The music is out there, we just have to stop being lazy and look a little harder for it in this technology age.

The world of Hip Hop is an interesting place to say the least.  The
artform is now entering its fifth decade (wow, that's a sobering
thought) and we've all seen so much happen along the way.  The music
has been the soundtrack to a lot of our life experiences in the
past-school, growing up, relationships, etc-and it continues so
presently.  Many of us remember the first time we heard Run DMC or NWA
or Outkast so vividly that it's truly hard to believe it was so long
ago.  I mean, Hip Hop helped shape my thought process personally, to a
certain extent, of course, listening to groups like Public Enemy, Eric
B. & Rakm, De La Soul, Goodie Mob, Common, Mos Def and many others.
This was at a time where there really weren't any other genres, so to
speak, but Hip Hop and it was something that was treasured by the
artists and fans alike.  The music oozed into your lifeblood and you
just couldn't get enough of it.

However, as has been the trend for the last decade, it seems that a
lot of the early followers of Hip Hop seem to be opting for other
genres of music to provide that audio backdrop for their daily
lives-both fans and artists alike.  Where the music seems to be losing
some of its initial "punch" and innovative spirit that captivated us
in the first place, audiences are going back to older R&B, Rock and
Jazz to get their musical voids filled.  Artists, as well, due to a
lack of inspiration amongst their peers in my opinion, are venturing
off and doing "other" musical endeavors.  Just check Andre 3000, Mos
Def, Lil Wayne, Kanye, Q-Tip, etc to see my point.  With labels
clamoring for the next "hit" and that methodology not working as
effectively nowadays, why aren't artists taking it back to just being
themselves and putting out the music they want-and us, too-to put out?

Let's face it:  I think we've all grown tired of artists from
different regions of the country trying to put out music that doesn't
necessarily sound like them in an effort to win (i.e. Fat Joe, Dipset,
Ice Cube, etc).  This is not a criticism, just a commentary because I
understand that this is called the music-BUSINESS for a reason.  Yet,
without the MUSIC, there is no business.  Feel me?  It's easy to get
lulled into believing that abandoning "you" to make a
"southern-sounding record," for instance, can be financially
rewarding.  However, when that is not really "you" and it's time for
the follow-up and the follow-up to that, it becomes apparent that that
really isn't genuine and the audiences tend to know it as well.  We've
seen artists win at this in the past, but that's not working as often
now as the transparency of the that tactic is ringing hollow.

As 2010 wore on, I really thought we'd get to witness a "changing of
the guard" and get some "quality" or more meaningful music back on the
radio and in stores.  We were hearing more songs from the likes of
B.o.B, for example, an artist that has depth and staying power in the
game.  Jay Electronica was burning up the airwaves as well
"exhibit"-ing that the fans are yearning for something substantial in
Hip Hop.  On top of that, we saw industry veteran, Fat Joe, shake off
any ideas of radio presence and put out an album, The Dark Side Vol:
1, that was in Joe's words "a real eye-opener [and] reminder to the
New York Hip Hop scene of, 'Yo, my man, this is what New York Hip Hop
is.' I ain't compromised the music, I ain't take no shortcuts."
Needless to say, I got excited; I'm not gonna front.  I'm a fan of
this music and I want to see it win.  Period.  However, as Jay
Electronica faded into the background for now with no follow-up single
or video for that matter and Joe's album not selling as originally
hoped, where do we go from here?

Keep hope, Hip Hop nation.  We did see 2010 end with some glimmers of
hope.  David Banner & 9th Wonder dropped a gem on us with Death Of A
Popstar showing Banner's intelligence and true gift as a rhymesayer
and Ghostface hit us with a straight heater in the form of The Apollo
Kids.  Also, Nicki Minaj and her Pink Friday showed audiences and
critics alike that she's a viable artist and continues to sell
extremely well proving that female MCs can still win in this game.
These are just a few of the more known cases of artists doing them and
putting out quality music for the fans.  The music is out there, we
just have to stop being lazy and look a little harder for it in this
technology age.

That takes me to my final and probably my most critical point.  I'm
tired of the public complaining about music; actually, I'm disgusted
by it.  We live in an era of search engines and the ability to buy
music for easily and readily than ever before.  A little-and I mean
little-bit of extra effort on iTunes or Amazon will unveil an entire
world of good music that suits your individual tastes and preferences.
 So, look!  Sometimes these digital retailers (I only mentioned two
and there are dozens and dozens)  are selling the music between $5 and
$7; so, there's no excuse to NOT buy music that is cheaper now than
during Hip Hop's heralded "golden age."  To put it in perspective, the
average price of a gallon of gas in 1993 was about $1.08 and the
average price of a CD was about $14.  Now, gas is over $3 a gallon and
you can buy music, albeit digital, for 7 bucks!  Do the math:  music
is one of the few commodities in this world that is actually getting
cheaper to buy, not more expensive.  There's really no excuse why
we're ALL not buying more music out there.

