Dead End Hip Hop

Your Favorite Hip Hop Music Community!

RiFF RaFF & The Politics of Cultural Irony In Post-Swag Hip Hop

by 3 Comments

riff raff dehh

 

The first time I encountered RiFF RaFF was through a link on Twitter about a year and a half ago. I clicked it and came across a YouTube video entitled “Versace Python Freestyle.” Versace Python Freestyle? Versace Python Freestyle. The video commences slowly panning across a desk covered with your typical cliché hip hop fodder- gold chains, rubber banded stacks and cocaine, but amongst it all sits a python. A fucking python. This is the world of RiFF RaFF, a.k.a. Jody Highroller, a.k.a. Blueberry Jones, a.k.a. the inventor of “tannicure” (tanning+manicure) – an infinite sea of non sequiturs, absurdist references, and an unbridled stream of consciousness creativity varnished in all the glamour of turn-of-the-century video era hip hop. I watched incuriously until the camera turned to him, his white skin covered in pop culture tattoos ranging from Bart Simpson to the BET logo, grills peeking out between his lips, braided hair running down from his forehead to his back. Was this supposed to be ironic? Racist? Funny? Serious? I didn’t care. All I knew was this guy was a complete idiot.

Less than a year after this 2 Chainz blew up. He toured with Drake, signed to G.O.O.D. Music, and released his debut album, Based on a T.R.U. Story. Backpackers the world over denounced him, like they have every popular non-lyrical rapper, “the end of hip hop.” Some of my peers deemed him dumb, lowbrow and beneath them. Others, including myself, roistered in the unwavering hilarity of lines like “she got a big booty so I call her big booty” and “extra garlic sauce I got Benihanna issues.” Soon after came fun fact of the year: 2 Chainz graduated from Alabama State University with a cumulative GPA of 4.0. Suddenly  everything he rapped wasn’t being taken as seriously as Chuck D, Kafka, and the President. You just can’t expect philosophical musings from someone formerly named “Titty Boi.” And so the great debate about irony in hip hop continued.

I went to high school during the height of club tethered hip hop. Soulja Boy and Flo Rida were everywhere. Every piece of radio-ready hip hop was being written for two intentions: 1. ringtone sales and 2. to make assholes in Affliction tees drinking Red Bull and vodka dance. And every song came with its own tailor-made dance from “the stanky leg” to ” the dougie.” It was during this period that “swag” was starting to find its way into everyone’s mouth. Mainstream hip hop was certainly at its nadir in terms of intellectually engaging subject matter and, to all the sensitive teenagers out there at the end of the naughts, it just seemed cheap and uninspired. This isn’t to come off as pretentious, even though I was then. I, now, understand the necessity of both KRS One and Weezy. We need music to party to as much as we need music to think to. That is to say when I’m drunk I eat Taco Bell not filet mignon. Lil’ B can be seen as the genesis of what I’m going to refer to here as “post-swag” hip hop. It is a form of hip hop rooted in postmodern ideas of humor, appropriation, and lowbrow fetishism. Rappers like 2 Chainz, Lil’ B, Das Racist, and RiFF RaFF, who blow braggadocious hip hop to such insane proportions it becomes comical. Cultivated by, of, and for the internet, post-swag hip hop mirrors internet culture from memes like “rap game___” and the Based God to the ever ubiquitous hashtag flow. RiFF RaFF and Lil’ B are as prolific tweeters as are they rappers, generating as much of their fandom through social media networks as they do through their mixtapes.

The question of the last year has been “is this good or bad for hip hop?” Does this magnification of swag and social media culture act as a form of self-aware satire or does it represent the complete end of substance in mainstream rap? I think neither.  The former implies a since of irony that, in my opinion, is absent from most of these artists’ approaches. While I do think RiFF RaFF and 2 Chainz are far more self-aware than they are self-serious, I don’t believe, at the end of the day, RiFF takes out his grills, undoes his braids and becomes Jody Christian, some middle of the road dude from Houston. I don’t think he’s ironic or, in any way, attempting to satirize hip hop. There’s sincerity buried under all that Marc Jacobs. So why did I feel this instinctive hatred towards him when I first saw that video on YouTube a year and a half ago? Was it just because he’s white? It seemed to be the only difference between him and 2 Chainz. We’ve come to a point in hip hop where we’re stuck with a sticky situation involving cultural appropriation and ideas of racial authenticity. In other words, rap game complicated.

It just comes down to the question of the artist’s intention. But it’s never entirely possible to understand this. In Death of the Author the French post-structuralist thinker, Roland Barthes, discusses the necessary separation of author from their work, stripped entirely of historical context and social constructs like race, gender, class, etc. From this perspective one must approach RiFF RaFF the same way they would 2 Chainz. So when I listen to him now I laugh at the undeniable comicality of lyrics like “I done spilled codeine on my white silk pants.” Whether or not he’s “good for hip hop”, satirical, ironic, or entirely self-serious I don’t care. All I know is this guy’s a complete genius.

 

 

The opinions and views expressed here are the opinions of the designated author(s) and do not reflect the opinions or views of any of the individual members of Dead End Hip Hop.

Tyler, the Creator vs. Dr. Boyce Watkins: The Mountain Dew Commercial Debacle

by Leave a Comment

tyler vs boyce

Early in the month of May, Mountain Dew and Tyler, the Creator decided to release a slapstick ad campaign for the company’s popular carbonated beverage. The commercial featured a goofy goat named Felicia, complete with the voice-over done by Tyler himself. The campaign was originally meant to be a three-part story but things came to a sudden halt after the second one aired. This is mostly due to the fact that Dr. Boyce Watkins, a professor at the University of Syracuse, deemed the second installment of the ad campaign as “arguably the most racist commercial in history”. Dr. Watkins’ original article with him offering his opinions on the commercial can be viewed here:

http://www.yourblackworld.net/2013/04/black-news/mountain-dew-releases-arguably-the-most-racist-commercial-in-history/

The actual commercial featured a beat up Caucasian waitress from the first installment of the commercial series accompanied by police officers with a lineup of five black males as well as Felicia, the goat. The police officer urged the waitress to point out who hurt her while Felicia aggressively encouraged her to stay quiet. The commercial ends with the waitress refusing to point out the obviously guilty goat and flees the scene hysterically. Dr. Watkins argues that the black men in the commercial appear to have a negatively charged connotation to them and describes them as: “Gold teeth, ‘mean mugging,’ sun glasses wearing, white-t sportin, hard core n*ggaz ready to ‘get into some ol gangsta sh*t.’” He also touches upon concepts as the “stop snitching” movement and how this commercial contributes to that in a bad way. The criticism sparked a flurry of events which led to PepsiCo ultimately shutting down the campaign completely.

