Sunday, December 6, 2009
CD Of the Week: R. Kelly "Untitled"
Saturday, December 5, 2009
Thoughts on HipHop/"Untitled" Benjamin Starr project update
My thoughts on HipHop right now, isnt as bad as a lot of people would think. I think we're at a musical point of rebirth, as far as the artform goes. Alot of the pockets of the culture are being exposed to the masses, i.e. Club music, intellectual music, hipster movements. We shouldn't shun any of these different styles, but use them to emphasize our own identities and even as a change of pace to the person who wouldn't otherwise consider it at all. So other than utterly belligerent and ignorant forms of Rap (lol), Big Shot Outs to the Gucci Manes, Wales, Lupes, Hovs, Kwelis and Jeezy's of the Hip Hop umbrella...
Anyways, I'm currently in and out of the studio constantly workin on the all original project i'll be droppin in January; as of right now its untitled, but thats bound to change. Anyways in an era where niggaz drop meaningless mixtape after meaningless mixtape, I wanted to switch it up and give the people a musical journey into the mind of an introspective emcee. Stories of Poverty, Artistry, Broken Hearts, and the real life outside of everybody's house, apartment or car window... Props to some of the best Producers in SC and beyond I've worked with so far... Carlos "Gran" Whiteside, Bigg Serg, Rill Williams and Boonie Mayfield of Denver... More updates comin soon...
StarrSh!p BlAck
From Associated Content: Tupac, The Greatest Philosopher
A Tribute to Tupac Shakur
The following is a tribute of sorts to one of the greatest philosophers, entrepreneurs, businessman, musicians, writers, and poets of all time. Contrary to what you might be thinking this man had no degree from Harvard, Stanford or even John Doe community college. He did touch every facet of human life, from the poorest of the poor who represented his primary support, to the bureaucratic politicians who opposed his every word. Who might this man be you ask? This article will focus on Tupac Shakur and upon three quality characteristics he brought into this world. First Tupac’s lyrics encouraged people to stay strong especially in the face of adversity. For most individuals adversity presents a hurdle too hard to cross. For Tupac it was not only a barrier but also a constant way of life. Constant struggle is what made Tupac so amazing. Continuosly beat down by lawsuits, scandalous women, the media, Washington—just about everyone. Yet he stood strong and kept living his dream to encourage a more loving society through art. What does not kill me only makes me stronger, was something that Tupac firmly believed. Each experience, each mountain to climb, became a learning experience to grow both mentally and spiritually. Secondly Tupac’s lyrics forced people to look at themselves and change for the better. Pac would be the first one to look upon him and make himself a better man a better human being, which would intern change the environment. He firmly believed that if the community of people would only stop and look at the hate and destruction being bred and people began to change then and only then would the world be a better place. Tupac was hated because people do not like change. No one likes to see the hurt and pain of the ghettos and poverty. It’s ugly to see but Pac brought this to light when he demanded change of society. Third and probably the most influential of all his points was the fact that he took responsibility for his actions. In a world where convenience leads people to blame everyone else but themselves for their actions, Pac represented the picture of responsibility. Tupac was no saint—he like everyone made plenty of mistakes. He, unlike many people today however, did not blame his poor childhood, racism or hatred for his actions but rather took the blame upon himself. Instead he used those injustices of of bigotry, street life, and negativism as motivation. For him they produced motivations to make a difference, make change, and make a legacy for others to follow. This is evident in so many of his songs. Tupac songs symbolized (among many other themes) these three primary characteristics. For individuals who have not heard his lyrics or who are too ignorant to know what this man really represents a challenge is brought. Go and listen to his lyrics. Any album of Tupac’s there will find an idea worth living and learning. For those who complain of foul language, get the edited version. But just listen to his lyrics and the passion with which he speaks for a better society for all people. Only by following these three characteristics of will TuPacs dream come true – a better world for people of all races, all religions, and all socio-economic backgrounds.
Wednesday, September 2, 2009
**AllHipHop Blueprint III Review**
Shawn Carter is a complicated man. Like many of us, he is composed of various and at times conflicting influences since his humble beginnings in Brooklyn’s Marcy Projects. But unlike us, Jay-Z for the past decade-plus has been expected to carry the torch for the eclectic, global melting pot that is Hip-hop culture. He met the challenge at the dawn of this decade courtesy of the inaugural Blueprint, which laid a sonic design for producers, and lyrically solidified Jay as one of the great emcees of all time.
But as the first decade of the new millennium closes, Marcy’s beloved son finds himself at an artistic crossroads, prompted both by high-profile missteps (Kingdom Come, Blueprint 2) and successes (The Black Album, American Gangster). The recent criticisms have been heated from fellow artists (ie. Game) and fans alike, arguing the mogul is no longer worthy of being Hip-Hop’s vanguard. Has Jay-Z regressed from trendsetter to trend follower? With those naysayers as fuel, Jay-Z attempts to construct another outline for Hip-Hop’s future in Blueprint 3 (Def Jam).