At the end of the day, Hip Hop needs more quality music to propel the
artform going forward or it risks being simply a platform for
advertisers to use to push their products.  We've already seen
McDonald's, Red Bull and Heineken use Hip Hop to reach their targeted
audiences which has proved lucrative for the artists involved.  But
what happens when that "platform," Hip Hop, continues its trend of
lackluster sales?  Will the sponsors that have NO stake in OUR artform
continue to look at it as a beneficial outlet?  The answer is simply:
No.  Unless the MUSIC is put first and foremost, the business will be
rendered moot and unnecessary.  These outside businesses and
industries came to Hip Hop because of what Hip Hop is and means to the
culture.  So, let's "right the ship" and get back to the beats and
rhymes of this great music because we all stand to benefit from it.

AMERICA WAKE UP!!!!!!! MY THOUGHTS ON THE AFTERMATH OF CONGRESS WOMAN GIFFORDD

The Hate that far right wing and tea party white america spits out in the name of so call"Take our country back" is causing this..PERIOD, POINT BLANK!!!!! Sensationalizing, Fear tactics,Properganda, is what the puppet masters(Conservative media) play to narrow minded people and pull the wool over their eyes. They talk about Obama's policies but i'm interested to see how republicans bring in no money and balance the budget. COME WITH REAL SOLUTIONS TO THE CURRENT STATE OF AFFAIRS AND JOIN IN TO STRAIGHTEN OUT THIS MESS THAT YOUR REPUBLICAN PARTY CREATED AND NOT BITCH AND CRY ON THE SIDE LINE!!!!!!!

CHUCK D SPEAKS ON THE SAD STATE OF HIP HOP

Public Enemy's leader speaks out against various topics within Hip Hop, discussing the importance of giving to communities, the downfall of American Hip Hop and Hip Hop media outlets.

Chuck D, always one to speak out on matters concerning Hip Hop, has recently released a letter to Davey D and Chuck "Jigsaw" Creekmur of AllHipHop.com. In the letter, the Public Enemy leader described the state of the culture and more.

"As far as RAP and HIP-HOP, it's like USA Olympic basketball, the world has parity now and have surpassed the USA in ALL of the basic fundamentals of HIP-HOP - TURNTABLISM,  BREAKING,  GRAFFITI, and now EMCEEING with succinct mission, meaning and skill. Skill-wise rappers spitting three languages, have created super rappers to move the crowd with intensity and passion. The 'arrogant' American comes in blackface, but if there was a HIP-HOP or Rap Olympics, I really don't think the United States would get Gold, Silver or Brass or even ass for that sake."

Not only criticizing the art form, he also critiqued Hip Hop news outlets, noting that it needs to improve in the way it documents the culture. 

"HIP-HOP NEWS spreads like any other mainstream NEWS in America. The garbage that's unfit to print has now floated on websites and blogs like sh*t. For example a rapper working in the community gets obscured while if that same rapper robbed a gas station he'd get top coverage and be label a 'rapper' while getting his upcoming or current music somewhat put on blast, regardless of its quality which of course is subjective like any other art. RAP sites and blogs are mimicking the New York POST." 

In adding to this, he expressed the need to contribute to the community, citing the significant impact this music has today.

"Since the music has so much power, and image has become everything to the point that it can dictate the direction of a person in their life, it is my mission now to really become a 'freedom fighter' and stop this radiation. With Jay-Z and others who, for years would faint their worth, the statement of 'with great power comes great responsibility,' is more true. Words are powerful and they can both start wars and bring peace. This cannot be taken lightly. Its important for the words to be body with the community. If not one dime of $250 million doesn't benefit the people who contribute to it then why does that warrant coverage above the will and effort of many in the music who have done great things. Never have so many been pimped by so few. "

Without stopping there, Chuck also aimed his pen at Viacom and others, saying things need to change for the better, in his eyes, and that he intends to do something about it.

"To dictate to a community and not even live or be with the people is offensive. VIACOMs reach into Africa to turn HIP-HOP in to Amerfrica, which is as exploitative as those slave-makers who carried us across on boats. The decisions made in a boardroom in New York City while these cats scurry to their high rises, and suburban mansions from cultural profiteering must stop. And I'm going to do something about it. Never have so many been pimped by so few."

Furthermore, he explained his reasoning for writing this letter, discussing the culture and how he chooses to live in order to steer away from materialism.

"I drive a '94 Montero, a '97 Acura, and have no expensive jewelry. There is nothing on this planet materially that is better than myself. This is what I instill in many doing Hip-Hop that nothing is greater than what is given. These games of people doing anything to get things has seeped into my way so therefore witness some radical virtual things coming from me in protecting the art-form of Hip-Hop. Never have so many been pimped by so few. So, I'm going after the few. I'm tired of it." 

