In preparation for the release of the highly-anticipated Blueprint 3, mogul Jay-Z will grace the April cover of Best Life Magazine.
The magazine is a spinoff created by the editors of Men’s Health, and focuses on supplying expert advice for men to empower themselves on physical, emotional, and financial levels.
Recently, the Brooklyn native has made headlines for his comments on the Chris Brown-Rihanna altercation and resurfaced tensions with former mentor Jaz-O.
For Jay, any issues with others simply stems from the energy he’s received.
“I’m a mirror…If you’re cool with me, I’m cool with you, and the exchange starts,” Jay-Z told Best Life Magazine. “What you see is what you reflect. If you don’t like what you see, then you’ve done something. If I’m standoffish, that’s because you are.”
Despite releasing several songs since Blueprint 3 was announced last summer, Jay-Z has aborted previous release dates in November and December 2008.
At press time, the rapper and executive producer Kanye West are still finalizing additional track for the LP.
With this being his eleventh studio album, Jay-Z acknowledged that his goal was much simpler on his acclaimed 1996 debut Reasonable Doubt.
“I made that album to impress my friends,” Jay stated. “So they would say, ‘Oh wow, look what you did!’ It was my first album on the label we owned. I was like ‘Okay, what happens now?”
The album went platinum, and launched one of the most decorated careers in Hip-Hop history.
In the last thirteen years, Jay-Z has sold over 26 million records in the U.S., and successfully expanded to fashion (Roc-A-Wear), entertainment (NJ Nets, 40/40 Club), concert promotion (Live Nation), and label ownership (Roc-A-Fella, Star Roc).
Currently, Blueprint 3 is tentatively scheduled to be released this year.
Last year, Chicago emcee Common announced plans to partner with Microsoft and create an innovative new line of t-shirts called Softwear.
After several months, Common has unveiled the first Hip-Hop centered products from the brand, with the best being aptly titled "The Creator: The Code of Hip-Hop."
The all-black shirt features the full lyrics of Common's 1994 classic "I Used to Love H.E.R." written in 80s computer font.
In addition, the acclaimed Chicago emcee has designed three other shirts showcasing throwback styles in phrasing, dress, and social courtesy.
As the line's official spokesman, Common explained that the fledgling brand is "very fly and progressive," and he expects it to garner a solid audience once more shirts are introduced.
"I'm very enthused about it," Common stated. "No matter what size, it's gonna look right on you…Stay up and check out the Softwear." A
s a brand, Softwear retains a distinct 80s flair, meant to conjure images of Microsoft's early days before it became an industry giant.
According to Microsoft, the brand's motto is to "tap the nostalgia of when PCs were just starting to change our lives."
Currently, consumers can also select "classic design" shirts featuring Bill Gates' mugshot and a retro MS-DOS font logo.
Long before Hip-Hop seemingly gave way to its vices - misogyny, violence, and drugs – there were The Elements. These cultural fundamentals still are DJing, B-Boying (aka Break dancing), Graffiti, and Emceeing. The climate of Hip-Hop, much like Rock and Roll before it, scared those who didn’t understand the intensity of the expression that resulted in a revolutionary movement.
Ludacris is one of the heavyweights that are pushing this expression and giving a mighty voice to a group who felt like they had no voice. The emcee has voiced the views, opinions and the turmoil delivered in songs like “The Message” and albums like Fear of a Black Planet while celebrating the neighborhood with block party after block party.
Luda remembers and lives the spirit of Hip-Hop and is thirsty to keep it alive. The DTP front man has joined forces with Common to headline the Hip Hop 101 Music & Arts Festival. The festival designed to bring the focus back to the essentials for the purpose of uplifting and motivating through creative expression. With a stellar lineup of Grammy winning artists on one stage, Hip Hop 101 Music & Arts Festival (www.hh101.com) will celebrate Black History Month with Ludacris, Common, and turntablist Mix Master Mike of the Beastie Boys on Saturday February 21st at the Los Angeles Sports Arena. Singer/ songwriter Keri Hilson and Grammy-nominated alternative Afro-Punk singer Janelle Monae are also on the bill for the event.
