Trivia

QUESTION: For all my Hip-Hop parents, what famous rapper/DJ/beatboxer deliver’s the Beat Of The Day on the children’s Show, ‘Yo Gabba Gabba.’

Send your answer AND A SHOUTOUT to trivia@brooklynbodega.com

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Tuesday’s Q&A
In honor of the killer meal I cooked yesterday today’s question is inspired by The Chef Raekwon Shallah aka Corey Woods. Name the order of MC’s on the classic track “Guillotine (Swordz)” on the equally classic album “Only Built 4 Cuban Linx…”

Answer:
Inspectah Deck
Ghostface Killah
Raekwon
GZA

perhaps the greatest video I have ever seen

Winner of The Wire DVD: Phillip E., Shout out to BUMS UP!

Other Winners:

Manny, Shoutout to Flatbush Massive, 665, USQ, and the Fam in the Mil

Albert M., Shout out to Brooklyn-Shaolion

Cornelius M., Shout out to Kass and Dave

RJ, Shoutout to NJ and Happy Kwanzaa!

Hater, hater, hater

The curse of the hater players

I was listening to the Black Star album the other day. One of my favorite tracks was ‘Hater Players.’ If you’re not familiar with it, give it a listen or a read.

The knee jerk reaction to negative criticism aka labeling the accuser a ‘player hater’ is doing a great disservice to Hip-Hop. Not only is it silencing those offering constrictive criticism it is hurting the content producers themselves. Rather than taking the criticism and re-thinking the product or approach artists, writers, executive throw the ‘player hater’ label out and take no as a vitamin, as one of my guys used to say.

Now I am all for confidence and not allowing yourself to be discouraged but people sometime you (we) make mistakes. Thinking you are perfect is a sure way to expedite your demise. I have seen this time and time again. Artists and managers adopt this juvenile approach, that they think is Kanye-esque confidence, and try to force their way. They give you two options. Yes or no. And if the answer is ‘no’ the other side just doesn’t get it or are bourgie gentrifiers, or not real supporters of Hip-Hop. All ridiculous claims at the end of the day.

If you take the feedback and access its validity, revise your approach you may just get what you want.

Back when 7H Recordings was still active we released a record from El Da Sensei. Right around the same time the Little Brother buzz was exploding. LB was written up in The Source and El expectedly wondered where his review was. Before asking any questions the assumption was made that the label had not tried, did not care, and was incompetent. When given the answer that ‘they just didn’t like the album’ we were completely dismissed. Then began a series of events that led to the end of the relationship. I always think that if he had been more diplomatic in his question there could have been a simple solution. Re-submit, call in a favor, release some exclusive tracks. And on and on. Instead the player hater approach on El’s part limited the discussion. Right or wrong, our response was we tried, they passed, done. Looking back what a wasted opportunity

As far as the Festival people are always telling us how we need their artist on our bill. Submitting year after year getting more belligerent and obstinate as the years progress. We all know who I’m talking about, our friend and yours Jo-Ell Quikman. Sadly that strong approach weakens the argument. In year one Joell submitted music we just didn’t like. No judgments. We just didn’t feel it fit. In year three his music had improved in our eyes. That ‘Bodega Chronicles’ album had some joints, his buzz had grown. Adding him to the bill made a lot of sense. But the hard line approach, the threats, the accusations compelled us to pass once again. If he had just taken the ‘L’ graciously in year one and kept the lines of communication open I think the results would have been markedly different.

Our homeboy Fresh Daily is a great example of how you do it. Fresh had been wanting to rock the BHF since year two when his compatriots Tanya Morgan got the nod. He submitted and nothing happen. Did he get mad? Pop sh*t? No. He learned who the decision makers were, kept releasing music, built his brand and not only did he get a slot on the main stage we put him on the opening stage as well. He resisted the urge to hate and took the ‘criticism’ in stride. Kept improving his product and today he is better for it.

So let’s stop the hating on both sides. Sit down like adults and work out our differences even if that means parting ways. So endeth the lecture.