Tyler and his manager, Clancy, sat down with Billboard to give their side of the story and it can be found here:

http://www.billboard.com/articles/columns/the-juice/1560547/exclusive-tyler-the-creator-talks-mountain-dew-controversy

Basically they defended the commercial by saying that they were going for absolute ridiculousness rather than any sort of malice-driven messages with the commercials. Tyler was notably upset with the whole situation as he claimed that it has ruined opportunities for him.

In my opinion, there are many flaws to the argument that Dr. Watkins has purported with respect to the whole situation. After reading his original article, it is extremely evident that he saw the commercial and made his own emotionally-driven assumptions in the form of a strongly worded article. He did not care to do any research on the actual advertising campaign to realize that the commercial was actually a second installment in an overall story nor did he do any meaningfully research on Tyler, the Creator as an artist. Granted, Tyler can easily come off as a very abrasive and menacing figure with some of his subject matter in his songs, however, under close inspection, one can come to the conclusion that Tyler is just a kid who has his own way of doing things. It is very important to understand the perspective in which a person is presenting their ideas to you, especially if you are going to voice an opinion that may have a strong influence on said person.

Tyler rebutted Dr. Watkins’ argument by saying that, because he is from a different time, he may have seen it as racist when it really was not. Let me put it to you another way way. If you hit up the clubs and only chase after the drunken girls in skimpy dresses and then complain about how you cannot find a nice, pretty girl to settle down with, you need to look within before pointing the finger. If you live your life crying “RACIST!” for anything that resembles being racist at all, not only will you be living a life full of angst, but it is very likely that you will actually be contributing negatively to diminishing the concept of racism in society. Another flaw of Dr. Watkins’ original article is the links he makes to Lil Wayne’s Emmet Till debacle as well as the unsolved murder of Quinten Moss. It is completely unfair, in my opinion, to link Tyler’s silly commercial to these much harsher situations.

Soon after the Billboard article was released, Dr. Watkins’ uploaded a 20+ minute video offering some reconciliation to his original claims about the commercial which can be viewed here:

Dr. Watkins has more of an understanding tone as he discusses how his daughters are, in fact, Tyler, the Creator fans and that he actually does have respect for the young man. It is very evident that Dr. Watkins has done more research on Tyler as an artist before presenting his new-found opinions. He does bring up a very great point, however, when he states that celebrities must be held accountable for what they do due to their huge influence on the general public. Although Tyler may not have meant any harm with the advertisement, he needs to definitely be more wary of some of the forms of media he presents to his fans.

I still believe that the Mountain Dew commercial in question should not have been taken as seriously as Dr. Watkins did, but I also believe that Tyler must learn that this type of reaction will become more and more common with his material, especially as his popularity continues to grow. There is a huge difference between the amount of criticism you will garner from a music video that you upload on YouTube for a song that will be viewed mostly by your fans and a national advertisement for one of the most popular beverages out there today. As Tyler continues to seek out more directorial opportunities like this, he will also need to be more aware that these types of situations may become commonplace and he will need to account for this wherever he decides to take these opportunities creatively. As much as Dr. Watkins needed to understand the perspective of the creator of the commercial, Tyler also needs to understand the potential perspectives of his audience.

 

 

The opinions and views expressed here are the opinions of the designated author(s) and do not reflect the opinions or views of any of the individual members of Dead End Hip Hop.

Kanye West’s “New Slaves” and the Complicated Relationship Between Hip Hop, Black Culture and American Materialism.

by 3 Comments

new slaves dehh

A few months back I watched an interview with Kanye West where he jokes about white people always using the word “juxtaposition” to describe his music and how he has no clue what the word means. This may be the best example of how hip hop criticism can often come across as a bit of a spectator sport; music critics using the words and tools of the academia to comment on artists who often have never taken a college class. No matter how many polysyllabic words and hip references a young, white liberal drops in their review they will never understand the struggle most rappers have dealt with. The difference between sympathy and empathy is experience, and we can never empathize with Kanye West. Never.

”As long as I’m in Polo smiling they think they got me, but they would try to crack me if they ever see a black me,” he astutely commented on “Gorgeous” from My Beautiful Dark Twisted Fantasty, regarding his changing appearance in the media. I sometimes forget the Ye from a decade back in the pink polo, Louis Vuitton backpack strapped tightly on him, eyes focused but damp from tears as he performed “Jesus Walks.” Within that decade he’s become the most universally loved and hated artist out today simultaneously, not to mention the most magnified rapper in the media. There has never been an artist who has dealt so strongly with both the pros and cons of the new media and its twenty-four-hour celebrity binoculars. Despite his lack of understanding of the word, there truly is no better word to describe his life and music than “juxtaposition.” From the duality of hatred and adoration he experiences everyday outside of him, to the arrogance and insecurities it has manifested within him, Kanye West is truly a walking paradox. And these contradictions are what have made him the most interesting and contentious artist of the past decade. He’s despised for his arrogance, castigated for his outbursts, and hated for his self-pity. This is all despite the fact that not a single one of his detractors know what it’s like to be Kanye West.

As I plainly stated in the first paragraph there is simply no way I can empathize with Ye; all I can do is posit assumptions based on what knowledge I have of his personal life, which is quite a lot seeing as how publicized it is. It seems to me that when you are as strongly hated and loved as he is, with little to no middle ground and even less privacy, it can be quite easy to not know who to trust. “Am I really this good? Am I really this bad?” It fuels nothing but simultaneously growing ego and insecurities, and, ultimately, you end up trusting no one but yourself. You look inward constantly, become self-obsessed, overly self-aware, and even more overly self-conscious. Now add extreme wealth to this already tumultuous mindset. All you get is more arrogance from yourself and more hatred from others, but, as the old aphorism of the art goes, “mo money, mo problems.”

This brings us to “New Slaves”, the first song premiered from his upcoming album Yeezus. In it Ye frustratedly contemplates issues such as the privatization of prisons, rampant materialism in hip hop, but, most endearingly, what it means to be a rich, famous, black man in 21st century America.

“You see there’s broke nigga racism, that’s that, ‘don’t touch anything in the store,’, and then there’s rich nigga racism, that’s that ‘come back and please buy more.’ ‘What you want a Bentley, a fur coat, a diamond chain? All you blacks want all the same things’.”

