Rant – Extraordinary Nobodies

My Thoughts on Current Music Discourse

While Dustin writing again after being pretty silent for nearly the entire year thus far is a big deal, I’ve had such frequent breaks from writing that I’m not even sure if this one was the longest. Thankfully, this time around it wasn’t due to writer’s block or mental burnout; essentially everything Dustin covered in his piece addressing why he stopped writing applies to me too.

There is something else that’s tangentially related to what Dustin spoke about in his reintroduction piece though. During the site’s hiatus, I spent more of my time observing than commenting. In doing so, I’ve come to really see how horrible some people can be when they speak on certain artists or music that they personally dislike. It’s something I was always aware of, of course, but it’s been driven home to me just how widespread this sort of attitude has been recently. Dustin said something in his article that stuck with me, but for reasons different than what I believe he had intended when saying it.

The people you’re talking to behind the monitor are people too.

In this age of constant accessibility to music and artists through social media, artists have become circus animals. When the routine isn’t what they want it to be, the audience throws peanuts because they think it’s funny. This isn’t a new or original observation, but everything is treated like either unequivocal fire or trash. No nuance, no middle ground. It’s all just perpetuated by lazy hip hop publications on social media, asking fans to drop a shit emoji or a fire emoji in the comments, reply with a .gif of how they feel about something, or whatever else to fish for engagement in the most shallow of ways. And when it comes to the fans, when you can quantify “how right” your opinion is through likes and retweets, it gets really easy to start spouting aggressive, intentionally contrarian, half-baked thoughts because of people mindlessly scrolling and interacting with it. These stupid hive-mind opinions start to spread, artists become easy punching bags, and a lot of the time, music gets reduced to a joke in certain circles. It’s a counterproductive practice, because there are people who put their whole selves into the music, as well as listeners who genuinely resonate with it on a personal level.

It’s become so easy for people to voice whatever opinions they’d like to and not have to worry about the consequences behind their words. Due to the fact that nobody really needs to see anyone else face-to-face in order to instantly communicate with them, a lack of respect has developed over the years that – while not exclusive to hip hop’s artists and audience – pervades the social dynamics between people who engage with music and people who make it. You don’t need to really think about what you’re saying, all you do is send a tweet out to virtual space and go about your day.

I don’t think there very many fans who really treat music like it’s art anymore. Music has been something so accessible for so long now. Not to sound like an out-of-touch old man, but kids are growing up in an era where the idea of spending money on music is an entirely alien concept. And why wouldn’t it be? Why on earth would someone spend money on something they can get for free? Adults who grew up buying music don’t question it so why on earth would an average teenager, for whom streaming is all they know, question it too?

But it’s still a problem, at least in my view. There’s no way that this hasn’t shifted the way music is thought about. I’ve seen somebody actually criticize somebody else for buying vinyl LPs of a few albums that they considered bad – it didn’t even seem to occur to this person that the album was a product that was meant to be purchased. Setting aside how silly it is to criticize a stranger over the internet about how he spends his money, this person couldn’t fathom the idea of financially compensating an artist for the product that was consumed just because it was perceived as “bad”. As though buying a bad album is any different from buying a bad video game or paying to see a bad movie in theaters…yet nobody would bat an eye at somebody doing the latter two.

The change in perception of music from art that’s meant to be paid for to essentially an entitlement is also part of what I believe has fueled the treatment of artists lately. The human element of an artist creating something is lost on people. I think that’s what makes it easier to trash something with no regard for the language being used. The degrees of separation that have arisen with the way music consumption has developed as well as the personal disconnect through social media honestly makes it understandable why things happen the way they do nowadays. Of course, trashing music isn’t a new phenomenon; there have always been assholes out there who are either trying to be funny or are insecure elitist fools who think they need to tear someone or something else down to look good. But at the end of the day, it’s just something that I’ve noticed more of, and it’s been bothering me.

I know it looks like all I’m doing is yelling “SOCIAL MEDIA BAD” in this piece so far, but please don’t get me wrong. I’m not trying to chastise anyone or preach. I’m certainly not guilt-free. On sites that I used to visit, I would be just as bad as the people I’m talking about right now. To this day, I can still be pretty harsh against my better judgement. I just try to keep it confined to private conversation rather than public trashing. Even so, I’m sure someone could dig up pretty disrespectful tweets that directly contradict what I’m saying now. So I get it. It’s just something that I feel is worth keeping in mind when discussing art. I’m not saying I want to see people pretending they like something when they don’t. Negative feedback to sub-par music is essential for an artist to grow. Sometimes an album is going to miss the mark. It happens. Artists are people, and people fuck up, no matter their profession. But musical discourse has gone from fairly thoughtful to almost entirely reactionary. It’s disrespectful to artists and frankly pretty boring to engage in as a fan. There are so few people whose opinions I respect or care to hear at this point in time and it sucks.

However, none of this is as egregious as what a lot of “professional” music journalists do. I have very little, if any, respect for the vast majority of them. I want to make something very clear though: I’m speaking mainly about writers at big publications like habitual offenders XXL or more recently The Source, and not necessarily people at smaller blogs (at least not the ones who value thoughtful writing over click-baiting everything the fuck out). Publications without integrity. Writers who will happily trash an artist in reviews that spend more time talking about the artist’s age, past hits, problematic behavior, and promotional buildup than they do the actual music. They drag the artists through the mud in reviews, but they’ll never shut up about them. They’ll cover every move they make, every tweet they send out, every affiliate who gets shot or locked up. They’ll expect these artists to sit for interviews…and then they’ll go right back and write another lazy review with no effort made at showing respect to the person who has supplied them with exposure and ad revenue or his/her creative process. I mean, I suppose it makes sense. People are going to click on the review regardless, so why bother putting effort into it if you’re getting paid either way, right? Plus, if you have a few snappy sentences insulting the artist, you can always rely on somebody to screenshot it and post it on Twitter for extra clicks!

None of this is a secret. It’s fucking disgusting. These writers, being the parasitic scum they are, don’t even hide how obvious it is. It’s getting worse as time goes on. It’s really not that hard to give an album a respectful and thoughtful critical write-up while without turning it into a personal attack, but that causes less of a reaction so that’s obviously out of the question.

On that note, I do want to say that I personally don’t feel comfortable writing reviews anymore. My writer’s block last year was directly due to the fact that I had shifted my focus to writing reviews. The site as a whole had trended in that direction in general, and I struggled to write anything that I felt truly did the albums I was reviewing justice. I don’t have the skill required to break an album into its components, speak about each, then bring it all back together to speak about it holistically. And giving an album a numerical grade seems like it’s very reductionist. Doing so works as a shortcut to people who don’t want to actually read about the album, but rather look for reviewers whose opinions validate their own. I don’t find reviews fun, and at the end of the day I only started posting here because I thought it was fun to talk about music. I am proud of my last couple of reviews, but they were exhausting and I still feel like I could have and should have gone further with them. So I’m probably done with that for the most part.