AllHipHop.com chatted with Ludacris about the importance of bringing it all back to the basics and moving forward at the same time.
AllHipHop.com: The purpose of this event is to provide a platform for embracing Hip-Hop's culture and unity through the expression of music, graffiti, visual /performing arts and lyrics. Would you say that what's being expressed in Hip-Hop currently provides a positive and or accurate portrayal of what the culture is about?
Ludacris: I can’t really speak for anyone else, but I know with the whole “Theater of the Mind” album I kinda went toward the true Hip-Hop theme more than I have with any of my other albums, especially the last half of it. That’s the kind of state of mind I’m in right now because of where I’m at. I’m just trying to inject the industry with the things that I feel are lacking, that’s kind of where I come into play and that’s what I think about “Theater of the Mind,” it just gives more of that Hip-Hop feel and I’m glad to a part of that.
AllHipHop.com: I know you said you were inspired by the likes Ice Cube as far as how he painted such a vivid picture of what was going on in society through his music, when people look back 10 years from now what types of visuals will “Theater of the Mind” paint about the current state of Hip-Hop?
Ludacris: As far as the current state of Hip-Hop, I feel there needs to be more people that are trying to paint pictures and creating more complete albums. I think we need to have more people being able to artistically do what they want to do versus listening to record labels manufacturing their songs. Its basically about coming back to the essence and that’s what I feel like Hip-Hop 101 is all about. When I say the essence I mean its really just the passion and heart, you can hear the passion and the heart in certain peoples music, it just comes across and that’s what I tried to do.
AllHipHop.com: What is a component of the culture that you would like to see expressed more in the current climate?
Ludacris: Storytelling. I think the art of storytelling has gotten lost in translation.
AllHipHop.com: Do you think having our new President co-sign his love for certain Hip-Hop artists will open some folks up to the idea of giving Hip-Hop a chance?
Ludacris: Most definitely, I think it will also make some artists a little more conscious about some of the things that they say as well.
AllHipHop.com: If you had to put together a Hip-Hop stimulus plan, what area would you say deserves the most attention?
Ludacris: That’s a good question, I gotta think on that because every artist is different so I don’t want to generalize so we gotta come back to that because I really want to think about what part needs it the most because sometimes Hip-Hop can be as simple as two-turntables and a mic.
AllHipHop.com: I know you do a lot of work through your Ludacris Foundation. So how important is helping to bring funding back into the schools for music and arts programs?
Ludacris: It’s extremely important, I’ve been practicing that from day one. I think one of the most important things Barack said was he can’t do it on his own, so if everybody takes responsibility and does something like volunteer or what have you, then I think we’ll be well on our way to rebuilding not only Urban America but America as a whole.
AllHipHop.com: How do you as an artist balance the level of responsibility in your lyrics vs. being true to who you are in your music?
Ludacris: I think life is all about balance and I would go crazy if there was a lot of monotony in my music, so I think its extremely important to be multi-faceted and show different subject matter to show people there’s different sides to Hip-Hop and there are different sides to me. Humans all have different sides and I think its important to reflect that in my music.
AllHipHop.com: Do you think a lot of artists miss the boat on using the power of Hip-Hop to become brands vs. just wanting to become mere rap stars?
Ludacris: I think some of them did but its never too late. I think its more about people trying to capitalize off of their names and their power, as of now it’s a better time for that than its ever been.
AllHipHop.com: Why is Theater of the Mind your favorite Ludacris album to date?
Ludacris: Theme wise and song wise, as well as the artists I worked with. I feel like there was a certain level of competition on each song and I feel like I was very competitive on each one. I definitely feel like I met my objective of delivering that true Hip-Hop essence, especially on the last half of the album.
AllHipHop.com: How did you come to hook up with Common for the Hip-Hop 101 College initiative concert?
Ludacris: I’ve always been a fan of Common, but actually the promoters approached me about it so I guess my objective of trying to display some real Hip-Hop on this album paid off because I would really have to attribute that to them wanting me to be a part of the concert and I feel real good about that.
