a collection of more than three hundred hip hop lyrics cross-referencing thirty-plus years of the culture. "Wretched, Pitiful, Poor, Blind & Naked" is the first book from The Clipse own Malice, detailing experiences from the eyes of a man who has recently found Jesus as the source of his inspiration. Kanye West released a book entitled "Kanye West Presents Thank You and You're Welcome", a compilation of witty West rants and sayings. Styles P wrote his first novel, "Invincible", as an urban novel about the trappings of the street. More literary projects are slated from a hip hop slant, including writings from Nas, Common.
What is this signaling? It seems that it's a two-sided coin. On one side, you have artists willing, and able, to go outside of their familiar comfort zone to put pen to paper from a somewhat different angle. Hip hop artists are showing that those skills that have been cultivated to rock microphones can now be applied in a somewhat different manner for literary consumption. It also shows a literary community willing to accept what the voices of hip hop have to say. There was a time when hip hop culture was seen as a fad, but now because it's a cash cow, it's taken more seriously. I'm definitely not mad at either side of that proverbial coin, because hip hop has a voice in literature, and the masses are ready to read what we have to say, instead of just hearing it "twenty times per day", as Pharoahe Monch so eloquently put it before.
Of course, there are some question marks. For instance, with "The Anthology Of Rap" being a recent release, information has surfaced about inaccuracies with the lyric transcriptions throughout. It seems that not enough research was put forth to ensure that the lyrical content inside "The Anthology Of Rap" was on point and fully representative of the words of the artists included. Unfortunately, there may be some glaring errors that may taint the words, not giving the readers true context into the minds of some of hip hop's finest. In addition, I'm hoping that the books that are going to be released are of good literary quality. There are a plethora of books on shelves that are not of good quality, and I don't want hip hop artists to be classified as uneducated individuals not able to articulate themselves properly. With hip hop intellectuals like Dr. Michael Eric Dyson and Dr. Cornel West lending positivity to hip hop as a whole, I sense that the culture will expand in a literary sense. I'm proud of where the culture is headed, as long as there is advancement in different facets. Before long, I'll be throwing my hat in the hip hop literature ring, so I'm excited!
WE ARE HIP HOP!!!
Wednesday, November 17, 2010
“FOR COLORED BOYS”
Written by: Wisdom
The media has been enamored with the plights and struggles of my Nubian sisters for quite a while now. Television and cinema have jumped on the proverbial bandwagon in telling these stories, often at the expense of the black male. I’m definitely not saying these stories of struggle and overcoming aren’t worth their weight in gold, but a shifting in paradigm has to take place. “For Colored Girls”, the new movie from Tyler Perry, based on the stage play “For Colored Girls Who Have Considered Suicide When The Rainbow Is Enuf” (written by Ntozake Shange), falls in place with this very mindset that has overtaken entertainment and media. Why is that? Tyler Perry has, in essence, based his career on catering to this very demographic: church-going, black women. This target audience serves as the basis for his storylines. It’s a very solid demographic indeed, because the female black contingent are loyal to a fault when it comes to anything Perry touches. No haterade drinking on my part, because I am very happy for the continued success of this powerful brother in the ongoing saga of mainstream acceptance. I have noticed, however, that the characters, catering to women of color, can be somewhat one-dimensional in tone and nature. The women, with all of their flaws and shortcomings, are victorious in the end, while the male images often depicted are of the trifling, oversexed, non-committal types.
I know that there are black men that fit the stereotypical mold presented in all types of media. My qualms would be the one-sided portrayal, the lack of diversity, and overall negative slant when showcasing a brother of color. This doesn’t bode well, because just as little African-American and Latina ladies need a positive image, so does the male of color. It seems to me that the common perception of the black male is a drug-dealing, thug life-living, womanizing, child-abandoning, non-working billboard. To make matters worse, whatever ills beset upon women are caused by the black male. The media has perpetrated this since the beginning of cinema, and even prior to this. Even taking a look at “Birth Of A Nation”, the stereotype was put on celluloid for public consumption.