I understand that this may come off as needlessly bitter or preachy. But it bothers me how carelessly hip hop gets handled by music media, just because it runs pop culture and is therefore the easiest genre to cover. I’m tired of seeing kids who don’t understand or care about rap music or hip hop culture profiting off of something they don’t know and will never take the time to learn about. And while I’m not getting paid to do this, I know that to a lot of readers, I’m not any more qualified to talk than they are. The thing is, I know that’s not inaccurate. I’m not a voice that can speak on behalf of hip hop. I can’t dictate what hip hop should or shouldn’t be. I’m not a tastemaker, I’m not a gatekeeper. I’m a nerd who grew up fascinated with hip hop culture and rap music. I’m an outsider looking in. I write because hip hop has shaped so much about me, from my worldview to my sense of humor and beyond, and I would like to pay tribute to that. And that’s why it grates on my nerves so much to see people treat hip hop and rappers like they’re a commodity for anybody to get in on. Hip hop deserves respect and it’s about time the people who exploit it for a paycheck realize that, and do better.

Rajin Rambles: I Am Not a Dusthead!

by Rajin

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I love Snoop Dogg’s new “Mount Kushmore” single (which features Redman, B-Real, and Method Man). The production is in a beautiful throwback G-funk style that is impossible to not bob your head to. Each emcee laces his verse with witty rhymes and a slick, grin-inducing vocal performance. It gives you essentially everything that you’d want out of a collaboration with these ’90’s legends.

Now as I was listening to the song earlier and thinking all of that, something occurred to me. I think I tend to give off a vibe where I’m exclusively about ’90’s hip hop/rappers who are currently in their mid-40s. I started to feel a lot like a stereotype – like a nostalgia-hunting “real” hip hop head. In the year and two months of my piss-poor pieces on this site, I don’t think I’ve ever really discussed younger rappers. I go back and notice that at most I’ve mentioned Kendrick Lamar a couple of times, and maybe Danny Brown a few times. Well, to be fair my first article is about Prof, who’s basically the soundtrack to the weekend of a guy in his mid-twenties running around getting drunk and fucking anything that moves. However, most of my pieces tend to talk about and gush over guys who tend to come be from the ’90’s era of hip hop (and primarily from the east coast, at that).

I want to make it abundantly clear right now, in case I haven’t done so yet: I’m not someone who acts as though this generation of rappers isn’t as good as rappers from the ‘90s. My tendency to generally talk about older hip hop artists rather than new ones stems from me listening to them longer and knowing them a lot more in-depth than newer rappers coming out. I also have a habit of being turned onto artists late; I’ve mentioned before how it happened with Run The Jewels.

After all of this, I started thinking about something that comes to mind all the time when thinking about the current state of rap music…although, thankfully it seems like less of an issue as time goes on, so this piece may be rendered pointless in a few years’ time. Regardless, I feel like this fetishization of the ’90’s is pretty counterproductive to the development of the genre. I’ve sort of discussed this in the past, but I want to get a little more specific with it for a moment. People tend to use the stereotypical modern styles of trap and mumble rap that get pushed by hip hop publications for easy clicks as a scapegoat for why they refuse to listen to anyone who came out past the early ’00’s. Not to take anything away from those styles of music, but there’s a whole lot more that my generation has to offer than just that. Demonizing those styles gives them overblown and unwarranted levels of hatred, and it neglects and dismisses the music that other young rappers come with, which is completely unfair.

Take Joey Bada$$ for example. He’s a couple of months younger than I am, only 22 years old. He’s probably somebody that most fans of old school hip hop would love to listen to, since he started his career making rugged boom bap music reminiscent of guys like Nas or Black Moon. Doing this awakened the nostalgia in people, and got people interested in what he had in store to “bring hip hop back” (I don’t know if anyone actually said that, I’m just assuming).

Now, I’ve actually seen criticisms, by fans, thrown at Joey’s new All-AmeriKKKan Bada$$ album because people are talking about how he’s going pop on it. The thing is, he’s not. He’s just setting the more hardcore boom bap style aside to grow into his own artist with the message he wants to spread. He’s maturing. He’s certainly not abandoning that style; he’s just putting a new style to the forefront, and toying with more modern styles at places. But when you mess with the nostalgia factor that attracted people to your music, you risk upsetting them.

You start off with boom-bap. Over time, that changes a bit, and people get upset. They cling onto what they are familiar with, and decry what starts coming out afterwards, as opposed to looking to see what will come next. This is what is happening to Joey Bada$$ (on a small scale, overall his album has been received pretty well. I certainly liked it), and it’s what has happened to hip hop as a whole.

Speaking of younger rappers who may incite some feelings of nostalgia, let’s talk about Oddisee. Oddisee is essentially the spiritual successor to groups such as A Tribe Called Quest and De La Soul, with some Black Milk thrown in for good measure. He has clearly studied their styles and adapted them for his own, making music that is similarly jazzy and positive. However, he doesn’t make music that emulates the music that he grew up listening to, but rather, it sounds like the next logical step that those groups would/should take. His music is probably what those groups would sound like if they debuted in 2012. He’s innovating in that style, for better or worse. And that’s not to mention his actual emceeing ability, which is arguably at a higher level than anyone in Tribe or De La, due to the natural progression of hip hop pushing the requirements for being an exceptional emcee further (Important: Please note that I am not saying that he is more iconic or is a better act than Tribe or De La).

Another one who you could look at is Jonwayne, who brings to mind Biggie as far as his charisma and vocal delivery go (not to mention his physique). However, he’s got a totally different lyrical style and vibe, speaking on problems that many of us in our twenties can relate to, such as alcohol abuse when things feel like they’re going too fast and you’re falling into a pit (I can personally attest to that). He frames it in a way that no rapper that I’ve heard from the ’90’s has been able to, because that sort of vulnerability in hip hop didn’t fly in that time period.

And then there are guys who don’t necessarily bring to mind older acts. Flatbush Zombies are from the same area that Joey Bada$$ is from (surprisingly, Flatbush), yet they sound nothing like him. They have some NY flavor in their music, but they sprinkle in some trip hop and trap. They have taken influence from tried and true styles and mixed it with what is going on nowadays to create really unique music that could not have existed in the past, while remaining something that I think any old school hip hop fan who doesn’t write off modern music could enjoy. Or there’s Milo, who goes even more into an alternative and abstract direction, with distorted and synthesized keyboards and a laid back yet still slightly aggressive method of rapping.