AllHipHop.com: This year Black History Month has a special meaning for a lot of folks, what makes it special for you?
Ludacris: This whole year is important for me, but Black History month in particular being that we are witnessing history in the making with our President. It’s a time when everybody should be motivated and we shouldn’t have anymore excuses about what we can’t do.
AllHipHop.com: Obviously he’ll have many obstacles along the way but do you think Blacks will rally together in the name of change?
Ludacris: I think a lot of them are, I can’t say that for everybody, but I do think the ones that are stepping up should reach out and motivate those who aren’t or can’t.
AllHipHop.com: How do you feel about Lil Wayne getting Rap Album of the year at the Grammy’s?
Ludacris: I think he deserved it, he worked extremely hard for that.AllHipHop.com: Do you think his personal trials should have affected that result?
Ludacris: With all due respect I can’t even say.
AllHipHop.com: What other projects do you have coming in 09?
Ludacris: I have a movie called The Game with Gerard Butler coming out in the Summer and my next album also dropping in the Summer called the Battle of the Sexes featuring Shawna on a lot of tracks. We’re giving that male vs. female perspective not yet done on one Hip-Hop album. Also look out for Playaz Circle, Willie Northpole(sp) the Block Exchange and Shareefa all set to drop this year.
[Run] Unemployment at a record highs People coming, people going, people born to die Don't ask me, because I don't know why But it's like that, and that's the way it is
[D.M.C.] People in the world tryin to make ends meet You try to ride car, train, bus, or feet I said you got to work hard, you want to compete It's like that, and that's the way it is Huh!
[Run & D.M.C. alternate lines for the remainder of the song] Money is the key to end all your woes Your ups, your downs, your highs and your lows Won't you tell me the last time that love bought you clothes? It's like that, and that's the way it is
Bills rise higher every day We receive much lower pay I'd rather stay young, go out and play It's like that, and that's the way it is Huh!
Wars going on across the sea Street soldiers killing the elderly Whatever happened to unity? It's like that, and that's the way it is
Disillusion is the word That's used by me when I'm not heard I just go through life with my glasses blurred It's like that, and that's the way it is Huh!
You can see a lot in this lifespan Like a bum eating out of a garbage can You noticed one time he was your man It's like that (what?) and that's the way it is
You should have gone to school, you could've learned a trade But you laid in the bed where the bums have laid Now all the time you're crying that you're underpaid It's like that (what?) and that's the way it is Huh!
One thing I know is that life is short So listen up homeboy, give this a thought The next time someone's teaching why don't you get taught? It's like that (what?) and that's the way it is
If you really think about it times aren't that bad The one that flexes with successes will make you glad Stop playing start praying, you won't be sad It's like that (what?) and that's the way it is Huh!
When you feel you fail sometimes it hurts For a meaning in life is why you search Take the bus or the train, drive to school or the church It's like that, and that's the way it is
Here's another point in life you should not miss Do not be a fool who's prejudiced Because we're all written down on the same list It's like that (what?) and that's the way it is Huh!
You know it's like that, and that's the way it is Because it's like that, and that's the way it is [Repeat these lines til fade]
These days, it seems like everyone is doing a conference and/or awards show in Hip-Hop. What is up with that? I guess people see one or two people do it, and they think they have the proper connections, knowledge, and opinions to do it their damn self. The problem is, most fail. It’s also not a money maker and most people seem to think it’s a quick come up. It’s really not. Ask anyone who has done a real conference or awards show.
I believe strongly in knowledge, so in the past three years, I have attended every seminar, conference, and summit that seemed worthy, and that fit into my schedule. This kept me on the road, speaking live, for at least 10 days a month in the past few years. I now have enough frequent flyer flight miles to go to Hong Kong in the Summer. That’s a lot of conventions and seminars, and yet only a handful were worthwhile. I have attended so many bullsh*t events, that I am now officially burned out on seminars, award shows, and conferences.