You can toss it aside as first world problems and vexing self pity, but it’s important to remember Kanye wasn’t born into wealth. This isn’t to say because he earned his money he’s also earned the right to whine about the problems that come with it, but rather an attempt to better understand his perspective. Before all the money he was alienated in high-end stores due to his lack of wealth, surmised to be a thief; however, now that he’s rich he’s experiencing a new form of alienation brought upon by the infamous stereotype of being “nigga rich.” But how is it a capitalist country so consumed with materialism can criticize him for living the American Dream? So he’s forced to ask himself, what must he do to be accepted by white America? Scrub himself entirely of his blackness? Wear polos and smile?

Why are some forms of excess tolerated and yet others are not? In America we have an accepted status quo of what is proper and what is not, and that status quo has been entirely shaped by social constructs. Why is it when a white woman wears a Gucci handbag it’s fashionable and desired, yet when a black rapper wears Gucci he’s perceived as flashy and “nigga rich?” What makes gold chains immoral excess and country clubs morally acceptable excess?  A similar parallel would be how names are perceived in America. Names like Bob, Jeff, and Chris are considered normal, proper and of the status quo, yet “black names” like Imani, Aaliyah, and Shanice are considered laughable. Names are entirely arbitrary. They are just arranged phonemes. What makes some conventional and others not? The answers would be historical context as well as the idea that the history of what is conventional in America has been decided by white people.

“My momma was raised in an era when clean water was only served to the fair of skin.”

White people hate nothing more than when black people bring up the past. And while it is true that we have moved forward it would be a complete fallacy to suggest our past does not still affect our present, as seen in the above paragraph by what is deemed conventional in American society. So I don’t view this particular line as “a black man still whining about the past” but rather much needed historical context.

“New Slaves” doesn’t just deal with black culture’s difficult relationship with American consumerism, but also ideas of hip hop as a commodity bought, sold, and traded by corporations. De La Soul’s Posdnuos famously quipped, “I am Posdnuos. I be the new generation of slaves here to make papes to buy record exec rates” commenting on the power relationship between artist and management. Kanye shares in this belief of professional musicians being viewed by record labels and corporations as commodities rather than artists. But with hip hop and its culture being sold to kids by corporations that are, for the most part, run by white people we experience a vicious hypocrisy. Kanye West may be seen by these corporate CEOs as “nigga rich”, however it sells so they run with it. The very culture they critique is the one they peddle to grow their wealth. New Slaves.

 

 

The opinions and views expressed here are the opinions of the designated author(s) and do not reflect the opinions or views of any of the individual members of Dead End Hip Hop.

The Immortalization of Notorious B.I.G and Tupac Shakur

by 1 Comment

tupac and biggie

September 13, 1996 and March 19, 1997 are two dates that changed the entire landscape of hip hop forever. These are the dates that mark the historic losses of the extremely prolific rappers, Tupac Shakur and Notorious B.I.G. Their mark on hip hop, which is almost as immeasurable as the effects of their music, as well as the overall package that came with each dynamic personality, are deeply rooted in the genre of rap music today and for the foreseeable future.

They will forever be fixtures in hip hop and rightfully so, however, it is also widely accepted that, if not for their unfortunate demises, Tupac and Biggie would still be dominant forces in music today. The reason for this is because they were both fresh off their most critically acclaimed releases shortly before they were murdered. Tupac had released All Eyez on Me, which was filled with gangsta raps as well as thought-provoking tracks riddled with social commentary. The Don Killuminati: The 7 Day Theory was also recorded shortly before Tupac’s death but was a posthumous release. Biggie’s final album, Life After Death, was also a posthumous release. Both rap artists were easily at the apexes of their careers, which is why the timing of their passing is so unfortunate.

The idea that I would really like to challenge (with respect to Biggie and Pac) is whether they would be dominating the rap world if they were still around today. Furthermore, I would like to explore the possibility that it is more likely that they would not be the most dominant artists in hip hop today in terms of the music they would be releasing. Now before you look up my IP address and gather all your friends in an angry mob for my head, just hear me out. The way I see it, there’s three main paths that the rappers could have followed if their lives were not tragically cut short.

Outcome #1: The Continuation of Their Domination

So let’s assume here that Biggie and Tupac continued to drop full length LPs on a semi-regular basis that were, not only critically acclaimed, but also widely accepted by the general public. For this outcome to be realistic, one would have to assume that the best parts of their careers were yet to come to fruition since it has been over 15 years since those tragic events. Moreover, this would mean that Biggie and Pac would not have actually reached the apexes of their careers at the time of their death and they would actually see even more success than they already had. For each outcome I want to mention examples of rappers that have followed a similar path, however, I do not believe there has ever been a rapper in the genre’s history that maintained the level of popularity that Biggie and Pac perished with for a long period of time. I want to stress “the level of popularity” because there are definitely rappers out there who have been pumping out amazing music for years and years, (e.g. MF Doom and The Roots). It is important to note that these rap outfits do not garner even nearly as much attention as Tupac and Biggie did in their time.

For this outcome to realistically happen, Biggie and Pac would have to do something that virtually no other rapper has ever done before. You have to keep in mind that right before they were killed they were two of the largest cemented fixtures in rap. In order to keep that up, they would have to maintain their musical excellence as well as their enticing images. They would have to also make sure to stay innovative in a clever way as to make sure their acts did not become dated to listeners. They would have to do the impossible in rap…please everyone.

Outcome #2: Less Music, More Business

“Music business hate me cause the industry ain’t make me.
Hustlers and boosters embrace me and the music I be making.
I dumbed down for my audience and doubled my dollars,
They criticize me for it, yet they all yell holla.” – Jay-Z in “Moment of Clarity”

This would be the most probable outcome, in my opinion. If a rapper wants to either gain popularity or maintain a high spot in the eyes of fans, they have to create enjoyable music, all the while maintaining a high level of innovation, which just is not sustainable. In addition, when an artist reaches a certain level of popularity, they become much bigger than their own music and they become a brand themselves. Initially, their music will be their main source of income but if they are successful, it is their personal brand that carries them financially.

Don’t believe me? Just keep waiting for Detox to come out while Dr. Dre sits in his mansion farming cash off his branded headphones. Dr. Dre, literally, has nothing to gain with making music. He’s already proven his prowess as an elite producer and he’s living quite comfortably with his personal business ventures. There are also countless other examples of rappers who have quit putting their heart and souls into producing LPs and have fallen back onto other forms of revenue and you cannot blame them. The public demands so much from artists so it makes sense for artists to just try and live their lives. Being under the microscope with all of society’s eyes behind the eyepiece watching and criticizing your every move has to be extremely taxing mentally and physically. If Tupac and Biggie were still alive today, imagine how many headphone companies would be begging for them to put their name on a new product in exchange for a hefty royalty. The more their legendary status becomes cemented into the genre, the less pressure they have in proving themselves musically.