This list, honestly, could keep going on, but I think I’ve made my point by now. There is a plethora of music still coming out these days by newer, young artists, who are either pushing forward with older styles and innovating in those lanes, or are trying completely new styles entirely. You just need to know where to look, and put in the work rather than dismiss hip hop today entirely. Thankfully I have Dustin, who does the work for me and forces artists onto me.

I don’t know. Maybe what I’m saying is really repetitive. Maybe I’m just a sensitive, triggered millennial snowflake. I certainly don’t want to sound preachy or anything. I just wanted to voice the opinion that this generation has rappers who are truly worth listening to, beyond the obvious picks such as Kendrick Lamar. Most people know this, but all too often I will go onto a webpage talking about an older rapper and will see a discouraging amount of people disparaging current-day hip hop. I don’t think it’s a healthy mindset.

While I’m not at all fan of Lil Yachty in even the slightest, I think he’s well within his rights to say some of the things he says when he gets criticized incessantly. It’s the same as when parents tell their kids “oh you kids have it so easy, in my day…” (I normally tune out after I hear the beginning of that sentence). It seems like people constantly need to be reminded that like all other generations of music of any style, this generation has a plenty for everyone. And like all other generations of music of any style, this generation has plenty of bad music as well. People just don’t like remember the bad music that was released in the past.

I primarily wanted to write this up really quickly today to assuage my fears of being someone who’s musically stuck in the past (that’s not to say that there’s anything wrong with that! Like what you like and don’t be ashamed about it – just don’t be close-minded), but the overarching message I guess I want to get across is that disregarding the new because you think you don’t like it without doing some digging makes no sense. It’s certainly not something that I would want to do, as it would work against me as a contributor to this site, and as a person. By nature I’m a very stubborn, stuck-in-my-ways person, but I try my hardest to be as open as I can be. I think if everyone who says hip hop died in the mid-‘00’s tried too, they could find some stuff that they really like.

Apu Celebrates: One Year at Nobodies

by Apu

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Unfortunately, I’ve been a little busier than I expected to be this month. I was supposed to put something out last week and have this close the month, but it didn’t end up like that. Exams, trying to find work, and biology projects have gotten in the way of it. I should have known it would have been too good to be true for me to have more than one piece out in a month. So, instead, I thought I would write something quick about this site, since this month marks the one-year anniversary of Extraordinary Nobodies.

This site has grown at a rate that I would not have expected in the slightest. When we started, I was expecting it to just be something we contributed to occasionally and got a couple of views from here and there. I did not expect to get so many looks that we could actually set a goal something like three times and meet it each time, and then continue growing to where this year seems like it’ll be substantially bigger than last year was. I did not expect that there would be interviews from artists that we’re actually fans of, or that artists would notice what we were writing about them and actually share our writing on their Twitter and Facebook pages every once in a while. It makes no sense to me but we appreciate it.

Last February I was still coming out of the darkest, lowest place I had ever been in my life. I was trying to learn how to communicate again. When Dustin brought up the idea of the site and asked if I’d want to do it, I agreed. More than anything else, I felt like this would be a good way to get out of my head and get some thoughts down. They weren’t even thoughts that really pertained to my situation, it was still nice to have some sort of outlet for something.

I think it’s pretty clear that my pieces for the first few months weren’t the greatest. Like I said, I was still learning how to communicate again. I think around the time of my writing about Kuniva’s first History of Violence project is when I realized “oh, I don’t have to swear a lot and shoehorn cynicism into my pieces for them to be good” and my writing gradually got better. If I compare my latest piece, about hip hop groups, to the one I did about charisma almost a year from today, I see some real progression and growth. I’ve learned how to express my viewpoints more effectively. Hopefully that trend continues.

In the short time that we’ve been doing this, we’ve run into some really good guys who have given us looks that really helped our growth. I would like to send some special shout outs to Prof and Fatt Father. Prof was my first big look, and helped elevate my very first piece to a higher level than I thought imaginable at the time, and I’ll always appreciate that. Fatts has consistently shown us the utmost love since we first started interacting. It’s almost overwhelming to think about sometimes. I, like Dustin, will forever appreciate the support.

Speaking of whom, I’d also like to thank Dustin for thinking to include me as a co-writer when forming the idea for Extraordinary Nobodies as well as being one of the best friends I’ve ever had. I’d also like to thank our editor Emily, who deserves at the very least Bernie Sanders’ idea for minimum wage for having to edit my pieces.

Hopefully I can have a more consistent schedule in 2017 than I did in 2016 with the hiatus I went on after burning out for a time in April or May. In any case, I’m looking forward to the future of this site.

Apu Rambles: This Year, and the Future

by Apu

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Well, it’s December 28th (well, probably not when this piece goes up). So I guess it’s the time of year to talk about shit I liked and shit I didn’t like, because I’m a person who sometimes writes for a music blog and that means everybody on earth is just dying for my input even though nobody asked.

There are a fair amount of albums this year that I liked. Tribe’s We Got It From Here…Thank You 4 Your Service is what I now consider the pinnacle of a group reuniting and going out. I obviously really liked the two albums I reviewed (Kuniva’s A History of Violence Vol. 2 and Fatt Father’s Veterans Day). I was impressed by Snoop’s Coolaid, and Aesop’s The Impossible Kid was a cool listen, as were Marv Won’s Soundtrack To Autumn, De La Soul’s …and the Anonymous Nobody, and Kendrick’s untitled umastered… I didn’t mind Royce’s Layers and T.I.’s Us Or Else: Letter To The System… And as I sit here that’s all I can think of at the moment of writing this, although I’m sure there’s great music I am either forgetting came out this year or I haven’t had the chance to listen to yet.

However, dope as those albums were, there were only two albums that came out this year that really blew my mind. Albums that I knew were something special from the first time I listened to them; where that feeling didn’t go away after two listens, or three, or ten…

Those albums were Atrocity Exhibition by Danny Brown, and Run The Jewels 3 by a duo whose name I’ve forgotten.

I think based off that little incomplete list of albums above, it’s clear that that my taste tends to be a little lot more rooted in traditional hip hop. However, it ended up being Atrocity Exhibition and RTJ3 that really stood out to me. Danny’s album in particular is so far from what I normally listen to that I was incredibly surprised at how much I liked it when I was hearing it for the first time, especially given how stubborn and set in my ways I am. It was (and I’m using someone else’s description for it, go ahead and sue me for plagiarism***) some weird industrial post-punk shit, way far away from the end of the musical spectrum that I generally find to be appealing.

Normally, I’m really, really not into industrial hip hop. It’s a little too abstract for my pea-brain to be able to comprehend. Most of the industrial hip hop that I’ve listened to contains weird sounds, and rapping that’s too… out there for me to like. It’s just my personal opinion, I don’t connect to it. So for a little bit, it sort of perplexed me as to why I loved Danny’s album so much. I mean, sure, the rapping was great, but I had never imagined that I would gravitate so much towards the production. However, I listened to it more and more, it started to click.