Most of the events lacked the proper funding to advertise and promote the event properly, so numerous times I ended up with other high profile panelists, speaking to rooms with less than 50 people. Almost all of the events were done in nightclubs, which confused the attendees when they were told to shut up and listen to the folks on stage speaking. As you can guess, most didn’t shut up, so we ended up speaking to ourselves and the first 10 feet of attendees with the dull hum of voices in the background to thoroughly distract and insult us.
And at almost every conference, I ended up speaking along side of people who were more interested in self-promoting their company or crew, or who gave wrong information to the attendees. My favorite was a local lawyer who told the crowd that artists didn’t need to copyright their music. Idiot!! I’ve sat next to “managers” and “label owners” with artists I’ve never heard of before or since, and who weren’t qualified to flip burgers at McDonalds, let alone speak to folks about creating success in this industry.
Somebody, somewhere, must be telling folks in our industry that they can put on a conference or award show with no upfront money (wrong!), without advertising or promoting it, and without having panelists that people would be willing to pay $100 or more to hear speak. Seems more than a few of the conventions trick folks into coming by offering showcase spots (for $500 to $2,000 a spot), telling the artists that they will get to perform in front of industry folks (yeah, folks like me who wouldn’t stay for a showcase even with a gun to my head) who could sign them and make all of their dreams come true. Very often the people advertised don’t even show up.
These suckers who pay for showcase spots are obviously the people who are talking through the panels in the back of the room because the majority of panelists actually tell artists exactly how to get signed to a record deal (if you were listening, you’d know too). Hell, I spoke over 60 times in the past 2 years, and at every event I talked about how to get a deal and how ineffective it is to hand out demos. At the end of every panel, I was bombarded with demos. I also skipped every showcase (while it’s important for artists to practice their craft and perform, doing so in front of the industry with the intention of getting signed to a major label is a waste—doing so in front of consumers who will buy a CD is a better move; more strategic, and the sales are more likely to attract a label to sign you).
The importance of a local seminar in smaller towns and cities that don’t have access to a music industry, is its ability to bring together like-minded people. A seminar brings together local radio people, DJs, retailers, artists, etc, into one place so they can network and interact with each other. It’s a great way for new people to get to know who is who, and an even better way to plan to work together on projects and build relationships. This is a who-you-know, relationship business. In a perfect world, these events may even bring in national or regional folks from the music industry who are proven successful and willing to share their secrets of success. At least share them with the folks who aren’t standing around rudely talking to each other in the back of the room.
I built my career at conferences and seminars that matter—that’s how I learned much of what I know about this business. I met folks, kept in touch, and learned from their experiences. I’m fortunate that I came up in this industry when there were a handful of conventions each year that mattered, that everyone attended. That no longer exists. We seem to have split into sub-regions, and the South seems to have taken the focus. Plus the major labels no longer spend money to sponsor or attend conventions—probably because they’d have to actually leave New York.
Instead, we now have hundreds of little seminars that no one attends, with panelists who don’t really matter, and with attendees who didn’t come to learn. When I am the most powerful person in a room, something is horribly, horribly wrong. This means the seminar organizers fu**ed up. Hell, folks can come to the SEAs (Southern Entertainment Awards weekend) every year (March 19-22) and hear me speak—even spend time with me over the weekend. And the SEAs are free and have far more important and powerful folks than me in attendance.
So, if you are planning a conference or seminar in your area, please make sure you find the perfect venue (nightclubs are for showcases, not panel discussions), and sponsors who are willing to invest in your vision. Make sure your panelists are a nice mix of successful people who genuinely want to share useful information (as opposed to airing out others or pumping up their own businesses). Your panelists should consist of local successful people, regionally established industry people, and nationally significant people—all with proven track records of success. The panelists should be people willing to give back, not people coming into your marketplace to “rape” the local artists.
Plan out the panels so the panelists can speak to your market. If you have an abundance of indie labels in your area, make certain you have panelists who can share knowledge on putting out an indie record and maybe a LEGITIMATE distributor on the panel. If your market has no great producers but a ton of rappers, make sure you have some regional and national producers on the panel to help both the artists and the up and coming producers learn. Fill the void! Whatever your community is missing is what you should be offering access to. You will most likely need to fly key people in and put them up in a hotel. That is standard unless you have the connections and power to ask people to come at their own expense (for the SEAs, I ask the panelists to pay their own way so the conference can remain free and open to everyone).