You are probably all thinking “just look at Jay-Z and Nas!” Both of these rappers were also very influential in the rap genre even back when Biggie and Pac were still around and they are still huge monikers for hip hop today, all the while still making music. However, after objectively comparing Jay-Z and Nas’ music in the pre-1998 time period to the many different styles they have experimented with after, there are many mixed feelings from listeners within the community. As a result of the achievements and level of praise for their work in the past, many actively argue that Jay-Z and Nas have gotten much worse musically than they were back in golden era of hip hop. Jay-Z even admits to intentionally dumbing down his music in order to further supply his wealth and Nas is still seemingly putting a lot of effort into his music, however, he has found it difficult to create consistently highly impactful records. Basically, my main point is that Jay-Z and Nas have failed to reach the same quality of music they put out earlier in their careers in the eyes of many of the hip hop community. Personally, I believe that Jay-Z and Nas’ fates would be the best possible, yet still realistic, scenarios for Biggie and Pac’s nonexistent continued careers. They would still be relevant in music but would fail to reach the levels they once had in the past.

Outcome #3: Whatever Happened to Tupac and Biggie?

This last possible outcome includes the sudden disappearance of the rappers due to some sort of major event that could have forced them out of the public eye. Whether it be because of a sudden epiphany, like when Mase found God, or a conscious decision to leave the spotlight like Lauryn Hill did (sparked by her disdain for the state of society). This outcome involves hip hop fans going “Whatever happened to Biggie and Tupac these days anyway?!” Alternatively, they may have left the music industry completely and pursued other endeavors such as acting.

This outcome is the most unrealistic one in my opinion only because of the level of notoriety that Tupac and Biggie had achieved. Although artists have dropped off suddenly in the past, none were as popular as Biggie and Pac in their time.

 

In the end, there should be no debate at all on whether Tupac and Biggie would be huge names in the hip hop world today. They undisputedly would remain the kings of rap because of how far they pushed the genre. Their influence would just continue to grow and grow until they became bigger than music themselves. This would, in turn, lead to the rappers to not put as much focus in their music which I would say would start in the mid-2000s, if not earlier.

This article is not meant to downplay or be presented as a negative connotation towards the lives and music of Notorious B.I.G or Tupac Shakur. It is solely directed to those who wholeheartedly believe that if the two superstars were still alive today, they would still be dominating the rap world musically. Based on general trends of the volatile and unpredictable genre as well as trends from other artists in similar situations, it is more realistic to believe that Tupac and Biggie would not still be pumping out music at the same level they were before they passed away. Furthermore, it would not be because they were no longer capable or a testament to their talents but more so an indicator of the rapid evolution of hip hop as well as the somewhat unrealistic expectations of music listeners. The sheer magnitude of their influence on the genre today is immeasurable and will definitely be felt for years and years to come. The music that they were able to present to the public in their short lives have successfully been immortalized in the history books and rightfully so.

 

 

The opinions and views expressed here are the opinions of the designated author(s) and do not reflect the opinions or views of any of the individual members of Dead End Hip Hop.

Think Black Thought!

by 9 Comments

Larry Busacca

Hip Hop is hands down the most competitive form of music. Rappers are obsessed with being the best at their craft and letting it be known in their lyrics. As a result, fans often weigh in on who they believe to be the best and this leads to the infamous conversation of who is the “Top Five Dead or Alive.” The problem with these lists is that it seems everyone is either too scared or too oblivious to stray away from the same generic list: Tupac, Biggie, Jay-Z, Nas, Eminem and Andre 3000. I get it, these rappers are absolutely amazing and definitely deserve all the respect they get, but common people, let’s get some variety and some real personal opinions and beliefs to breathe some life into these carbon copy lists. More specifically, the thing that makes me most frustrated about these lists is the omission of my personal favorite rapper of all time, Black Thought from The Legendary Roots Crew.

“Y’all know he’ll raise the bar though like Brigitte.
See there a star go, don’t blink, you might miss it,
It’s precious cargo, you gotta be strong to lift it.
The light comes in different types, be more specific,
Shit, he’s Black Thought, what could be more prolific?
For this love, he’ll go above and beyond a limit.
He told y’all he’s above and beyond a gimmick.

-Black Thought in “Right On”

Before I get into the nitty-gritty of why I believe Black Thought should be involved in these “Top Five Dead or Alive” conversations, it is important that I set what I believe to be the important credentials that an MC must possess to be considered as one of the best of all time.

An MC must have an impeccable flow supported by a creative rhyme scheme, coupled with such a rhythm that their vocals seamlessly fit in with the instrumental. They must also embed some deep lyrics while maintaining this flow, whether by being clever with their punch lines, telling a story or bringing about some sort of emotion out of you. Another important aspect is their beat selection, because the greatest rapper could spit one of the greatest verses of all time; but if it is not over a great sounding beat, it is basically worthless as it would lack any sort of musicality. Lastly, a rapper has to achieve a high level of consistency. If an MC drops a full length album that blows you away and then follows it up with an uninspired effort, they should not be in contention.

“Right now it’s somebody who ain’t eat all week,
That would kill for the shit that you throw away in the street.
I guess one man’s trash is the next man’s treasure,
One man’s pain is the next mans pleasure.
One say infinity the next say forever,
Right now everybody got to get it together man.”

-Black Thought in ‘Right Now’ (Song by Fort Minor)

When have you ever heard a bad Black Thought verse? Better yet, when have you ever even heard an average-sounding Black Thought verse? The legendary MC commands the mic with a flawless flow. He is also very diverse  as it is very difficult to hear a verse that sounds similar to any other. Black Thought is not only a flow-based rapper, however, he is definitely also an extremely proficient lyricist, but this is often overlooked because his lyrics can go over listeners’ heads as a result of his flow. Black Thought utilizes clever wordplay with obscure references to rap or pop culture. He also has a track record of rapping some incredibly inspiring verses, especially on How I Got Over. Kendrick Lamar has been praised by the entire industry for his storytelling abilities on good kid m.a.a.d city and yet, Black Thought gets no love for his showcase of storytelling on the December 2011 release Undun.

“Tryin’ to control the fits of panic,
Unwritten and unraveled, it’s the dead man’s pedantic.
Whatever, see it’s really just a matter of semantics,
When everybody’s fresh out of collateral to damage.”

-Black Thought in ‘Make My’

In terms of beat selection, how can you possibly go wrong when being backed by the greatest full band in hip hop, The Roots? The Roots definitely create some of the best instrumentals that hip hop has ever seen with their full set of instruments and skilled instrumentalists. There are definitely not many rappers out there that would be able to handle the instrumentation that The Roots demand Black Thought to rap on. I think that part of the reason why there is a lack of Black Thought in these “Top Five Dead or Alive” conversations is because he is part of a group and is not credited as being a solo artist, however, this logic is very flawed.