Danny Brown put his own spin on a typical Detroit sound. There are moments on this album that remind me very strongly of the Fat Killahz. “Dance In The Water” sounds similar to “The Fat Song.” The production on “Lost” sounds reminiscent of something you’d hear Fatt Father and/or Marv Won rap on. “Get Hi” screamed King Gordy. However, they weren’t exactly the same. The production on Atrocity Exhibition was warped beyond our dimension; it sounded like it was what Danny wanted us to think went on in his head when he was on drugs.

That didn’t matter though. It did what many other industrial rap acts that I’ve listened to don’t. It stayed hip hop. It’s a lot harder to blend two genres and stay hip hop while trying to go industrial than it is to just make the jump over into industrial. Atrocity Exhibition did its best to get as far away from typical hip hop production as it could, but it made sure to remain rooted in the genre in a way that was familiar. There are hipsters who aren’t versed at all in hip hop who may get mad and try to tell me I’m wrong and that Danny’s album was so good because he abandoned traditional hip hop, but I couldn’t disagree more. He didn’t abandon hip hop, he just blended genres together, seamlessly, without making it too on-the-nose or overt the way someone like Yelawolf does these days with his terrible outlaw country pop rap.

Danny blended genres and kept a hip hop attitude. In doing so, his album became the most creative, effectively experimental hip hop album I have ever heard and love to the degree that I do.

Then I got to thinking, and it began to make sense as to why I enjoyed Run The Jewels from the very first time I listened to them. El-P’s production generally consists of synthesized drums and distorted instruments, far from the heavy bass and knocking drums of what you’d think of when you think of New York. However, he keeps the gritty, Brooklyn vibe to it. The way the beats are done, it sounds like they’re looped in a way similar to the sampling done by a typical New York boom bap producer, even when nothing is being sampled. In fact, on some songs, particularly “Legend Has It,” “Down,” “Thieves!” and “Thursday In The Danger Room,” the production almost sounds like futuristic boom bap. It’s very unlike what I had originally expected industrial hip hop to sound like, before I started to listen to their music, because I had heard several songs that didn’t sound anything like good hip hop (or music [sorry, not sorry]) to me.

Right now, it seems like hip hop is in limbo, sonically, as far as what the next representative sound will be. I get the feeling we’re going to see the current phase of trap fall out of popular favor in the near future. There’s a lot of different sorts of experimental-sounding music coming out. I think Kendrick may have spearheaded it last year with To Pimp A Butterfly. Although the mumble/trap aspect of hip hop is sinking to new lows with irredeemable garbage being made by guys like Lil Yachty and Desiigner, there’s new climate, where it seems like people are starting to throw new ideas against the wall and seeing what sticks. I actually don’t think there’s been a time like this in hip hop since I’ve been a fan. There’s an air of artistic freedom that I think may be starting to arise with the prevalence of independent acts. Whatever it is, I think we’re going to be coming out of the mumble rap phase, at least in the next 2 or 3 years.

I want to see the next phase of hip hop be the style of industrial/alt-rap that I’ve been discussing. It seems to be catching on as time goes on and the general atmosphere of hip hop becomes more experimental. It doesn’t even need to be done to the degree that it’s done by Run The Jewels or Danny Brown on Atrocity Exhibition. Black Milk, for instance, has been becoming more and more experimental with his production with every release; the distorted keyboards, the bass, the drums, the vibe. It started on his Tronic album, and on his last album, If There’s A Hell Below, it seems like he’s heading in a very exciting direction, while still remaining firmly rooted in hip hop. I want to see more of it.

That’s not to say that I want to see artists from the 90s try to be experimental just because it’s what’s popular. I want to be clear and say that I want upcoming artists to participate in making this sort of sound. You know how it sounds sort of desperate (bordering on pathetic on occasion) when a rapper 20 years deep starts rapping on trap beats and using autotuned hooks? It’d sort of be the same kind of thing. There’s nothing wrong with staying in your lane and doing what you know, so long as your own artistry doesn’t regress or stagnate. Do things naturally. With rapper/producers it’s different, because producers have a different mindset, so guys like El-P and Black Milk who have been around for a while can get more experimental organically. But I want the industrial/experimental sound to be like how right now with trap, where it’s the sound that most new and upcoming rappers want to jump into and start their [non]careers with.

Busta Rhymes said in a Westwood interview this year something that I found really interesting. He spoke about the acts who seem to be succeeding in making quality music have something in common. They keep their feet planted in the essence of hip hop. They don’t necessarily make the hip hop of the past, but they keep the spirit and vibe of hip hop while venturing out to do their own styles of music. He says that the trap shit that even his own artists do is cool in the moment, but the really timeless, transcendent music being made by rappers is the music that remembers that it’s hip hop. I really like what he was saying, and for the most part, I agree with him wholeheartedly…but what I liked most about the interview is that Bus’ got Westwood to sit quietly without spouting some loud, unfunny nonsense for more than 3 minutes. But yeah, what he was talking about is exactly why albums like RTJ3 (and RTJ’s other two albums) and Atrocity Exhibition are so effective while being so experimental.

I tried to articulate all of this the best I can. I’m not very well-versed in industrial hip hop so I may sound like I don’t really know what I’m talking about. I hope I got my point across. In any case, I’m interested in what the future of hip hop will sound like. If it sounds anything at all like what I was describing then I’m on board.

***I’m sorry, I just wanted to look cool. Please don’t sue me.

Apu Rambles: Hip-Hop, my Replacement Girlfriend

by Apu

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Schoolwork, internet connectivity issues that prolong the time it takes to do said schoolwork, a keyboard meltdown, and other things I can use as weak excuses for my inactivity… none of which could keep me from procrastinating and listening to hip hop. Hip hop has been essentially the only part of my personality that I think is appealing in any way at all. However, believe it or not, there was once a time when I wasn’t into the genre, and hardly knew anything about it at all. Can you believe it?! Well, unluckily for you, this half-assed intro leading into a very long piece about me and hip hop is almost done. It’s story time!

Before I really got into hip hop music, I had heard a few songs, but for the most part it was more of what my parents wanted to listen to. So it was classic rock when my dad was driving and pop when my mom was driving. The only hip hop song that I really properly remember is “Gold Digger” by Kanye. I had heard it when it was on the radio once, so it must have been in mid-to-late-2005. None else really stick out in my head, but I do know I had heard some. Those that I did hear, I didn’t really think anything of. They were alright, but I didn’t like them any more than the songs that my dad would play (my mom’s taste in music is garbage). I didn’t really connect with the genre until the summer of 2006.
A friend of mine in the neighborhood who obviously later became a massive fuck-up showed me the song “When I’m Gone” by Eminem. I remember when I heard it, I thought to myself “I’ve never heard a song like this before, what the fuck is this?” It was like a movie in my head, which is something that I had never really experienced when listening to a song at that point in my life. I had never really been so drawn to the lyrics of a song before then. Of course, now, I don’t like the song very much, but back then it was something totally new.