Black men are so much more than what is depicted in constant images. We have our own set of problems and issues that need to be resolved, but those problems are not the end-all be-all. We are well-rounded, productive, three-dimensional entities. We love our women. We love our children. We want the best for our families, just like every other facet of society. Are those images being seen or perpetuated on a consistent basis? The short answer is no. I say short answer because this image has been infiltrated in the psyches of many for a good while now. There was a time when positive black male images could be seen on the big screen and television. There now is a chasm separating us from those images now.
If art imitates life, I know a plethora of men that are not of the stereotypical nature. From my two father in- laws (I still claim my ex-wife’s father as an in-law), to my best friends, these are individuals not considered trifling, women-beating, dead beat fathers. On the contrary, each is a positive role model in the home and in the community. I’m pretty sure other men can say the same thing from their perspective. Truthfully, life has a way of being adjusted to fit within the confines of art, instead of all facets being represented.
In the midst of me writing this diatribe, I came across an intriguing piece of film: “Diary Of A Tired Black Man”. More of an indictment on stereotypical black male images than a female-bashing movie, this film examined the black male/female dynamics in such a way that we just don’t see. Ultimately, the core relationship with the primary characters dissolved, after continued verbal and mental abuse from the feminine character. Dialogue from both genders displayed the disparity between the sexes when the issue of black relationships was discussed. On one hand, there was the constant notion of the “strong black woman” being the central discussion point for the female characters, while the male characters mulled over the notion of “angry black woman syndrome”. I could identify with much of the dialogue throughout the underrated and relatively unknown film. This type of moviemaking doesn’t get the press or push from the filmmaking machine, it seems. A movie like this is the antithesis of Tyler Perry-based films. I noticed an honesty in “Diary Of A Tired Black Man” that is seldom seen in today’s media world. Even though the relationship between the primary characters deteriorated, that inbalance wasn’t depicted with the male being stereotypically depicted. It actually was a good movie, because intertwined with the storyline was a semi-documentary spin where individuals were asked different questions relating the the movie and relationships.
So what can be done for a shift in balance? Opening honest, respectful dialogue is one thing. Instead of harping on the same clichéd views of what makes a “real black man” or “strong black woman”, individuals can take stock on what they do and don’t bring to the table as a person. We all have baggage and unresolved issues, either from childhood or relationships. I know that I am not pristine or perfect by any means. Being transparent, I have contributed to relationship and marital issues. I’ve done things not deemed right by most. I have anger in my heart at times, and I can shut down emotionally as well. To put things in perspective, however, I also have compassion and forgiveness. I’ve recognized my flaws, and I continually work to be a better man, for my own sake as well as those within my family and circle. That is the true sign of someone strong, recognizing those flaws and not letting imperfections dictate my existence. I think that once both genders realize that we are all flawed and are trying to be better, then healing will take place. I just hope this healing takes place before it’s too late. For all the “colored boys”, keep your heads held high, be the best you can be, and respect yourself and others to the fullest. Don’t let music, media, or outside influences deter you from being a great person. The potential is there, you just have to realize it fully. This same advice I will give to my “colored girls”, because you are precious gems. Don’t let a bad apple spoil your ultimate happiness. Be happy with yourselves, and life will fall properly into place. Eventually these “colored” folks will be vibrant and thriving, and the world will be a better place!
The media has been enamored with the plights and struggles of my Nubian sisters for quite a while now. Television and cinema have jumped on the proverbial bandwagon in telling these stories, often at the expense of the black male. I’m definitely not saying these stories of struggle and overcoming aren’t worth their weight in gold, but a shifting in paradigm has to take place. “For Colored Girls”, the new movie from Tyler Perry, based on the stage play “For Colored Girls Who Have Considered Suicide When The Rainbow Is Enuf” (written by Ntozake Shange), falls in place with this very mindset that has overtaken entertainment and media. Why is that? Tyler Perry has, in essence, based his career on catering to this very demographic: church-going, black women. This target audience serves as the basis for his storylines. It’s a very solid demographic indeed, because the female black contingent are loyal to a fault when it comes to anything Perry touches. No haterade drinking on my part, because I am very happy for the continued success of this powerful brother in the ongoing saga of mainstream acceptance. I have noticed, however, that the characters, catering to women of color, can be somewhat one-dimensional in tone and nature. The women, with all of their flaws and shortcomings, are victorious in the end, while the male images often depicted are of the trifling, oversexed, non-committal types.