It is incredulous to discredit the man’s raps because his name is not listed in solidarity, as each member of The Roots plays an essential role to their overall sound they are trying to achieve. Lastly, Black Thought definitely has achieved consistency. The Roots have released 12 full length albums since 1993 and each one showcases Black Thought’s dope raps. In addition, Black Thought and The Roots show no sign of slowing down as they have announced that they will be releasing another full length LP in 2013, called &TYSYC.

“Lost generation, fast paced nation,
World population confront they frustration.
The principles of true hip-hop have been forsaken,
It’s all contractual and about money makin’.
Pretend-to-be cats don’t seem to know they limitation.
Exact replication and false representation.
You wanna be a man, then stand your own.
To MC requires skills, I demand some shown.”

-Black Thought in ‘What They Do’

Enough of all this talk about Nas vs. Jay-Z or Biggie vs. Pac, let’s get Black Thought in the mix. I understand that Black Thought gets little to no hate in the rap world, but I think he deserves a hell of a lot more attention.

Think Black Thought!

Are there any rappers that you feel should be in these ‘Top 5 Dead or Alive’ conversations that are often ignored?

Let us know who these rappers are and why!

Interview with MC/Producer Levi Watson

by 1 Comment

DSC_0934

Atlanta MC/Producer Levi Watson released Neptune in March of 2012, but it sadly slipped past my radar until November. After hearing the  pleasing, aquatic production and Watson’s solid lyricism on “Star of The Story,” I was pretty much sold on the solid project. I was able to hold a phone conversation with the 20-year-old artist, as we discussed the inception of the project, how he collaborated with fellow producers, his personal production chops, how he fuels his lyrics, and his favorite anime.

Femdog: I feel kinda dumb for finding Neptune almost a  year after it came out, but it’s really good. I appreciate you for making it.

Levi Watson: Ah, thanks man.

FG: So the thing that I noticed the most besides the music is that it has great presentation; the artwork, the kanji, the song titles etc. What was your process in coming up with Neptune before things got rolling?

LW: Well it actually started off really simple, like a lot of my stuff does. It started off, from the jump, with me liking the color blue. Like, that was pretty much it. (laughs)

FG: Oh, OK.

LW: And from there, it blossomed into having so many different meanings. You know, I just like to start off simple and just work my way up. I didn’t wanna start off so complex with all this stuff. Blue is my favorite color, and I also categorize all the music I make in colors; I might make a certain song and think, “Man, this sounds blue!” So I knew I wanted to go in that direction and make a project that had that blue overtone.

FG: Another thing I noticed is that- You’re in Atlanta, right?

LW: Yessir.

FG: When I was listening to it, I swear I thought you were a West Coast dude. It has a really smooth vibe to it, and you even had a line like “One time for the West side…”

LW: Yeah.

FG: So are you just influenced by a lot of West Coast artists, or is that just you’re natural rhythm?

LW: Um… Well I’m not influenced by too many West Coast artists. There are a lot of cool West artists in that sense, but I don’t necessarily pull from them. And that specific line that you quoted- Well I was raised in West Atlanta-

FG: Ah, OK.

LW: So that’s where that came from, and even the song is called “West [Neptune]” ’cause most of my family still lives over there. But as far as it having that West Coast feel, I would just say that I enjoy smooth-sounding music, and I guess, um- I guess people from that area love that sound of music, so we just have that in common.

[youtube http://www.youtube.com/watch?v=dSWvnjYXDnU]

FG: I wanna get in detail on a couple tracks, like the beat on “West [Neptune]”-

LW: Yeah!

FG: Forreal, every time I hear it, I just feel like riding out, just wanna get in my car and just drive somewhere, ya know?

LW: Yeah. (laughs) That beat is crazy.

FG: So how did that song come about? Did you start by hooking up with the producer, Dijon Stylez, or…

LW: Man, Dijon, that’s my dude. I’ve known him for about four or five years now, and he’s actually just finna graduate high school. He’s really ahead of his time.

FG: Yeah, wow.

LW: From about four years ago, I just took the opportunity to work with him on a lot of different stuff. But that track came together- My friend Garret came through with the OST from Bomberman Zero, that’s where the sample is from. And um, I played that game growing up and it brought back memories. The actual song is called “Zip,” and I thought it was perfect. So I took it to Dijon and pitched the sample to him, and he said OK. Then a couple days later he told me he had something for me to hear, and when he played it, I was like “Oh man! This is perfect!” Yeah, that’s definitely one of my favorite joints on there.

FG: Your beats are pretty cool as well. Do you know a guy named Cities Aviv?

LW: Uh, no I don’t.

FG: The way he makes his own beats is similar, with a cloudy, ethereal sound, but you have a much cleaner output and use some pretty unique samples.

LW: Yeah.

FG: How do you make your beats?

LW: The most ethereal, atmospheric one I made on Neptune, was the “Blue [Planet] Love,” So I’lll talk on that one. A friend of mine showed me the original sample for the song, but then he showed me one where a guy had added a bassline and some percussion, and it had an airy quality to it. So to top it off, as a special- well maybe not special, ’cause I’m not the first one to do it, but I like taking out the back bass in a sample and then putting reverb on it. That pretty much gives you that airy sound… It’ll just wash it out.

FG: Wow. It reminded me of Wild Nothing, this dreampop band. Like, you did the same thing where it feel like you’re swimming in velvet.

LW: Yeah, yeah.

FG: What’s your mindset as a person, that cause you to write the sort of lyrics you do?

LW: Well, let’s see… I take everything from an experience. My experiences are the biggest driving force behind my music. That’s really what Neptune was, it was a more cryptic experience than just saying what it was verbatim, you know, that wouldn’t have made it fun.

FG: Yeah.

LW: A lot of things that I’ve experienced growing up, that led me to see- I was the type of kid in school to ask my brother and sister, “Hey, can I read y’alls science book?” And I’m in second grade, you know? I always wanted to know a little bit more, push the limits. So being that way as a kid got me to expand myself into knowing all this different stuff. Knowledge is infinite, you know? No one person can know everything, but I just went out there and said, “What can I learn today? What can I soak up today?” Maybe researching this or, maybe I just read a book from the library.

FG: Hm.

LW: And since I make music, i should rap about my knowledge in some type o’ way. When I’m saying, “Underwater ashes/laying waste to the masses/all we have from them is text written in Sanskrit,” its just how can connect to the myths and legends about old civilizations in their golden era. We don’t know what happened to them, all we have is this text that no one can read. Sometimes it’s just me making what I read about just sound cool. Like, no one’s gonna come up to me and say, “Hey, have you read blah blah blah?” But if I spit it right over a cool beat, people get super excited about it. So, experience is 100% the thing for my lyrics.