All my life, I’ve been a loser who lives under a rock, so I didn’t know who Eminem was back then. Over the course of the next week or two (or more, who actually remembers details like that?), I was on YouTube looking for more of Em’s music. I think I had found songs like “Without Me”, “Mockingbird”, and “Lose Yourself”. I do also remember hearing “You Don’t Know”, but according to the ever-reliable Wikipedia, that came out in November of 2006, so I guess my memory is hazy on the timeline regarding that. Also, fun fact, I didn’t know he was white until after almost 2 months of listening to loose tracks, after seeing one of his music videos.

Anyways, I was pretty enraptured by the guy’s music. No artist had ever really made music that stuck with me the way his did. Later that summer, I went on vacation to see some family. When I was visiting my mom’s side of the family, I was playing Super Mario Bros. with my uncle and I started telling him about how I liked Eminem. Sometime during that week I was there, he gave me his copy of The Eminem Show, which was the only Em album he felt comfortable showing me at that age, although he still did it with a “don’t tell your mom.” I stuck it in his CD player and started listening to it. I enjoyed the holy hell out of that CD. I must have listened to it 3 times straight while my parents, grandparents, and aunts thought I was playing video games with my uncle and brother.

When listening to it, I noticed that there were other people on the songs. Using the booklet with the lyrics, I matched the voices to the names (I don’t recall the back cover having the features listed so I didn’t know that the songs would have other people on them). I liked them, but the ones who really stood out to me were D-12. I think the only reason I was able to do what many other Eminem fans can’t and actually recognize each member is because I spent so much time staring at the lyrics in the booklet. At first, I didn’t really understand why it said “featuring D-12” but then had the verses preceded with the members’ names…I guess I didn’t put together the fact that they’re a group. Anyways, I told my uncle “wow these D-12 guys are awesome, do they have music out?” Of course, he had the Devil’s Night CD. That one was one that he really wasn’t sure he wanted to let me have. I’m sure a decade later, he regrets it. Too bad.

That CD flipped everything that I thought I knew about the world on its head, then face fucked it.

That is the CD that shaped nearly everything about my attitude in the years to come, and totally warped my sense of humor.

It was that CD.

When I listened to Devil’s Night, it was the first time I had ever heard anything that even approached something that vulgar. I was a kid who was an idealist and thought everything in the world was great. Listening to that album shattered that. I was entranced by how this group of 6 guys was just spewing venom at everything they didn’t like, and at some stuff that they did like. Some people lose their innocence when a loved one dies, some lose it when they accidentally walk in on their parents having sex…I think I lost mine when I listened to this CD. With Bizarre being a member, I don’t think I could have avoided it.

So after that I listened to the rest of Em’s discography, I listened to the other D-12 album, then started looking into Shady Records. I really, really enjoyed Obie Trice once I started listening to him. Cheers is still to this day one of my favorite albums and probably the 2nd best non-Em album to be released by Shady, in my opinion (the first being Devil’s Night). I started looking into Proof’s discography too, and listened to Searching For Jerry Garcia. After hearing a couple of verses by Royce da 5’9” on Em’s music, I started looking into his music. For about a year, I was listening mainly to that little circle of 8 Detroit artists.

Obviously, when you listen to early Shady Records albums, you’re bound to hear more and more of Dr. Dre. That led me to checking out his albums. From there, I started listening to more west coast hip hop artists. I don’t really remember who I was listening to though, because I don’t really listen to many of them anymore, but I do remember that I listened to some Snoop Dogg music. That’s where I really started enjoying the G-funk style present on Doggystyle, which I actually quite recently gained a new appreciation for as being possibly the only style of hip hop from the 90s that still sounds like it could have been produced today. I hold the entirely non-unique and pretty basic, pumpkin spice latte/Ugg boot level opinion that Doggystyle is the best-produced hip hop album of all time. Dre and Daz are geniuses for that.

Of course when you listen to the west coast, you’re bound to find 2Pac’s music. I had heard and read about 2Pac, but had never really listened to. I think he was the first artist since I listened to Em who had given me the same sort of feeling as Em did. There’s nothing that I can really say about 2Pac that hasn’t been said a million times before, but he did really make music that painted incredibly vivid scenarios, and his delivery would fall on you and cave in your chest. I know that I mainly listened to All Eyez On Me and the Makaveli album, because I liked the production on those more than I did on his pre-Death Row music, probably because it was more like the production I was used to hearing. My uncle later gave me his copy of All Eyez On Me, probably sometime like 2010 when I had already been listening to the album for a while. The 7 Day Theory is actually the first CD I bought for myself…in other words, spent my parents’ money on.

It wasn’t long after that when I sort of slowed down with hip hop. I had started to hear more and more of the crunk/snap music that was dominating the game in the mid-2000s. With social media and the internet not being as popular as it is today, it was a little harder to find acts that didn’t take up all the radio play, so I can understand why the whole “hip hop is dead” thing ended up happening, when it never really died if you take a look back at some artists that were out but not being pushed the way a Lil Jon or whoever else was. I certainly felt like that. I sort of stopped looking for new artists to listen to for a good year. I thought I had tapped into everything that hip hop really had to offer. If only I could beat the living shit out of my younger self.

I forget how, but I discovered Redman, the Wu-Tang Clan, and Busta Rhymes all sometime in mid-2009. I think it was a combination of seeing Raekwon’s Only Built 4 Cuban Linx 2 and Busta’s Back On My B.S. on the iTunes store, and finally looking up who Em was talking about when he mentioned “Reggie” on “TIl I Collapse.” I saw the cover of Dare Iz A Darkside and figured it looked wacky enough to listen to (fuck you, young Apu…even though that’s still a personal top 5 album).

That album is what got me into the east coast sound. It totally changed everything that I was looking for in the music that I liked. I think the fact that it was dark, which was sort of the sound I was into at the time as a rebellion to the ignorantly happy crunk era, is what made that album click instantly with me. It was almost like Devil’s Night and The Marshall Mathers LP in the sense that it had a lot of humor on it but at the same time it had pretty dark music. It managed being funky as fuck, funny, and witty, yet dark, hazy, and gritty (BARZ!), which to this day is something that really impresses me, because I don’t think there is anyone else who can marry those two sounds the way Red did on that album.