Common and the Cool Lunch Table

Let me preface this by saying that I think Common is one of the greatest MC’s of all time. I know his name doesn’t come up in most conversations but readers of The Swift Chancellor Report know how feel about old Lonnie Lynn.

That being said I was on the stroll headed to York College and I saw the poster for the new Common album. What caught my eye was the new names on the executive producer line. Seems like this new one is EP’d by not only the Louis Viton Don - Kanye West, but also Skateboard P (Pharell Williams) and The Neptunes (when was the last time you saw that crew listed).

I believe that Common suffers from what I am calling “Cool Lunch Table Syndrome.” When you track his work from “Can I Borrow A Dollar” all the way to “Universal Mind Control” you see a trail of crew affiliations from NO I.D. to Questlove and The Roots to Slum Village and Jay Dee, to Q-Tip and De La Soul. Now after two successful albums helmed by Kanye it seems that Common has followed Snoop’s lead and given Pharell the keys.

I may think that Common is the best of our generation but at times I don’t think that he believes it. So he surrounds himself with bigger fish and gives them the illusion that they are running the show. That is the Cool Lunch Table Syndrome. The irony is that these are definitively Common records. It is his voice and his spirit that sells these records. Yet Common still feels the need to sit at the cool table as the players change annually.

The choices are not ruled by vanity or a desire to sell record, well maybe not totally. They are good choices. Quest’s work on “Like Water For Chocolate” did help Common produce his second best album to date. The best being “Resurrection” when Common hunkered down with his original Chicago team to introduce some creative Viagra to his game. And it was Kanye who saved Common from the Andre 3000/Baduizm/Black Rock a little too soon mess that was ‘Electric Circus.’

I just can’t help but think that Common is an adept trendspotter and knows how to get in front of the proverbial wave. Kanye was his mentee in a sense. However when Kanye’s star took off Common was more than happy to fall in line. And now that the 80’s new wave, throwback Hip-Hop is in vogue Pharell is tapped. It begs the question where is Doug Infinite, No ID, The Slum Vill crew and Questlove now? They were all the rage when they were on the team now they are conspicuous in their absence.

My advice to Common is just relax and do your thing. The Executive Producer is not nearly as important as you think. One of these days you are going to give these guys too much leeway and Bam! “Electric Circus Part 2.” (just joking that record is much better than the blade runners claim). But seriously…

Geffen You can just IM me the new album. Why waste time let’s get it right on the iPod…I can’t wait.

Storytellers, Battle rappers, Message rappers and Pop rappers

So the Retro Kidz are rocking tonight with Slick Rick. We all know how great Slick Rick is. Perhaps the greatest storyteller our culture has ever produced. See I think comparing Slick Rick to say a Jay Z is like comparing Shaq to The Big ‘O’ (Oscar Robertson, google it young’uns). Not only are they from two different eras but they play different positions. The Big O was a guard who was the only NBA player who averaged a triple double for a whole season. The Shaq Diesel is perhaps the biggest most athletic big man ever to play the game.

You can’t compare them because as a guard you touch the ball more. You have the ability to create your own shot much easier than a center. A center for the most part must be fed the ball and his/her success depends more on the supporting cast.

I say this to say there are different positions as far as MC’s in Hp-Hop.
Storytellers or narrative rappers such as Nas, Slick Rick or Ghostface.
Battle rappers like LL Cool J, Chino XL, Big Daddy Kane.
Message rappers like Talib Kweli, KRS ONE, Public Enemy.
Entertainment rappers like Jay Z, Ludacris, Kanye.

Storytelling rappers can paint a whole narrative complete with dramatic arcs, protagonists, antagonists, climaxes and nadirs. Think ‘Children’s Story’ or Wu Tang (Ghost) on ‘Impossible.’

Battle rappers’ work is centered around chest pumping, braggadocios content. Although they may be like LL and have actually battled and built their career on destroying people’s career (Moe Dee, Canibus) most battle rappers are battling an opponent in absentia. Swagger rappers are a merger of Battle and Entertainment (see below) rappers.