FG: This is something that kind of puzzles me, um, you titled yourself as “Levi Watson as Akira Sengoku.” What’s up with that, ’cause I have no idea. (laughs)

LW: Yeah, yeah, yeah. That’s a really cool- I just like to do things like that because it provokes thought. A project that’s surface value… people just take it and bam! It’s just right there, just all surface value. So that’s why I did that because no one really knows, so people come up with whatever it means to them.

FG: Yeah.

LW: But what it means for the entire body of work relates to a theme in Neptune that a lot of people didn’t catch, the exploration of split personalities. On most of those songs, it’s me exploring another part in my mind, a part that I’ve never been before, a distant side of me. And that’s why I came up with the name Neptune because, since Pluto isn’t a planet anymore — well, according to the astronomers and stuff — Neptune is the farthest planet from Earth, and Earth is the only planet in the solar system to have life, it’s like this feeling in my mind that’s so far from myself.

FG: Really.

LW: yeah, that’s the beautiful part about lyrics, is that you can allude to something just as much as you want, and then leave the rest up to imagination. I like making surface value cool, to kinda pull people in, but once they step into this and dig into it, I want there to be gems for people to find.

FG: Indeed, man. You’re 19, right?

LW: No, I just turned 20. (laughs)

FG: Oh OK, Happy belated. How long have you been rapping?

LW: Uh, I haven’t put a specific date on it, but… about 6 years.

FG: And did you start making beats around the same time?

LW: I started making beats in the 9th grade, so significantly after. I was in a beat shortage, not wanting to buy other beats, and I happened to end up kinda good at it.

FG: Do you use a program or an MPC?

LW: I actually want to get into an MPC, maybe after my next project, but most of my beats were made on FL Studio.

FG: Have any details on your next project?

LW: The name is Legend of Zero, and the production will be handled by Jonathan Lowell.

FG: Cool. One last question, is that a Sonic sample on “FINAL CREDITS”?

LW: Yeah man, good ear! It’s from Sonic Adventure… 2, I believe. Three to four of the samples from the album are from video games. Most people think they’re from anime, because they know I like anime, but I’m like “What album are you listening to? I didn’t put any on there.” (laughs)

FG: What’s your favorite anime?

LW: Yu-Yu-Hakusho.

FG: I agree wholeheartedly. Mine is FLCL.

LW: Oh yeah. That’s good stuff.

FG: Thanks for your time, and I wish you the best.

LW: Thanks man, you too.

[youtube http://www.youtube.com/watch?v=sYpcl-LYV6s]

@TheEndOfTheDay… Should We Make Hip Hop Artists Kill Their Suicidal Thoughts?

by 7 Comments

capital-steez
Capital Steez committed suicide on Christmas Eve 2012, a solemn shock to the hip hop community.

There are certain songs that just stick in the back of your mind. I will never forget “Suicidal Thoughts” by Biggie Smalls. It completely messed my mind up! Not only from the completely vivid storytelling skills (yes, Biggie is one of the best story tellers in hip hop — but that debate is for another post), but also for the fact that his sincerity made it feel as though he actually did it at the end of the song. This song made me realize something. It made me realize that even successful artists can still have thoughts of ending their lives.

Within the rock genre, it was common to hear of suicides from self-inflicted actions or overdoses. However, you don’t hear about it much within the hip hip realm. In the past, we only heard of Bushwick Bill attempting suicide. In the past year, however, the hip hop culture has lost Don Cornelius, Chris Lighty and more recently Capital Steez and Freddy E to suicide. For the sake of the article, I will keep it on point of dealing with rappers though.

At what point does an artist’s bars stop being lyrical and become lethal? Can an artist’s bars of pain become the fans’ amusement? I remember people telling me that when Eminem got clean, he became “lame” and “boring” to them. We even saw how people enjoyed the train wreck that Amy Winehouse  rode until her death. Have hip hop fans put the artists in an awkward position?

On the other hand, would we be limiting the artists? Biggie did die, but it wasn’t from suicide. He went on to make another album and seemed happy (for the most part). Many hip hop artists write what they feel, because their fans feel or are going through  those experiences. Sometimes, the transparency of talking about suicide can help people with the problem. Also, speaking on certain taboo topics simply reflect the concept of the song.

Regardless of any opinions, no one should ever end their own life. As fans, we should understand that artists are real people. We should never provoke artists to continue to “walk on the dark side,” when we see that they need help. At the end of the day, we never want an artist to feel like it’s “the end.” Spread The Soup!

 

Questions From Tumblr: “The Lack of Sub-Genres In Hip Hop.”

by 7 Comments

11. handpainted-f9

Hip Hop is diverse and has a variety of different sounds and influences compared to many genres just like rock music does. Do you feel that the lack of definitive sub-genres in hip hop has had more of a positive or a negative effect on how hip hop is viewed?
— theloungeblog

Well, first off, who are we talking about that is viewing hip hop? I’m going to assume you’re talking about the masses who may not be involved in the culture at all.

I don’t think the lack of easily definable sub-genres has anything to do with how hip hop is viewed. Hip hop has plenty of sub-genres. I think the problem is artists rarely ever coin these sub-genres. Critics and fans do. The artists just sit back and make whatever music they feel like making. The critics and fans are the ones who are so bent on having some concrete term for the music they’re listening to. Whether it’s indie rap, backpack rap, boom bap rap, swag rap, conscious rap, noise rap, it’s all rap. I don’t think the fact that Brother Ali is not separated from Lil B by a plastic card in the record store has any effect, positive or negative, on how the culture is viewed by anyone.

Same goes for rock & roll. I doubt bands set out with the purpose of being labeled shit like glam rock, pop rock, indie rock, hard rock, etc. These stupid terms can’t really be nailed down to a science anyway. There’s no formula saying that “pop rock has to sound exactly like this otherwise it must be hard rock.” Again it’s just critics and fans doing this shit.

It might be a little different with metal bands. Some metal bands set out to specifically be involved in a certain part of the metal world. I think this aspect really applies to black metal bands. Some of them set out to play traditional first wave black metal like Venom or Bathory. Some of them set out to emulate the second wave of black metal like Darkthrone, Mayhem, Satyricon, Emperor, etc. Typically, with these types of bands, they have no desire to deviate from the formula that was created by those original bands. Therefore, there would be no need for a sub-genre there. However, people still find a way to sub-categorize it by labeling it “traditional black metal”, “cult/cvlt black metal” or “pure black metal.” Then you have bands like Krallice, Enslaved, Panopticon, Agalloch, etc. who set out to just play what they feel like playing. Death metal has the same thing going on. Some set out to play the same type of death metal that was created by the pioneers of the genre, while others feel the need to experiment and incorporate other types of music into their own. Does that make the music better or worse? That’s all up to the listener. But does it change the way the parent genre is viewed? I sincerely doubt it.