Hearing those guys from the east got me more interested in digging into east coast hip hop. I found guys like Pharoahe Monch, Nas, Biggie, and DMX. There was something about the east sound that I started to really connect with. I think it was the rougher sound, which again, was in such stark contrast to the crunk shit turning trap (which I don’t dislike by any means at all, certainly not the way I do crunk). It was different from the polished sound of the west, where even when the music gets aggressive or dark it does so with a sort of sense of style that the east generally forgoes. I told Dustin recently that it’s almost like the musical styles match the climates; the west is warmer and has more beaches and shit, and the people are wearing summer clothes year round so the music has that sort of style, whereas the east gets a shit-ton colder so people are running around in the streets of New York wearing jeans, hoodies, jackets, and Timberland boots, which is reflected in the rugged sound. That was a massive tangent that didn’t need to be made at all, but yeah.

In 2010 I started going through a horrorcore phase. I discovered Tech N9ne through the Seepage EP, which is some of his darkest material to date. From there, I discovered Brotha Lynch Hung, and I rediscovered King Gordy. Now, until I heard Gordy’s verse on “Horns”, I had thought he was a blues singer from Detroit. The only time I had heard him was on hooks for Proof and D-12, on songs like “No. T. Lose” off Searching For Jerry Garcia, and “I Am Gone” and “Mrs. Pitts” off Return of The Dozen Vol. 1. It wasn’t a too far-off conclusion to come to, as he draws quite a bit of inspiration from blues artist Howlin’ Wolf. How fucking wrong I was. I’m not really into horrorcore much anymore, but I still enjoy Gordy and Lynch a lot. Gordy is to this day one of the most unique hip hop artists I’ve ever heard.

Getting into King Gordy is what got me back into Detroit hip hop. I started listening to his group, Fat Killahz, and then guys like Elzhi and Black Milk (who later ended up getting me into Sean Price, through Random Axe). As time would go on I would become a fan of Danny Brown’s as well. I also tried listening to more southern artists because at one point I felt like I was starting to neglect them. I became a big fan of Scarface.

My taste in music stayed relatively unchanged for the next 3 or 4 years, and that leads into about now. I would start listening to other acts, like The Roots, but I didn’t really focus on expanding. But this is also around the time I started talking to Dustin, and he was constantly expanding his tastes (read: constantly becoming more and more of a hipster). But he managed to get me to start listening to Run The Jewels about a year and a half later than everyone else did. Around the same time, I also started to get familiar with Prof before becoming a massive fan of his, and because of the Rhymesayers connection and a push from Dustin, I’ve started getting into Aesop Rock. I’m still looking for other artists to listen to as well.

I’ve left out a lot of the artists that I listen to, primarily because I’m a scatterbrained fuck, but that is basically the main gist of it. Hip hop has basically shaped me into who I am now. I don’t think there’s much that I have a passion about the way I do hip hop. The more time goes on, the more I that passion grows. For the longest it was about how I connected to the music. Then I started to take into account lyricism. Lately I’ve been getting very into the production side. Not in practice, since I’m nowhere near creative enough to do that, but just listening to things as closely as I can to hear how things are put together. I think that’s why recently I’ve gained such an affinity for Just Blaze, aside from the fact that he makes killer beats. The way he pieces some of his beats together amazes me sometimes. I’ve always liked him, but the more I try to dissect in my head what he does, the most I find what he does to be so impressive.

But yeah. I’m basically pussywhipped for hip hop. I don’t see myself losing the passion I have for it any time soon. Fuck it, I’m about to go listen to some right now.

The end. Thanks for wasting your time reading this.

Apu Rambles: Sex, Money, & Drugs

by Apu (yeah, he’s alive)

rhh

Well shit, it’s been a while. I’m sure most of the readers of this little blog here were pretty happy with not having the site polluted with my awfulness for the last 3 months or so…I really just didn’t have any motivation to write anything. Maybe it’s because I mentally checked out after school ended, and now that I’m back in a course I’ve got more activity happening in my brain, thus creating the desire to write. Although the more likely explanation for my writing tonight is probably liquor. Regardless, I’ve got something new for you to read and roll your eyes at. Although it might be shorter than normal so there’s that.

As I may or may not have talked about at some point in any one of my fairly insignificant additions to this blog, I started listening to hip hop music around the time of Youtube’s creation. It was pretty good for me, as a person who had next to nobody to discuss hip hop music with. I spent a lot of time on Youtube looking for more music to listen to. At the beginning, I spent my time listening to a lot of Eminem and D-12. Over the next couple of years I did branch out to others like 2Pac, Nas, and others who I could list if I didn’t want to just shut up and get on with my story. While viewing videos (which were usually just audio with stills of incorrect album covers) by the artists I was listening to, I would find myself going down into the comment section. I started to notice a certain pattern in the comments to the artists I was listening to. There would be one comment that would almost always pop up. It’s a statement that I have nightmares about that involve knives, lube, and Mountain Dew. It’s what you’ll probably see coming from “real hip hop” heads. It’s toxic.

“He raps about real life and struggle, not bitches, drugs, and money like everyone else does!”

Jesus Christ, I hate myself for just typing that.

Now, I’m not going to lie and say I didn’t agree with that for a period of time. For a good 3 or 4 years I had that same sort of mindset. But now that I’m not a shitty 15 year old kid anymore, I realize how stupid it is to not listen to some rappers or songs because they’re not meaningful.

NOT EVERYTHING NEEDS TO HAVE MEANING TO IT.

Crazy, right?

I don’t know. I guess I understand the reasoning behind the idea that music needs to be deep. A lot of the time when I’m in a shitty mood (so most of the time) it’s nice to listen to something with a message behind it that I can relate to. Actually, it’s also pretty nice to listen to a song that I can’t relate to, but can still feel bitter over. It sort of validates the way I’m feeling or the way I think I’d feel if I were in a certain situation. It creates a sort of bond between listener and artist that makes the listener feel like he or she (hooray for gender equal descriptions!) is less alone. I get it. I’ve felt that, plenty of times. It’s definitely something that should be encouraged, as it’s almost a more intimate bond than any friendship or other sorts of relationships can create, because it’s your own raw emotion that you can feel and express without any fear of judgement from others, since there’s nobody else involved in listening to a song. I can’t tell you how often I will sometimes randomly just get misty-eyed for no reason, just because I’m still not the most mentally healthy person in the world and I hear something in music that triggers a raw emotional response.

However (I’ll say it again for extra emphasis since I’m terrible at getting my point across with all the tangents I can’t help but take), that doesn’t mean that all music needs to have a meaning to it. Far from it, actually.

Remember when I did that article on Prof and mentioned how I was going through shit? One of the reasons I gravitated towards Prof almost exclusively for 4 months or so is because he made a tone of ignorant music that I could just listen to, chill to, chuckle to, and ignore my pain to. Sure, Prof releases a lot of emotional shit. “A Month From Now” still puts me in a trance every time I listen to it, and it’s been at least 3 months since I first discovered it. But a lot of the time, I’ll throw on “Apeshit” or “Roughneck” when I’m feeling shitty instead. I don’t need to constantly be reminded how fucked up my mood is by listening to a song that matches it. Sometimes I need to just listen to something that has absolutely nothing to do with anything, just because it’s fun. How does keeping myself down with sad and dark music help me in any way move on?

