White boys are spilling ink on the composers of their rap-assimilating soundtrack. A score with such wack breaks, grafted rhymes and bad intentions they just rock the numbers. One million purchases versus our one thousand likes. They write what matters –the loss of an Art of rebellion, sirens towards a working people revolution drumtalk to where they laugh at niggers, ignore diversity of Black/Brown/Yellow and make slop the walk to cop. The voice of this village aint the Lake Effect. The ill white cats don’t fuck with that. They turn that cave trauma around and with iron fingaz they choke you with woodenchainz. I tell you the spectrum in clues like spittin’ gemz for the brothers that’s starvin B, all through the late nite. They dont get my peace talk then bully bring the tek!
Let’s advance this build on the G.S. Hip Hop is a chaotic focus of any and all musical elements to —Okay, then, crafty cracker crack his whip straight into a pen that paper a plantation postulation cuz Kanye fits this definition. Eff yoo! This definition I ain’t finished with yet! A definition that come from a place that’s too tough for gentrified small fries. A place that starts knowing the soul in the sample was amplified through vacuum tube compression via The RZA. This all made College Dropout a very pretty sounding Soul pleasing rap pop effort with merits. Kanye beat up the verses bad —meaning bad—and so all the mag muckers quoted his punchlines, shits and giggles as quotables. But that’s not where lil’ homey gwon be. He wanted to be Michael Jackson via this billion dollar counterculture. Jigga will be the rap pop nigga so he’s gonna be the pop pop nigga. The babies are the best part and maybe she’ll offer him direction. This Hip Hop music is wild experiments with truth not clever sloppiness.
Like its Father Jazz, you have to learn the rules of the instrument to break them into a new composition no one’s ever heard. Kanye has beautiful Soul in his crates and the pop access to mine them freely. But this Yeezus album ain’t new funk like Sly’s Riot or deeper improvisations like Miles’ whole life. New shit ain’t always the shit. The Hip Hop track is real and merits a skill in the equalizing, a gift in the track positioning all as a lyric promoting bed it ought to be. But after Watch the Throne dropped I knew niggas would pop to anything. Beats only became known as Boom Bap when the wack appeared. Now I got too many great people to write on that my old trade to clip letters together and ransom the fake to get the real back is a profession i left often times. Thought I was out. Let a scrub slinger put 808s on corn punk, shrill his levels and spot his savagery and then raise it ten coon to get me back in. No ones fallin’ for that at low noon even at Club Buffoon. So I believed hardly but it’s real. It’s real trash. The songs can be mined for worthy portions of good crate measure. The straight loop of “Bound,” an ill Soul song, the horn on “Blood on the Leaves” past the sloppy use of Nina’s jewel for weak hoe trials and tribulations. Maybe more moments to extract but Hip Hop songs are not made of the track but the blend of the tracks all as an indispensable whole unit. Why roll in shit? To fertilize what? Yeezus is hustle and flow cult-lure where niggas with credentials from the wrongest people let a new crowned genius sell us his wild punches on a mixboard.
Like its Grandfather Blues, the music’s top instrument is the MC and after 30 years of grandson Hip Hop, the mastery of composition is a display of unique excellence in said categories from verbal and lyric dexterity, intriguing subject matter and the intangible of the realness. But you don’t need that if cleverness for the highest prices through the lowest devices spark admiration. But The Realness. It’s that point in the rap where we say he’s so real because what he said is real. A music where the message and the messenger honor each other. Now, Kanye wanted and achieved that point in pop where zombies say it’s such a real feeling if I was there too. And so Yeezus is the illest album for a cat that rock skirts and kick Van Halen flows. But he’s a new slave?! Word. Slaves can make observations of their plantation and think he’s a freed man? Yeezus Heist! If this is MCing then Rakim Allah is another mystery god.
This is Pop not rap. We will call it that when the raps are just cunt yelps and the beats make Solar sound hardcore real Primo ’95. In and out this industry since 1994 and here’s the realness conversation:
‘You don’t know what makes a record sell?’ Answer: I don’t give a fuck.