Message rappers should not be confused with conscious rappers (which are actually a sub category). These artists are focused on teaching a lesson. That lesson can be positive or negative. Trap Stars like Jeezy are essentially message rappers with a not so positive message. A Talib Kweli or Common are message rappers with a focus on a community building message.

Entertainment or Pop rapper can be any combination of the previous categories. Their music has 1) pop appeal and 2) punctuated by catchy couplets. These verses are often long chains with non sequitirs (elements of storytellers think “Through The Wire”). Boastful like a battle rapper. And in the model of Jay Z they often claim to “never have wings on,” they “get their by any means on.”

This was supposed to be about the Retro Kidz but I got on a roll. Hope you like it. I came up with this theory on the way down to Thanksgiving Dinner.

Shwayze? For real? Nah, seriously?

Someone sent this to the Bodega yesterday. This is a joke right?

Nike Sport Music and Malibu beach-rap phenomenon Shwayze join forces to release the Beach Body by Shwayze Workout, a 20-minute exercise program coached by band members Shwayze and Cisco Adler. The workout is a fresh approach to getting fit, with real calorie-burning, muscle-toning exercises described in Shwazye’s fun-loving style, over music from group’s infectious self-titled debut. Featuring the sun-soaked singles “Buzzin,’” “Corona and Lime” and “Lazy Days,” the Beach Body by Shwayze Workout is an extension of the “summertime in a bottle” vibe Shwayze is known for, raising the temperature no matter where listeners are or what time of year it is. Shwayze says it best at the beginning of the workout: “Malibu’s a state of mind and you don’t have to live on the beach to want a body that looks good when things get hot!”

I mean that Shwayze thing was not real was it? I thought that was a faux reality MTV show like The Hills or like the even sillier one on BET. I mean this copy has to be a joke “Shwayze is known for, raising the temperature no matter where listeners are or what time of year it is.” People don’t really write like that do they?

I am not trying to dis the dudes. I thought the song was pretty catchy actually. And I liked the episode where dude had to get back to Cali for a court date after some Super Bowl shows. I never did understand what role the grimy looking DJ played.

Anyway, I hope this Nike thing is a joke because whatever credibility Shwayze had will melt away like butter on a hot dinner roll after this.

Warning to up and coming rappers: Don’t take every deal that comes across the table even if Nike is on the other side.

Replicant Rap

I have a new word to add to the lexicon. I already coined (sort of) Swagger Hop. Now I give you Replicant Rap - The evolution of the term ringtone rap.

Replicant Rap – defined as Hip-Hop music designed to serve a specific (usually simple) purpose over a short period of time. Also used for music and artists designed to capitalize on fast moving trends. Replicant rappers are disposable by nature. One marginal hit is all that is expected. These rappers are not expected to produce a robust catalog with far reaching earning potential. Many do not record a full album. The one song delivers the anticipated return via ringtone, digital sales or the amorphous internet buzz.

Opposite: tent pole

The word is taken from Ridley Scott’s 1982 classic film, Blade Runner.
From wikipedia: The film depicts a dystopian Los Angeles in November 2019 in which genetically manufactured beings called replicants – visually indistinguishable from adult humans – are used for dangerous and degrading work… Replicants have a four-year lifespan as a failsafe to prevent them from developing emotions and desire for independence.
The film centers around Harrison Ford as a Blade Runner, essentially a police officer specializing in tracking and killing rogue replicants who have exceeded their life spans.

The words ‘Where Are They Now’ are often used in conjunction with Replicant rappers.

Examples: MIMS, Bonecrusher, Pop The Brown Hornet, Slimm Calhoun, Lil Eazy E, The Pack, Kid Sister, Oaktown 357, Junior Mafia, Twinz, Yaggfu Front.