Whatever happened to “laughter is the best medicine”? Does that suddenly stop applying when it comes to hip hop? This genre is absolutely incredible and I’ll love it forever, but I swear, some of the fans are just fucking idiots. It’s like they want to wallow in their own misery with the artists they listen to, or reinforce the fact that the world is totally and completely screwed and that we’re headed towards destruction (a topic that I can probably talk about forever, but doesn’t apply to this piece much more than that one sentence).

I don’t know where this “ugh this has no substance” mindset came from, and I wish I did. Not everything needs to make you think. I don’t really care if my opinion on this matter makes me come off as even stupider than you all probably already thought I was, but I’d rather read if I wanted to think (and trust me, I read plenty, I love reading). People can tell me that’s retarded all they want, because I’m sure that those same people probably don’t fucking read to begin with. If I’m really, really sad, I’ll listen to something that I can relate to, something powerful that’s cathartic for me to listen to. But if I’m just feeling down like normal, I probably want to listen to something that’ll get me in better spirits and uplift me.

It’s almost sad how much people hate to listen to lighthearted, meaningless music. People will essentially dismiss artists like Lil Wayne, not because of skill levels or anything (I’m not the biggest Wayne fan in the world but the man can fucking rap), but because of the type of music he makes. People talk about how he doesn’t make real shit, and it’s all vapid, and shit like that. Well, my question is, why the fuck do you care? So what if he makes vapid music? How does it affect you as a person, when you just have the option to not listen and choose something else instead of complaining?

And it’s not even really about that, either. What really amuses me about the hatred of new-school hip hop is how these so-called old-school fans, these “real hip hop heads”, say that the only hip hop that’s good is the deeper shit, and that’s why new shit sucks. These fucking mongoloids seem to forget that hip hop was founded on celebratory music. It was music that people danced and partied to. Shit, break-dancing is supposed to be one of the main pillars of hip hop, isn’t it? To my knowledge, the socially-aware aspect of hip hop didn’t become something that was really widespread until the late ‘80s. Before then, it was primarily partying, having a good time, bragging about how good you are, and topics of that sort. Why is it that hip hop can’t still occasionally be about that just because something new was introduced to it? Now, the keyword here is “occasionally”. I’m not saying that the only hip hop that’s worth a shit is empty nonsense. I’m just saying that that sort of music should be able to co-exist with the realer shit, too.

Somewhat related, I would like to also ask…why is it that rappers who sound like they’re being lyrical as shit and socially conscious by essentially just rhyming a lot and using metaphors that reference current social issues, while actually saying nothing but gibberish, get so much more praise than those who are upfront about the fact that they say nothing of importance? I personally find when a rapper is talking irreverent shit about having fun to be better than when a rapper just rhymes a lot of nonsense while trying to sound deep. At least the fun rapper is actually saying something, as opposed to masticating the English language until it becomes almost caveman-like just to fool people into thinking that they’re really good at rapping. They’re not trying to pretend to be anything that they’re not. They’re just having a good time while the “lyrical” rappers are just acting like they’re fucking messiahs to the people, because that’s how their audience treats them for being able to relate something to a truck running over people in France while rhyming every other word, even if they’re made-up words. Hip hop fans for some reason have got some over 4 hour long Viagra hard-ons for rhymes that sound intelligent while being unintelligible, and they need to get over it. But again, a topic of discussion for another time.

All I’m saying is that life isn’t all about staying paranoid and keeping up with the latest conspiracies that rappers are coming up with to try to make themselves seem smart (I’m looking at you, Immortal Technique). There are several aspects of life, and one (or more) of those aspects is enjoying yourself. At the end of the day, being alive really has absolutely no reason behind it. The least you can do is embrace and enjoy the absurdity of life. In our modern society, I believe part of that is listening to absurd, vapid music. All you’re doing is removing yourself from a part of your life that is pretty essential to living with at least somewhat decent mental health. You’re not fooling anybody by listening to so-called “smart” music.

I really don’t know where to go from here. I’m on the verge of writing about how life is essentially meaningless so there’s no reason why music can’t be meaningless as well, but I feel like that’s a pretty bad idea, so I’ll sign off and send this to Dustin. I think I’ve made my point, but if not, I’ll do a tl;dr version of it right here: Stop being a pretentious fuckwad and enjoy some music to party to. It’s not a bad thing to actually enjoy yourself, you delusional masochists

Apu Rambles: I Just Sold Out

by Apu

Sellout

So I was on Twitter a little while ago, and I saw Tech N9ne tweet out one of those “instead of a picture, I’ll post a screenshot of words” Instagram posts, because I guess fuck the ability to use something like TwitLonger or something. The basic gist of the post was “The people who are upset with you changing are comfortable with remaining stagnant” which is something that Tech has been sort of saying ever since basically The Gates Mixed Plate. Ever since that album, Tech has sort of had elements to his music that, to certain fans, may seem like he’s catering to the mainstream. He gets backlash from his fans based off of the people who he chooses works with and the sound of a few of his songs. I had retweeted the message with something along the lines of “I wish more people thought this way instead of being too afraid of their idiot fans to change at all,” and earlier today I felt as though 140 characters was not enough to thoroughly explain my thoughts.

Now, make no mistake. There’s a lot of artistic decisions that Tech makes that I can’t bring myself to behind. Tech does make a lot of music that he likes to defend by saying “I’m a partying dude, so I’m gonna make party music!” The only problem is, most of this “party” music, at least the songs that came out after The Gates Mixed Plate, tends to be dry and forced. Before and on Gates, the party songs he made had a much more carefree sound to them. They were simpler and catchier. Songs like “Caribou Lou,” (obviously) “Yeah Ya Can,” and “Let Me In” had a more natural, loose feeling to them than nearly every party song since hasn’t had. “No K” is the only one I can think of that feels more like those songs. Also, “Dwamn” is quite possibly one of the worst songs I’ve ever listened to. That shit doesn’t make me want to move or party or anything. It’ll probably be what I play when I get the balls to kill myself. He seems like he’s trying way too hard to make music to party to, and honestly, I don’t know of anyone who really parties to songs like “Dwamn”. Plus, he and Travis O’Guin signed that guy who sounds like a poor man’s The Weeknd (and is a culprit of a portion of what I talked about in my last rant, You’re All Boring, Stop Putting Out Music Please. Just read that so I don’t have to go too deep into detail about why I dislike him). I like essentially all of the music I’ve heard by The Weeknd. To be fair, that adds up to about 4 or 5 songs, but still, it’s not like I’m biased against that style of music. He just can’t pull it off because he sounds like he’s Justin Timberlake on Mickey Mouse Clubhouse after inhaling helium. I’m not entirely sure if that turns women on but I’m sure that if I were to ever fuck to one of his songs I’d probably have the erectile issues of a man 30 years my senior. Or an internet porn addict, since apparently watching too much internet porn may lead to erectile dysfunction…not that I would know from firsthand experience or anything… But yeah, in recent years Tech has definitely been making decisions that are sort of questionable to me. Wow, I ended that almost like a high school paper with the concluding sentence and everything to sum up what the body paragraph was about. I should write an email to my old English teachers and tell them that they actually did teach me something and end the paragraphs in that email with concluding sentences to drive the point home.