Panel discussions should last longer than 45 minutes. You need at least an hour to get a real discussion going, and almost as long for the audience to ask their questions. Make sure you post a schedule on a website so people know where to go and what’s going on. It’s a good idea to print that schedule and hand it to your attendees as they come to your event. Make sure the panelists receive it ahead of time so they can attend more than just their panel—I spoke on a panel recently and missed a panelist dinner because no one told me there was one. I was sitting in my hotel room with nothing to do.
Have a moderator who can control the crowd and keep the discussion moving along in a lively fashion. Have a strong moderator no matter what. Last Spring in Houston, at the Go DJs/OG Ron C event, Mannie Fresh and I did a one on one conversation for 90 minutes (in a nightclub). This event was historical because I shopped and negotiated the Cash Money deal 11 years ago, based on Mannie’s excellent hit-making production (as well as the outstanding rappers and the owners’ vision for the label). Mannie and I had not seen each other or spoken for those eleven years. Also, in that time, we both had done some amazing things in our careers. You’d think the 70 people in attendance would have wanted to learn from us (especially the producers, artists, and DJs in attendance) but the talking and murmuring from the audience was distracting us.
Finally, one of my friends (Rick Edwards, who used to run Suave House back in the day) decided to moderate the conversation, grabbed my mic, and told the audience to shut the fuck up. He pointed out that between Mannie and I, we had earned (not necessarily made, but earned) millions and millions of dollars in this industry. Mannie’s production has sold over 30 million CDs and singles, and my deals have sold over 100 million CDs worldwide, netting a larger share to the artists than ever in the history of rap music. The crowd let Mannie and I continue without any more distractions after Rick broke it down for them. I would have NEVER imagined that someone would want to talk through Mannie sharing secrets of his success, but that day proved me wrong, and proved the necessity of having a strong moderator.
Make sure you spread the word about your event. Just using free MySpace and FaceBook blasts are not enough. Radio ads, flyers and posters, and advertising to the urban music community at least two months ahead is key for a small event. Six months ahead if you are trying to attract attendance from a larger area like your entire region. The SEAs begin advertising the next year’s event the week after the SEAs end. You don’t have to be that thorough, but maybe that’s why the attendance there always breaks a couple thousand. If your event wasn’t worthy of people attending this year, there won’t be a next year. I know I won’t be back.
And lastly, if there’s already a successful event in your area or region, find another avenue. Why try to copy or compete with something that already works and works well? TJsDJs springs to mind. Every Quarter, his event attracts 3,000+ people to Tallahassee, mostly key artists and industry people. If you are in that region, why would you want to compete with that? You’d end up looking bad, unable to attract the volume and the key people that his events attract. Don’t follow, lead. Find what’s missing in your region and supply that. And then be sure to do it well.
And if you advertise that someone is coming to speak or judge your ineffective showcase, they damn well better be there. You can’t ever repair your damaged reputation.
Events that I’ll be attending this year, if anyone cares:
· Southern Entertainment Awards Weekend (Tunica, MS March 19-22)
· The Core DJs Event (Atlanta, GA April 24-27)
· One Stop Shop Producer’s Conference (Phoenix May 9-10)
· Tampa Music Conference (first week of June)
· TJsDJs/Ozone Award Weekend (usually the second weekend in August)
· TJsDJs Record Pool (usually in late October)
· The Diamond Awards (Jacksonville, FL usually the second week of December)
And of course, I moderate the In The Know Seminars (dot com) that are on-line monthly (the third Saturday of the month on the internet), so I’m always there.
I do not attend any of the traveling “minstrel shows” that move from city to city charging exorbitant rates for artists to perform. If it smells like a scam, it probably is. Find the cities that any event has already been to, and ask artists on MySpace in that city if it was worth it. I find that when folks get burned out of money, they are more than happy to tell others about it. Don’t be fooled by recognizable logos—and if you attend an event that is bullshit, write to those “sponsoring” companies whose logos are plastered all over everything and tell them it was bullsh*t!!!