Note: Replicant Rappers are not all devoid of talent. Many actually are extremely talented. But just as the fictional replicants from Blade Runner they are not built to last. Many are similar to Rutger Hauer’s character in Blade Runner in that they resent their temporary role and life span. Some respond to the reality of their short life violently and lash out against their creators and ultimately refuse to die.

Some are like Harrison Ford or Sean Young’s character and are so well designed that they do not know they are replicants themselves. Their ignorance is so grand that their rhetoric and actions can be as violent as a blade runner. Never realizing they are hastening their own demise.
The classic example of this was Craig Mack. Mack burst on the scene railing against flash in the pan rappers with ‘Flava In Ya Ear.” Little did he know he was one of them.

Now some rappers we may think are replicants but are actually quite human.
Example: Consequence. When “Day Job” came out people predicted the demise of the Cons. The best he could do was Kanye’s ghostwriter. Fast forward to now and Cons is still here. Not quite the star yet but a replicant he is clearly not.

The blogosphere is full of blade runners like Byron Crawford who are more than happy to terminate a suspected replicant rapper on sight.

More on this later. I like this idea…

Alert: Blade Runner reference. “A”. and Jimmy Jones

So after what seems like a sabbatical or something it looks like Jim Jones is making a comeback. He’s on the cover of Complex (or is it Fader?). He’s on the ‘Pop Champagne’ song and the remix of some Ace Hood song. (Side Note: Ace Hood is a great name, however the kid seems to be destined for a short life like a replicant being hunted by Harrison Ford. Note to Ace: Don’t spend it all in one place and wind up like one of those D-Dame Dash dudes. Remember what KRS said ‘think about when you’re outta here.’)

I was never a Jim Jones fan by any stretch of the imagination. I do believe he deserves his piece of the Swagger Rapper pie. A point where Jimmy and I vociferously agree. What I do like that along with the return of Jimmy comes more appearance by Juelz Santana. That I am not mad it.

It does beg the question where is Cameron Giles? Looks like Dipset did not disband as much as reorganize under new leadership.

Annyhoo, ignorant rap will never die. They like roaches they just multiply.

Guest blogs #1

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Aliquam vestibulum aliquam leo. Morbi id tellus. Quisque ut nibh. In hac habitasse platea dictumst. Integer suscipit, diam a mollis posuere, velit lectus placerat magna, eu rhoncus velit metus ac lectus. Nullam congue orci non elit. Nunc ac est. In eget justo at nisl auctor condimentum. Morbi justo. Sed sed eros in nisi commodo dignissim. Proin vulputate. Aliquam nec dui in magna venenatis aliquam. Quisque neque. Ut tincidunt consectetuer arcu. Pellentesque aliquam. Pellentesque ac turpis quis lacus fermentum imperdiet. Quisque fermentum.

S.C. Report #1

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Bodega Hip-Hop Honors - Pete Rock and CL Smooth

Bodega Hip Honors #4 – Pete and CL

I mentioned this years ago on the Swift Chancellor Report but if I had to give three examples of Hip-Hop to an alien that lands in DUMBO tomorrow I would list Gangstarr, EPMD, and Pete Rock and CL Smooth.

Not the best. Not the wealthiest. Not even the most innovative. But the truest representation of the essence of Hip-Hop. Creative samples. Blue collar lyrics with just a taste of “I will still smack the sh*t out of you.” Pete and Primo are arguably the best producers of all time. They both showed the world the true art in sampling. I was always a fan of CL as an MC even though these caused many a heated debate (What up Sondia and Raz).

When I think of Hip-Hop in typical academic terms I think Peter Phillips and The Bomb Squad are two of our real maestros. Those rich sounds using all 24 or 48 tracks. Simply beautiful. Not just “TROY” but “In The House”, “Return Of The Mecca”, “Worldwide”, “I Get Physical,”

So I want to take today to make sure we remember just how damn good the two Pete and CL albums were. For those who don’t know – google or wiki “Mecca and The Soul Brother” and “The Main Ingredient.” As Mister Cee said on Friday “there will be no ringtone rap”

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