I know that there are black men that fit the stereotypical mold presented in all types of media. My qualms would be the one-sided portrayal, the lack of diversity, and overall negative slant when showcasing a brother of color. This doesn’t bode well, because just as little African-American and Latina ladies need a positive image, so does the male of color. It seems to me that the common perception of the black male is a drug-dealing, thug life-living, womanizing, child-abandoning, non-working billboard. To make matters worse, whatever ills beset upon women are caused by the black male. The media has perpetrated this since the beginning of cinema, and even prior to this. Even taking a look at “Birth Of A Nation”, the stereotype was put on celluloid for public consumption.
Black men are so much more than what is depicted in constant images. We have our own set of problems and issues that need to be resolved, but those problems are not the end-all be-all. We are well-rounded, productive, three-dimensional entities. We love our women. We love our children. We want the best for our families, just like every other facet of society. Are those images being seen or perpetuated on a consistent basis? The short answer is no. I say short answer because this image has been infiltrated in the psyches of many for a good while now. There was a time when positive black male images could be seen on the big screen and television. There now is a chasm separating us from those images now.
If art imitates life, I know a plethora of men that are not of the stereotypical nature. From my two father in- laws (I still claim my ex-wife’s father as an in-law), to my best friends, these are individuals not considered trifling, women-beating, dead beat fathers. On the contrary, each is a positive role model in the home and in the community. I’m pretty sure other men can say the same thing from their perspective. Truthfully, life has a way of being adjusted to fit within the confines of art, instead of all facets being represented.
In the midst of me writing this diatribe, I came across an intriguing piece of film: “Diary Of A Tired Black Man”. More of an indictment on stereotypical black male images than a female-bashing movie, this film examined the black male/female dynamics in such a way that we just don’t see. Ultimately, the core relationship with the primary characters dissolved, after continued verbal and mental abuse from the feminine character. Dialogue from both genders displayed the disparity between the sexes when the issue of black relationships was discussed. On one hand, there was the constant notion of the “strong black woman” being the central discussion point for the female characters, while the male characters mulled over the notion of “angry black woman syndrome”. I could identify with much of the dialogue throughout the underrated and relatively unknown film. This type of moviemaking doesn’t get the press or push from the filmmaking machine, it seems. A movie like this is the antithesis of Tyler Perry-based films. I noticed an honesty in “Diary Of A Tired Black Man” that is seldom seen in today’s media world. Even though the relationship between the primary characters deteriorated, that inbalance wasn’t depicted with the male being stereotypically depicted. It actually was a good movie, because intertwined with the storyline was a semi-documentary spin where individuals were asked different questions relating the the movie and relationships.
So what can be done for a shift in balance? Opening honest, respectful dialogue is one thing. Instead of harping on the same clichéd views of what makes a “real black man” or “strong black woman”, individuals can take stock on what they do and don’t bring to the table as a person. We all have baggage and unresolved issues, either from childhood or relationships. I know that I am not pristine or perfect by any means. Being transparent, I have contributed to relationship and marital issues. I’ve done things not deemed right by most. I have anger in my heart at times, and I can shut down emotionally as well. To put things in perspective, however, I also have compassion and forgiveness. I’ve recognized my flaws, and I continually work to be a better man, for my own sake as well as those within my family and circle. That is the true sign of someone strong, recognizing those flaws and not letting imperfections dictate my existence. I think that once both genders realize that we are all flawed and are trying to be better, then healing will take place. I just hope this healing takes place before it’s too late. For all the “colored boys”, keep your heads held high, be the best you can be, and respect yourself and others to the fullest. Don’t let music, media, or outside influences deter you from being a great person. The potential is there, you just have to realize it fully. This same advice I will give to my “colored girls”, because you are precious gems. Don’t let a bad apple spoil your ultimate happiness. Be happy with yourselves, and life will fall properly into place. Eventually these “colored” folks will be vibrant and thriving, and the world will be a better place!
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