“Instead of broadcasting how we smokin’ trees, on the radio, we need to hear more local MC’s/ Where you at? Come on where you at? This is the difference between MC’ing and rap/ Rappers spit rhymes that are mostly illegal, MC’s spit rhymes to uplift they people/ Peace, love, unity, and havin’ fun—these are the lyrics of KRS One/”
KRS-One, "Classic (Better Than I've Ever Been)," 2007
In a recent exchange—packaged for Grammy Awards special—between CBS host, Katie Couric and New Orleans-raised rapper, Lil’ Wayne, something unprecedented, and truly disappointing, happened. Asked by Couric what questions, about the handling of Hurricane Katrina, he would like to ask the out-gone President Bush—if he could—he responded that as “a gangster,” he can’t, because “gangsters don’t ask questions.” Surely, this was meant comically, but on a deeper note, perhaps the rapper who lost family and friends to the 2005 storm, and the criminal ineptitude which followed it, should have exuded more political courage than that. The bloods of the more than 2,000 killed, and exterminated, would insist on a less-stereotypical response than that Wayne afforded.
With Dr. Condoleezza Rice’s recent “I was appalled” tour, anyone sincerely concerned about the plight of those displaced and bankrolled should be reinvigorated in their fight for a right of return for Katrina’s ejected low-income victims. Rice, who claimed to be “angry” at the “implication that some people made that President Bush allowed this to happen because these people were black,” refused to entertain the charges lobbed at her “friend,” because nobody “at any level of government” was “prepared for something of Katrina’s size and scope..” Dr. Rice also noted that Katrina was devastation on many levels, because of its exposure of “an America that we sometimes don’t see—people who are trapped in poverty.” Rice is, of course, in a moral position to defend the federal government’s response, as one who was shelling a few thousand bucks on the latest footwear at Ferragamo (an Italian fashion store in New York), while her people were drowning in the oceans of neglect and apathy. Lil Wayne, a multi-platinum artist, could have easily grabbed the opportunity by its horns and lambasted the former Secretary of State for willfully evading unearthed truths about the NationalHurricaneCenter’s warnings, to the federal government, before Katrina’s landfall. Unfortunately, this expectancy might be far-fetched, given the circumstances on the ground.
.In the Hip-Hop industry, the old saying that “Money talks B.S. walks” is validated in perpetuity. Lil Wayne has been, for the last one year, the top grossing rapper, and the commercial constraints of such prestigious post are an impediment to any political expressions that fall outside of the mainstream (white) discourse. Artists like Lil Wayne have very little liberty to decide what is conducive to the marketed images packaged by industry executives and A&R directors. At the signing of their contracts, they lose all claims to the decision-making process, and have no say over what complements their corporate sponsorship and what doesn’t. Rappers are brands, and thus, marketed with a specific intention—to make money, at all costs. When they venture outside of the commercial realm, to make political statements that might offend white listeners—commercial Hip-Hop’s major patrons—such artists are reprimanded (Young Buck), and sometimes, punished (The Clipse). With studies suggesting a 64% difference in the views of Blacks and Whites, vis-à-vis the racial politics of Katrina, it’s quite easy to see why the successful rapper would rather be muted, at the height of his popularity, than speak up for the voiceless and defenseless.
Very few listeners are aware that most commercial artists are not as free or independent as they are depicted in music videos, or portrayed on wax. The intentionality of big-money industries’ fixation on the Hip-Hop world cannot be mistaken. They have found worthy accomplices, in commercial artists, to carry out their nefarious agenda. The surge of beer and liquor companies into the Hip-Hop community is an example of the completion of a long-sought agenda to paralyze the political cord of Hip-Hop music. With Grandmaster Flash and the Furious Five’s The Message, released in 1982, a significant portion of society got introduced to the righteous rage of Black and Brown youth—who had been rendered invincible by a dominant society. The revelation of a reality which consisted of human beings “livin’ in a bag,” and “eating out of garbage piles,” was a shock to many who considered themselves well-learned and educated about the world they existed in. They couldn’t comprehend a community whose heroes—for lack of employment opportunities—had become “smugglers, scrambles, burglars, gamblers Pickpockets, peddlers and even pan-handlers.” Sadly enough, the ‘90s would usher in an era of “Gangster rappers”—a terminology devised by those uneducated about the Black and Brown youth experience—with which came a great decline of political impulse in Hip-Hop music.