I really don’t think sub-genres are important. All they do is help you categorize bands to either dismiss them by saying shit like “I don’t listen to blah blah music”, praise them by saying shit like “I only listen to blah blah music” or describe them by saying “they sound like blah blah music.” Personally, I think the last is the only acceptable reason to focus on sub-genres. If you play a certain type of music and you want to describe it to me, it’s cool to use certain terminology to accomplish that. But, even then, half the time people use the wrong terminology to describe something. To be honest, I think a lot of the reason people focus on sub-genres is to make themselves sound smarter than someone else because they labeled an artist something that other people may not be familiar with causing them to say “what’s that?.” Then you have the pleasure of explaining it to them. You call something “anarcho-punk” while someone else calls it “crust-punk” while someone else calls it “grindcore” while someone else calls it “d-beat.” Who fucking cares? Just listen to the damn music.

All-in-all, I really don’t see how having easily recognizable sub-genres benefits hip hop, or music in general, as a whole. It’s mostly viewed by the actions of its audience. Not the titles thrown at it.

Darcwonn’s Top 20 Albums of the Year

by 7 Comments

2012_2009_01

  1. Kendrick Lamar – Good Kid, M.A.A.D. City: Kendrick is the man for this year (or in these streets—Ha!). His team (TDE) is equally undeniable, as the majority of them are on this list. This album tells a story about a young man in the hood that lets his influences get the best of him. Although things end on the up and up, they could have gone sour like day old lemons.

 

  1. El-P – Cancer 4 Cure: Ask Myke C-Town, this should be number one. To be honest, I can’t front: this album is pretty damn seamless. You won’t find another album that is both sonically or emotionally as strained or dark as this in hip hop. There is a reason El-P makes an album every few years: he wants greatness.

 

  1. Killer Mike – Rap Music: Southern angst, anger, and retrospective street lore over noisy, yet crunk El-P production sounded like either the work of a genius or an impending doom. As many had hoped, the former happened. If anybody can’t understand why this album is on the list, listen to it in its entirety. Killer Mike should be selling hundreds of thousands of copies. This mistake needs to change soon.

 

  1. Blu x Exile – Give Me My Flowers While I Can Still Smell Them: People asked for it. People got it. People pretty much ignored it. The second installment of what could be considered a damn-near classic, although many would disagree. However, you get a Blu that is both mature and reflective from his past discretions (I hope). With songs like “Oh Heaven,” “Don’t Be Jelly,” and “A Man,” one shouldn’t keep fronting on this dynamic duo.

 

  1. Brother Ali – Mourning In America And Dreaming In Color: This is Brother Ali’s response to the economic madness that is going on in America. With changing topics, changing flows, and diverse emotional approaches, Mourning In America and Dreaming In Color is the soundtrack to bucking the system. While some have occupied Wall Street, Brother Ali should have occupied your ears.

 

  1. Ab- Soul – #ControlSystem: The Black Lip Bastard pushed himself into the consciousness of all the hip hop heads with great surprise. #ControlSystem was more than a rap album. It was a call to freedom from a society that has us bound to following rules and guidelines that we shouldn’t follow. Also, it made mention of all the foolery that urban neighborhoods take on. Plus, with a heart-wrenching song like “Book of Soul,” Ab-Soul put himself in the upper echelon of those that shall be the future.

 

  1. Skyzoo – A Dream Deferred: Skyzoo let go all of his experiences, influences, and the like into one album. Whatever motivates his hustle is mentioned throughout this album. Whether it was Chi Ali (“Jansport Strings”), fly SUV’s (“Range Rover Rhythm”), or even Spike Lee (“Spike Lee Was My Hero”), listeners got a glimpse of what kept Skyzoo moving. Plus, his references to movies and TV shows are still some of the best.

 

  1. Lushlife – Plateau Vision: I knew nothing of this guy before I heard this album. However, after the listen I must say I am a convert. As the combination of respect for classic hip hop and experimentation, Plateau Vision is one of those albums that got lost in the shuffle. I wish more people got to hear the greatness he put together.

 

  1. Rapsody – The Idea of Beautiful: While the major labels touted female artists that wanted to be Lady Gaga drunk off crayon-infested absinthe, Rapsody worked to be a bare-bones rap artist. She brought nothing but dope beats, great rhymes, and true feelings. If you don’t understand, listen to cuts like “Believe Me.” They will understand after that.

 

  1. OC x Apollo Brown – Trophies: I have no clue as to how this came to be. I do know that I am glad OC came from hiding to drop heat. If you think that hip hop’s “old men” can’t rhyme anymore, please think again. You will know that there is still greatness to be made.

 

  1. Aesop Rock – Skelethon: Read like a group of stories with a central theme, Skelethon enticed the ears as Aesop ran through the English language with his loquacious style. Jams like “Zero Dark Thirty,” “ZZZ Top,” and the heroic “Ruby ‘81” let us into some bombastic production and nimble word play. Plus, it’s Aesop Rock. He’s just great like that.

 

  1. Nas – Life is Good: Life Is Good is Nas on his grown man game. Realizing that life goes on after divorce, IRS consultations, and losing some of his luster, Nas did just that: kept it moving. With strongly sentimental songs like “Daughters,” “Bye Baby,” and “Stay,” Nasir Jones got listeners to understand his feelings about his present life. For once, you got to see Nasir Jones the man, and not Nas the rapper.

 

  1. Clear Soul Forces – Detroit Revolutions:  The four-man crew known as Clear Soul Forces caused a lot of hullabaloo over their soothingly impressive “Gets No Better” video. It was nothing but four brothers spitting gems. The album is filled with the same. Their live show is a reflection of their album and their style: rhymes meant to be listened to and rewound for clarity. I am proud of these guys.

 

  1. Roc Marciano – Reloaded: If this album came out in 1995, it would have been declared a classic. If you ask anyone that is a fan of Roc Marci, they would probably say it’s a classic. I don’t hate their opinion. Beautifully created with lyrics that paint pictures of criminal folklore, the listen is worth the experience. People need to buy the album. The man is reloaded and ready to shoot.