Before Jay pontificates on the future, he plainly lays out past grievances over the pulsing synth arrangements of “What We Talkin’ About.” Targets are laid on past music (Dame, Jaz-O) and street (DeHaven, Calvin Klein) associates who are framed as individuals who stumbled from personal fiscal mistakes, or incorporating a handout/welfare mentality (“Grown men/Want me to sit them on my lap/But I don’t have a beard/And Santa Claus ain’t black”). To fans and artists, Jay references Hip-Hop’s success in Obama’s historic presidential run as an awakening to eliminate embarrassing Youtube videos and senseless violent feuds from the culture (“You can come with me to the White house/Get your suit up/You stuck on hardcore/I chuck the deuce up”).
On “Thank You,” Kanye West and No ID switch gears by providing Jay with a lush, orchestral sample of Brazilian artist Marcos Valle. With flamboyant horns in tow, Jay plays innocent straight man while deconstructing anonymous emcee rivals. Although no one is named, the Brooklynite frames them as fanatics with the zeal of suicide bomber, and in the end artistically destroy themselves (“I was gonna 9/11 them/But didn’t need the help/And they did a good job/Them boys are talented as hell!”).
Fans seeking the feel of the original Blueprint soul samples can experience that same vibe on “Empire State of Mind.” With a boisterous but fitting Alicia Keys chorus, Shawn Carter encapsulates his love for NYC and incorporates name drops of everyone from Afrika Bambaatta to Bob Marley. The chemistry then extends to Young Jeezy on “Real As It Gets.” Although the Inkredibles’ production is undeniably tailored to Jeezy, Jay has no issues making the track his own by complimenting his younger colleague’s refrain duties with his trademark wit.
Unfortunately, the LP’s second half is not as cohesive and in some cases stumbles badly. The issues stem not from Jay-Z himself, but some questionable production choices and guest appearances. “Off That” falls flat because of Timbo’s unimaginative production, and a complete waste of Drake who simply delivers a forgettable, by the numbers chorus. Things don’t improve much on “Venus vs. Mars.” Jay retains the listener’s interest with a couplet-centered flow filled with rich allusions of everything from “Ether” to Star Wars’ C-3PO, but Timbaland’s production and arrangements leave you feeling this was better served for a Roc Nation mixtape.
Kanye West, who up until now was delivering some of BP 3’s best work, slips on “Hate.” Previously, West had tailored his production to Jay strengths, but here the Chicago star supplies a track that could have been an 808s & Heartbreak’s throwaway, or even worse “Drunk and Hot Girls Part 2.” Jigga gives it his best shot, even alternating vocal pitches to match the rhythm’s dirge pace and distorted vocal sample. Still, nothing can save this offering.
It’s well known that Jay-Z has been very concerned with his place among the greats since the new millennium. But another “career-recap” with “Reminder” screams overkill on several levels. Not only has it already been done better on previous albums (see Black Album, Blueprint), but the annoying, Autotune leaning chorus ironically titters close to the same formulaic music Jay vowed to eliminate on “Death of Autotune.”
With that said, there are several bright spots over the second half. Kid Cudi is another young gun reduced to chorus duties, but his vocals accentuate Kanye’s melodic, violin-centered sample loop. Jay works seamlessly with the beat, skewering crying artists who ridiculous claim he’s holding them back, and even takes a light-hearted moment to address cracks on his appearances mostly seen on message boards (“Oh they call me a camel/But I mastered the drought/What the f**k I’m animal/Half man, half mammal/My sign is a Sag/This is just what I plan to do/Oh don’t be mad”).
The Neptunes come through on “So Ambitious,” supplying Jay-Z with a jazzy, bass-heavy track reminiscent of Outkast’s Organized Noise production. Long-time fans will recognize Jay utilizing a flow similiar to his classic “In My Lifetime” single. Pharrell’s crooning doesn’t interfere, and instead listing his achievements to prove his greatness, he details his life experiences which clearly paints the same picture but without pretentiousness.
“Forever Young” closes the LP on a positive note, recapturing the vibe heard on “Beach Chair” and displaying Jay reflecting on the universal qualities of music. With all the recent digs at his age, he intuitively knows the fountain of youth is not from infantizing his music, but by creating timeless compositions that will transcend generations.
Artists with the talent of Jay-Z will always suffer from unrealistic expectations. Solid and good albums are unacceptable. Unless a classic is delivered every time, some fans will scream failure. Of course, attaching the Blueprint name to this project can do that, but on this album Jay-Z does show growth, and more importantly ambition. It’s not jaw-dropping like the first Blueprint or as succinct as the Black Album, but it’s not all over the place like BP2 and takes more risks the “safe” lane that was American Gangster (Jay can spin street hustler tales in his sleep).
Does Jay-Z need to retire? Absolutely not, and it’s ridiculous to even suggest. Blueprint 3 shows he has more to offer as an artist, and those without unbridled hate will continue to attentively follow his already legendary musical journey
Wednesday, August 5, 2009
Jay-Z Blueprint 3 Album Art
"These things are like the forgotten pieces in hip-hop," Hov said in an interview. "It's still about music. It's not about radio, making gimmicks -- it's still about making music. Those things are piled in the corner. These are the forgotten things about music...The three stripes that everybody is asking about is made from the original [number] three. The first three they made on the wall was someone carving. If you look at [the number] three, all they did was connect lines. The whole thing about this album, how I approached it, is that I wanted to make a new classic to start that all over again -- to go back to making classic albums like the ones we grew up listening to." Jay-Z
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