Are We Forgetting About Yesterday’s Producers

Earlier in the week, I was discussing how Pete Rock is getting his “just dessert” now by working with Kanye and Jay, and it’s very gratifying from a Hip Hop fan’s standpoint to see this happening. As the conversation about this continues, an interesting question(s) surfaces: “Is this going to be a trend with other artists working with ’90′s producers or is this just an isolated incident?”

The fact that Kanye reached back to Pete should not be taken lightly. I mean, it’s not as “exciting” to talk about as, let’s say, his incident with Taylor Swift or his exploits with Amber Rose; quite frankly, I, along with countless others, just want to hear good music. The 808 and Heartbreaks episode was cool and it allowed him to grow artistically, but let’s get back to the “beats and rhymes” of things and that seems to be what he is doing with the assistance of “The Chocolate Boy Wonder,” RZA, and DJ Premier (who I read is doing some cuts on Ye’s latest offering). But one has to be wondering: “Who else is going to follow suit?” That question is not rhetorical by any means; the game NEEDS it’s “soul” back and soon.

As I discuss Kanye, we have to keep in mind that he is, more or less, a unique brand in today’s market as he pretty much has carte blanche to do whatever he wants to even if it involves a $3 million recording tab chargeable to Def Jam. So, where do we point the finger for more of yesterday’s producers not getting sufficient work? Kanye can’t be the only one that wants to work with producers that inspired him to become, well, a producer! The blame can be applied to a lot of different places and the proverbial whipping boy is the A&R at the label. A brief time ago, before EVERY rapper executive produced their own album, the A&R was the driving force behind a Hip Hop album. See Mark Pitts (Biggie), Schott Free (Loud Records) and Dante Ross (Brand Nubian and Queen Latifah) as A&Rs that had more say at a time when the former model for making records made sense. These cats were (are) in the streets looking for talent and the labels put enough faith in them and their ear. Fast forward several years, now labels are not so quick to trust; A&R departments have now become just a couple of people (if that); and A&Rs have been marginalized as artists, for better or worse, are taking more and more control of their projects as their “crew” are handling more of the production duties.

With that said, artists, of course, share in the blame, too. Getting your dude who just copped an MPC or Fruity Loops last week to do the bulk of your project based on your relationship and the fact it’s bottom-line cheaper to do that has affected the music. There are some exceptions, but the exceptions are far from the rule. So, instead of giving Organized Noize, DJ Quik or Buckwild their asking price-or their adjusted price because it is a recession and everyone wants to work-they half step and get knock off beats that sound like it. So, as the artist cuts production costs, they may very well be cutting their potential album sales and shelf life as a consequence. This has evolved as the norm and the true beatsmiths are getting less and less work and are becoming a mere nostalgic afterthought.

Lastly, some blame needs to be placed on the producing greats from the ’90s themselves. It pains me to say that producers like Large Professor, Pete Rock and Diamond D haven’t been giving the fans the same level of undeniable heat that they used to. As much as I have been “big upping” Pete this week, his beats on a whole haven’t knocked like they used to. Sure, budgets aren’t the same and sample clearance is as much a difficulty as it’s ever been. Still, what about the beat that a producer slides to the independent cat who isn’t the least bit concerned with clearance as it will fly below the radar of most authorities, even those joints aren’t on smash. That’s where my criticism ends because the above named producers JV game sounds better than most cats “Varsity” level. Now, Buckwild has been the rare exception as his music still knocks regardless of current trends and legalities. His work withGame, Capone & Noreaga and Playaz Circle helped make those albums better just like Buck did when he first got in the game back in ’94.

Of course, it would be possible to blame the fans, too. That would be a valid point and not one that wouldn’t have its arguing points. However, as other genres appear to be “less” affected (Ed’s note: don’t get it twisted, all genres have shown a sales decline), I think by fans not purchasing product has been a big enough form of protest to lackluster music. It becomes too cliche to keep saying that fans aren’t buying your product because that’s how the industry is nowadays. REALLY? People still buy DVDs and go to the movies, both which suffer from downloading and piracy. Maybe it’s the material and not the fan? Also, Hip Hop has to STOP giving away so much free music and then get upset when preconditioned consumers are used to downloading and not buying. It’s cheapening the artform, but that discussion is for another day.

Do I have a solution: No. I’m not trying to pretend that I do, but we need to get this music back into the hands of those who know how to make it best. Ask yourself this: “Where would Hip Hop be over the last 10 years if it wasn’t for Just Blaze, Kanye and a few others?” The burden needs to be lifted from those torchbearers and shared with the producers that inspired them. Shout out to Em for giving Havoc a nod on his latest album, The Recovery, and hopefully this trend will continue. To all the artists, A&Rs, labels and misinformed fans that think ANY beat will do and that you don’t have to pay for quality, remember the old saying: “just ’cause you pour syrup on it don’t make it pancakes.”

Chris Moss