I’m fairly certain I know what some of you may be thinking, but I’m not criticizing those songs and Diet Weeknd for being indicative of Tech N9ne selling out. My issues lie with Tech and Strange trying to almost guilt their listeners into liking them or blaming us for not being suited for the music, when I’m pretty sure I’ve made it clear that I enjoy party music and it’s just the music being bad. Tech wanting to branch out is a totally fine thing. I actually encourage that. I want to see artists be more ambitious. I want to see them succeed. Tech has been rapping for way too long to not see success, and I’m very glad it’s finally coming to him. I’m happy that he has the opportunity to work with artists who he’s always wanted to work with. That’s all great to me. In order to get to where he’s gotten and stay there, though, he’s had to make some compromises in his music. He’s made music that sounds like it was made to fit into the current landscape of mainstream hip hop. However,just because a rapper has decided to make music that sounds like they’re trying to get a bit of radio play doesn’t mean that they’ve gone soft or they’re selling out or anything. If that’s selling out, then what the fuck was Biggie doing with songs like “Hypnotize” or “Another” on his second album? He followed up a rough, rugged debut album with a double album where there was at least 3 songs on each disc that sounded like it was an attempt for radio play. And even his debut had “Big Poppa” on it!

Sidenote, “Big Poppa” has to be one of my favorite songs ever. I forget the specifics because I was anorexic at the time so there’s not much that I remember from late 2012 – mid 2013 (too much info?), but me and one of my best friends at the time had a ton of fun just randomly quoting the song at the most inappropriate times. We ruined a fair amount of actual deep discussions by doing that. Unfortunately, he found himself a girlfriend and broke off his friendships with everyone who wasn’t his girlfriend’s friend, because he’s beyond whipped to the point where he’s lost his own self and essentially become a second vessel for her incredibly controlling, spoiled, entitled, and whiny personality… and that’s not just me being jealously girlfriendless or misogynistic. I’d hang myself with a cheese wire before I let myself be that fucking pathetic. Even the girls who we hang out with feel the exact same way as I do about them. But still, we had some good times being idiots.

So yeah. Just because something is radio-oriented doesn’t make it a bad thing. What’s the point of making music if nobody is going to hear it? For the love of the music? How are you supposed to do something for the love of it if you can’t eat and support yourself so you’re in a position to afford the luxury of loving it in the first place? I swear, it’s like hip hop fans don’t take into account anything at all if their favorite rappers don’t do exactly what they want them to do. If a rapper DARES to try something new, then fuck them! The rapper’s selling out! He’s not the same! I want to hear the exact same album being made again and again because that’s the only way I know that he’s staying pure! Underground only! No pop singles, no radio play, I want to keep the music all to myself! No exposure, only sellouts get exposure! Selling out isn’t hip hop! Jesus Christ, it’s just music. Maybe it’s because there is an overabundance of bullshit and fans don’t want their favorite rappers to get involved, but honestly, it’s not like you’re going to lose your job just because a rapper you listen to made a radio single or two. Open your fucking mind up a little bit.

Now, it’s a different story when a rapper decides to just become some bubblegum act like it seemed like Ludacris was doing for a few years before he put out Ludaversal (which ended up being his best album out of the last few he had released). Don’t do what Redman did on Reggie (although I guess he had a decent excuse; he didn’t want to give Def Jam the sequel to his biggest album so he just gave them that and left the label). I’m also not saying you should compromise your actual ability on the song. But if it’s just a song or two on your album with a sound that’ll get the public at large listening it shouldn’t matter, especially if the rest of the album is nothing like the singles, but is instead some sick, raw shit. That way you can even trick listeners who think they’re going to get more of what they heard on the singles, and introduce them to some really good music that they wouldn’t have heard otherwise. And if you really put the effort into doing so, you can make a poppier single still sound really good. You can also format your album it in a way where it’ll still make sense for it to be on your album. You can have it be surrounded by songs that help the transition a bit…there’s plenty that can be done if the proper thought goes into it. Like I said before, just look at what Biggie did and you should probably be fine, since the singles on Life After Death were pretty fucking poppy compared to the rest of the album, but the album overall is still considered a classic.

And then we have these bitter old rappers talking about how much hip hop sucks nowadays. Of course, not everyone is like that; DJ Premier once said something along the lines of “I’m into boom bap. That trap shit, that’s cool, the kids can do that and I respect that, but I’m not doing that”. That’s the right way to think about it if you ask me…not that anybody did…nobody asks me anything…Anyways, the way Premier is going about it is how everyone should go about it, in my opinion. The OGs expect the newer rappers to respect their way of doing hip hop, while they bash the newer rappers’ way of doing hip hop. Why would a kid ever respect an old man ranting about why they suck? It makes absolutely no sense. It’s even worse because the OGs aren’t doing anything to help the kids. Old rappers: stop talking about what’s so wrong with kids doing hip hop these days. You’re going to do nothing except make the kids disillusioned with what you did. No kid is going to want to be like a grumpy old man. They’re going to do shit their way and put less stock into what you did because they don’t like you as people. Guys, if you’re so concerned about the state of hip hop, why don’t you take an up and coming rapper under your wing and mold them into something that could be really special? They could take the best of what’s going on now and under your tutelage they could implement some of what made old school hip hop so amazing and create a fucking classic. Case in point: Kendrick. untitled unmastered. had the whole “I mixed jazz with trap” thing going on. He blended the old and the new and made what will probably end up being the best project of 2016. Only difference is that Kendrick never really had an OG take him under his wing before he started doing the shit. But still, he’s a pretty good example of what could happen if the new and old collaborated instead of stayed at odds with each other. Come together. Push forward. Help make current mainstream rap better, cover more ground. Don’t just stay stuck on “yeah the underground is all that’s worth listening to” when a lot of underground artists (not all! Lots of rappers from the underground are fucking incredible) are just retreading the roads that you paved, staying stagnant and not innovating the way that you did.

I’ll end it on that sickeningly, disgustingly positive note, because I don’t want to ruin the moment. Bye bye!