The explosion of Ni**az Wit Attitude (NWA), and a few other groups, classified as “gangster” in their interpretation of the socio-political climates, helped arrest the development of social-consciousness in the Hip-Hop community. Though conscionable voices like Public Enemy, Queen Latifah, Brand Nubian, Gang Starr, Lauryn Hill, Pete Rock & C.L. Smooth, MC Lyte, Poor Righteous Teachers, Lakim Shabazz, and Tupac prevailed, the age of conscientious Hip-Hop music seemed to be nearing its death rattles. Ever since, the new millennium has been anything but encouraging for listeners with an appetite for multi-dimensional, creative, enriching, and thought-provoking content. Safe for a few dedicated craftsmen and craftswomen, the bling-bling generation is, thanks to commercial Hip-Hop, likeable to a lost cause. Bombarded with an overload of misogyny, materialism, opulence, egoism, and indifference, the upcoming generation has been reduced, by avaricious corporations, to money-bearing ATM machines. Their usefulness now lies solely in the ability to buy, buy, and buy, from the companies their favorite artists promote. This is why Lil Wayne, who recently signed a deal with liquor specialists, Straight Up Brands, cannot be expected to think, speak, or act outside the commercial box. Whether mainstream Hip-Hop acts are willing to muster their innate political courage, however, the examples of several Hip-Hop artists provides ample hope to disgruntled listeners and critics of the culture.
In 2005, when Kanye West, alongside other entertainers, was invited by NBC to read a teleprompter and contribute to the benefit, little was known that the Chicagoan artist wasn’t too thrilled with the federal government’s response to, or the media’s coverage of, Hurricane Katrina. The live telethon would deviate from schedule about two-thirds through the program, when West began by castigating corporate press for “the way theyportray us in the media.” West, who didn’t have to be prompted by Katie Couric, brought up the glaring disparities in the racially-tinged depictions of Katrina’s survivors, by mainstream media: “You see a black family, it says, ‘They’re looting.’ You see a white family, it says, ‘They're looking for food’.” He would then remark that the government is “set up to help the poor, the black people, the less well-off as slow as possible.” Separating the lie from the truth, West would take it a step further, in his analysis that the Iraq and Afghanistan Wars played a part in siphoning resources from emergency-relief organizations like the level-5 storm that ripped asunder New Orleans: “We already realize a lot of people that could help are at war right now, fighting another way -- and they've given them permission to go down and shoot us!” NBC later apologized for his statements, exonerating the station because “Kanye West departed from the scripted comments that were prepared for him.” It should be noted that Kanye West’s endless legal, musical and political problems began shortly after that historic appearance.
Another artist of impeccable courage is the Detroit-based Invincible.. A gifted lyricist, she has never wavered from expressing politically-charged sentiments in her songs. Being Israel-born, Invincible feels a certain level of entitlement to speak out about the plight of the Palestinian peoples. In a recent song, she addressed the Israeli-waged assault against Gaza, which has claimed more than 1,500 lives, to-date. In The Emperor’s Clothes, Invincible, who is also an activist, argues that “Israel– you should be ashamed/ Kill and maim 1,000's of civilians in our name/ Claim you hitting terrorists but children in your aim/ Even murder relief workers blood spilling from they brain.” Drawing a parallel between the execution of Oscar Grant, and the Israeli onslaught against innocent Palestinians, Invincible takes no prisoners: Shot ‘em in the back like the cops to Oscar Grant/ And in each case the good ol’ united states sponsored that/ 7 million a day that we pay tax and AIPAC's lobbyists is robbin’ us/ Sometimes it feels like they're ain't no stopping this/ BUT now nobody can deny it cuz you made it too obvious/ Naked truth exposed like the emperor's clothes.” She doesn’t end without offering concrete steps that send a clear message of solidarity with the oppressed: “Boycott, Divest, and Sanction/ Til there's right of return for displaced and reparations.”