‘You are speaking on irrelevant artists to counter what people really want?’ Answer: Go fuck yourself. ‘
‘Everybody is gonna know about this and nothing else!” Answer: Give me your budget now. Then go fuck yourself.
On the week of another bullshit record dropping and it’s the media that crowns a pop singer rhyming G.O.A.T. and champions it as an evolution in Hip Hop music. And we learn to love it cuz most brothers don’t want to earn their pussy, brothers and sisters don’t see better ways of making paper and lust cult-lure–no intention to deal with a culture through learning like it was given to us. And, so many will just refuse to be a contradiction that they side with hypocrisy instead.
Embrace the contradictions of it all and Hip Hop becomes real again and you’d know about Lord Quas. There are less than a handful of producer legends that truly premiere and reign in the 00’s ’til today. Madlib, first presented his long player production excellence as part of Lootpack, with 1999’s Soundpieces: Da Antitode. A classic Boom Bap clinic that uniquely sampled frenetically enough to let the sampling designate the chaotic mentality of the beatmaker. It is an elevation of Prince Paul’s De La Soul is Dead work and the beginning of one of the greatest crate diggers of all time.
The oddities in an artist aren’t to be known completely whether Kanye or Madlib. What makes Madlib Hip Hop is that the principles and foundation are constantly cemented as they are reshaped. As Quasimoto, rhyming in helium pitch let him play with the particular quirks of focus from blunt smoking, crate digging and baggin chicks that makes Hip Hop a youth subculture as much as it could be a counterculture. The separation that is monumental here is that quality of the break is most important, drums are crafted to be unique not jacked and looped while equalizing is a unifier of the song’s skill to one distinct palette that is respected. A producer then an MC who, despite the one million blunts and the 9,000 miles of hotties they swim through, uses vocals, crates and innovative music to further Hip Hop’s principles, not have them called pop to stop.
Yeezus versus Quasimoto would be a fair bout if Kanye was on Madlib’s level of skill and intentions. They are comparable because they both have become what they wanted to be. Kanye is being pop disposable crowned classic. Madlib is being legendary Hip hop maybe never properly crowned. So just don’t sellout and take the understanding. Peace to Lord Quas cuz The God don’t like ugly.
The Next Element of Hip Hop
This book will be the first overt and uncontested display of the newly proposed element in Hip Hop culture, for official consideration, The Writer. The basic 4 elements of Hip Hop culture, DJing, MCing, Graffiti and B-boying (Breaking) eventually gave rise to the journalistic efforts by the immediate inner city audiences of color that began to question, explain and analyze this phenomenon. As Hip Hop journalism became the most powerful and popular force of music coverage, the writer immersed in the culture, became more than an impartial reporter.
The framework of the book is a cleverly constructed autobiography of Hip Hop writer, Sunez (aka Sunez Allah aka Edward Sunez Rodriguez), detailing his career in the journalistic industry from his beginnings as the author of the Sunset Style column. “Rodriguez was for several years a regular contributor to the CUNY Baruch College newspaper, The Ticker. His often controversial column, Sunset Style, is a “hip hop editorial” named after Rodriguez’ working class and heavily Puerto Rican Sunset Park neighborhood in Brooklyn, New York.”- Raquel Rivera, New York Ricans From the Hip Hop Zone; Palgrave Macmillan, 2003. From that column it continues through his career spanning stints as a freelance writer, online editor and editor at numerous publications including Vibe, XXL and The Source then to his self published street and online journals, Our SWords and Lavoe Revolt (www.lavoerevolt.blogspot.com). Sunez reveals the evolution of his reality as the Next Element by his life experience that segue into displays of the journalistic skill, refined musical commentary and creative works that make the Hip Hop writer. Essentially, the Hip Hop Writer is a Hip Hop element as a chronicler of the music and culture as well as a newly recognized creative force of the culture.
Sunset Style is the start of a revolution of recognition for the great Hip Hop writers who have contributed to the music and culture as journalists, music analysts, critics and as creative writers. It is the defining testament of a 18 year Hip Hop writing career that makes Sunez the Next Element of Hip Hop: The Writer.