 

  1. Sean Price – Mic Tyson: Ebro labeled him a “minor league rapper.” Sean Price knows that Ebro is an idiot. You can tell by Mic Tyson that there is nothing minor league about this veteran, who’s been in the game the better part of 15 years. With songs like “STFU Pt. 2” and the hilariously chorused “BBQ Sauce,” Sean Price is part rapper, part comedian, and all the way disrespectful. Please realize that he doesn’t like most of you anyways.

 

  1. Guilty Simpson x Apollo Brown – Dice Game: Seeking all types of influential samples and production for Guilty Simpson to get busy to, Apollo Brown does not disappoint. Detractors either say that some of the production is either rehashed classics or stuff off of his instrumental albums. However, with a listen you can’t deny that this was put together to inspire understanding of the hood.

 

  1. Gangrene – Vodka & Ayahuasca: When hearing this album, this is what I get: microphone insanity over deranged beats. That is pretty much what one should expect from this album. This is one of those albums that go down as an underground/cult classic. If you know about it, you probably love it. If you don’t like it, it just isn’t your type of music.

 

  1. Act Proof – Black Boy Radio: This album makes the list because it was shockingly great. I expected a “solid” album from the duo. What I didn’t expect was an album that incorporated Black love, Black plight, and honest emotion into one package. Sad part is that people still hit the snooze button on both Act Proof and Jamla as a whole. 2013 will change all of this.

 

  1. Big Krit – Live From the Underground: Let us keep it real: his major label album isn’t as good as his mixtapes. However, it was still a great listen. Much more entailed for the trunks and traps, Live From The Underground may have threw many off. However, it was still conceptually sound and sonically attractive.

 

  1. The Alchemist – Russian Roulette: With the use of an insane amount of Russian samples with an insane roster of rhymers, Russian Roulette was more than an album. It was a sonic experience that couldn’t be matched by the mind’s eye. Both funky and trippy, The Alchemist did what he was best at: construct instrumentals that shifted moods and the world around them. Plus, it is always fun to hear Danny Brown pop E pills that taste like oil sheen.

 

Bonus Stuff

 

  1. Schoolboy Q – Habits and Contradictions: Schoolboy Q came with an album that was both maddening and earnest. You gotta love that.

 

  1. Macklemore x Ryan Lewis – The Heist: I can sum their efforts up in one phrase: pop styled music with heart. This is the stuff The Black Eyed Peas should have made.

An Open Grievance To Music Retailers.

by 11 Comments

My current musical obsession as of late is Jhene Aiko, the ultra-cool, multi-ethnic songstress known for collaborating with many TDE artists. After downloading her only mixtape on a whim, Sailing Souls, I became hooked on her light vocal delivery and reserved romantic ideals (i.e. R&B music that’s not explicitly about fucking. I’m looking at you, Trey Songz!). Likewise, I got into Imagine Dragons due to a good friend’s recommendation. Their niche brand of electronica-infused alternative rock is not new, but it’s really good; good enough for me to want to buy it on CD even.

That’s where the dilemma lies. Due to my quite expansive musical tastes and desires, which I’m sure many people reading this article share, finding tunes without the Internet would be a completely miserable affair. In fact, regarding the fact that the first album I really got into was The Low End Theory, an album that was released before I was freaking born, I probably would never listen to anything but the one album that happened to catch my interest or a mix CD from a friend’s collection. I would have never discovered Jhene either, unless she got big or I lived in her hometown.

I posit this as I decided to pick up a copy of Imagine Dragons’ debut album, Night Visions, at Wal-Mart. Yeah, it’s a bad start, but hey, miracles happen because Christmas and unicorns right? Anywho, the first warning flag was simply eyeing their “New Releases” section. Excuse me, but didn’t Michael Jackson’s “Bad” come out in 1987? Sure, the artist takes huge precedence, but a re-release is a re-release. The other albums included in the category were in fact new, but not even pressing debuts or “hot” albums. Sorry, Brandy.

But I wasn’t expecting the album to be there. I expected it to nestle among the other important-to-noticeable releases from 2012 like Bob Dylan, Mumford And Sons, Green Day, Nicki Minaj, etc.

I was nearly foaming at the mouth at how deprived and understocked the section was. First of all, the music section cleaves sharply between “secular” and “gospel,” per Wal-Mart’s family-friendly guidelines. I’m OK with that, as long as I can get what I wa- Oh wait, the music that actually matters seems to take ten years to get here, seeing as how Destiny’s Child’s Survivor still gets stocked here in large quantities. The only way new major releases become sold, like Wiz’s new ONIFC or Kendrick’s m.A.A.d city, is if the songs are bowdlerized to oblivion and then given five bonus tracks. Needless to say, Night Visions was nowhere to be found.

I did find at least one copy at Best Buy, though. The major problem there was the small quantity and the fine-toothed comb one needs to actually search for certain releases they might actually have; even new (I found one copy of GKMC on its release day. And no, people don’t buy CDs from the hood Best Buy.).  The other barrier “rock-blocking” avid music fans from their beloved tunes is the monopolistic price affixed to damn near everything.

Best Buy and Wal-Mart are actually a safe contenders in terms of value. Nothing ever gets past $11.88, although that is rather steep in my opinion. The most egregious offender is Cactus Records, a solid music haven roughly 10 miles from my house. It’s got an awesome collection of vinyl and CDs, ranging from the most glossy pop record to the more avant-garde, post-anthropological Scott Walker release. Yet every time I see something great, like a classic Ice Cube album or even a pristine copy of Dark Side Of The Moon, the price makes my wallet hurt. They sold last year’s 40-minute undun record for $14.99, a value that’s simply unwarranted.

There’s a lot of personal bias riding on this piece, being that I have a measly cash flow and the amount of music I really want to buy ranges from 2-3 albums every other week, but even the most casual listener will have a frustrating time trying to actually buy music nowadays. And simply saying “Well, that’s what iTunes and Amazon is for now. Stop being a hipster, you… hipster.” does not cut it. I completely agree and practice the purchase of mp3s, but having a CD of your favorite album has many merits that a digital file lacks in droves. I also enjoy vinyl, but for some reason car companies never got to installing LP players in their vehicles. Let’s not forget the fact that I kinda got ripped off trying to buy some.

And let’s not all ignore the fact that Apple sells their gift cards in some really shitty ways. Need to buy one album? Get the $15 card, so you don’t have enough to buy another! Oh, just need $10? Well then, get the $30 pack, ensuring that you’ll be forced to scour through our selection of “low-priced” $7.99 albums until you settle for the realy popular album you’ve been avoiding for years!

IDK, my ugly time trying to purchase music in the flesh only inflames the reason why so many choose to pirate nowadays. Whether it’s buying premium concert tickets or scoping out that one copy of their album in the only independent music store in town, supporting artists we love is a hassle.