Contrary to popular belief, Invincible is hardly alone in engaging Hip-Hop’s listening audience in vigorous discussions on the implications of War and imperialism. The British-born actress, producer and vocalist, M.I.A. (infamous for Paper Planes), is an also towering political force in the record industry. Speaking recently with Hip-Hop journalist Touré, M.I.A. addressed the ongoing conflict in Sri Lanka. Calling it a case of “systematic genocide, [and] ethnic cleansing,” M.I.A., wants her fans to know that she is more than a Hollywood celebrity with no emotional connection with the causes they raise. She implicates U2 front-man, Bono, in her assertions: “I want my fans to know I’m not tryin’ to be like Bono—someone Irish talking about what’s going on in Africa. I actually come from there and the fact is that this is happening now. The war has been going on for a long time, but it stepped into the genocide bracket recently with the new President [Mahinda Rajapaksa].” The Oscar and Grammy-nominated star believes that her accomplishments are worthless “if I don’t actually get to speak about this.” Her contention that the repressed condition Tamilian people—the ethnic-minority population—are forced to exist in is comparable to “Nazi Germany,” is substantiated by her sobering description: “Tamil people are banned from the press,” she says, “and there’s no international media allowed into the country. They get shot. The government’s banned any independent observers, media, aid, humanitarian agencies, NGOs—nobody’s allowed in to see what’s going on.” She goes further: “Tamil people were banned from doing the Census report,” which, according to M.I.A.., “means that you could wipe them out and no one would know. You can’t account for how many there are.”
The courageous words and actions of Kanye West, Invincible and M.I.A., are refreshing for many Hip-Hop listeners and critics. An unbreakable bond of mutual support for activism-oriented artists can help in restoring the political audacity of Hip-Hop, which reigned supreme in the ‘80s. As a response to Reaganomics, Hip-Hop artists utilized their God-given voices as megaphones for justice, in informing the world about the undocumented realities they were (as people of culture/color) entrenched in. It is the belief of this author that a resurgence of such spirit would do Hip-Hop good in the years, decades, and hopefully, centuries, to come.
This year's NBA All-Star weekend will generate a deeper sense of fulfillment for Jay-Z.
The rap mogul, along with Cleveland Cavaliers forward LeBron James, will be on hand to donate 150 musical instruments to students at the Mesa Arts Academy.
The duo, who have partnered with the event sponsor Sprite Green, will also sign a donated piano that will be located in the school's auditorium.
More than 200 students are expected to meet, interact with and perform for Jay-Z and James during the event.
In addition to the Academy, the instruments will go to the Boys & Girls Clubs of the East Valley.
For Ramon Elias, the donations will provide proper motivation for youth to fully explore their musical potential.
"Our kids love to perform, and we know the instruments and musical equipment . . . will be a great way to motivate the kids to go to class and come to the Club after school," the Boys & Girls Clubs of the East Valley president told The Arizona Republic.
Located in Mesa, Arizona, the Mesa Arts Academy is a free charter school that blends arts and music from kindergarten through eighth grade.
The visit to the school is one of a string of events James and Jay-Z will attend during All-Star weekend.
The pair will travel to Phoenix to host their third annual Two Kings Dinner event on Saturday (February 14).
Although it wasn't mentioned how James and Jay-Z became aware of the Academy, a spokesperson for the stars cited the duo's desire to do something besides the dinner as their motivation to make a charitable donation to a deserving organization involving music.
James is among various NBA greats who will play in the All-Star game, which is scheduled to take place on Sunday (February 15) at the Airways Center in Phoenix.
Tip-off for the event, which will feature a halftime performance by R&B crooner John Legend, will be at 8 p.m.
