Entries Tagged 'Hip-Hop' ↓

“Now, pretend that you’re Corey Clark”: Paula and Skat role-play

Was Paula Abdul on drugs?

Not last week, when she tried to judge American Idol contestant Jason Castro’s non-existent second performance. No, was she high in the early ’90s, when she agreed to a cameo in the video for MC Skat Kat’s solo debut, “Skat Strut,” a Fresh Prince-ish piffle over Earth Wind & Fire’s “Let’s Groove” bassline.

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If you get a chance, do please take a gander at my review, in Wednesday’s Village Voice, of the Roots’ new, this-is-the-way-the-world-ends-ish album, Rising Down, above.

“Get Busy,” the first single, burns like the bombing of MOVE, mating a weighty kick-and-snare to a morbid chorus of fuzzy synth drones. “My squad half-Mandrill, half-Mandela,” rapper Black Thought intones. “My band ’bout 70 strong, just like Fela.” Coupled with guest lyrical maestros Dice Raw (“I’m half-dead/Never felt more alive”; “I’m kinda W.E.B. DuBois meets Heavy D & the Boyz”) and the reedy Peedi Crack, the whole fest bristles with the nervous energy of riot control on dust.

It’s a jaunty read, if I, myself, say so. Enjoy!

“I’m sorry…I meant to go to jail!”: Akon makes a mean face

I’m not even an Akon fan. However, I just couldn’t resist the opportunity to write that headline before another blog did.

The Huffington Post got to The Smoking Gun earlier than the rest of us did, pointing out what rigorously fact-checked hip-hop magazines should have known a long time ago: When Senegal-born singer-songwriter-producer Akon

settled on “Konvicted” for the title of his second album, which sold nearly three million copies last year … “Kontrived” might have been a more accurate choice.

Akon’s ad nauseum claims about his criminal career and resulting prison time have been, to an overwhelming extent, exaggerated, embellished, or wholly fabricated, an investigation by The Smoking Gun has revealed.

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What a feeling: Carlton Draught’s “Kevin Kavendish” gets footloose

Here’s the safest bet you can possibly make in your life: When director Adrian Lyne released Flashdance, on April 15, 1983, dollars-to-donuts that neither he nor the movie’s distributor, Paramount, was counting on anyone talking about it a quarter of a century later.

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Pablo Escobar (1949-1993), Medellín Cartel mastermind, the most notorious drug kingpin in history, and inspiration to an entire generation of rappers…had a soft spot for hippopotamuses.

I don’t really care about the new $44,825, 2008 Mercedes-Benz M-Class, or Benzes generally, but I would give my eyeteeth to get a high-quality loop of the music that beds this commercial, titled “Most.”

In the spot, while car action footage mixes with testimonials to M-B superiority from Mercedes engineers, factory workers, and other employees, a full chorale sings a hushed epinicion, or song of triumph, underneath. One can detect a bowed string bass, and very occasional, light percussion. Together, the sound is warm…and expectant.

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Look at the following list:

Public Enemy, It Takes a Nation of Millions to Hold Us Back

N.W.A, Straight Outta Compton

Slick Rick, The Great Adventures of Slick Rick

EPMD, Strictly Business

Boogie Down Productions, By All Means Necessary

Big Daddy Kane, Long Live the Kane

Ultramagnetic MC’s, Critical Beatdown

Eazy E, Eazy-Duz-It

Eric B. & Rakim, Follow the Leader

Biz Markie, Goin’ Off

Salt-N-Pepa, A Salt with a Deadly Pepa

DJ Jazzy Jeff & the Fresh Prince, He’s the DJ, I’m the Rapper

Jungle Brothers, Straight Out the Jungle

Now, consider this: All of these albums were released in one twelve-month period, in 1988.

I could keep going. Marley Marl, In Control, Vol. 1. Kool G Rap & DJ Polo, Road to the Riches. King Tee, Act a Fool. Ice-T, Power. 2 Live Crew, Move Somethin’. Too Short, Life is…Too Short.

What, exactly, happened twenty years ago that enabled so many artists to release so many albums of such high quality is such a short period of time? What created hip-hop’s annus mirabilis; “year of miracles”?

Today, Wednesday, March 5, 2008, 2 pm ET, I’ll be on WNYC/93.9 FM’s Soundcheck, with John Shaefer, talking to John and RS.com (Rolling Stone) editor Kyle Anderson, attempting to address this very question. (Later on, I’ll also be talking about with John about my VIBE piece on Palestinian hip-hop.) RS.com has their own analysis, here, and Soundcheck has a link, in case you missed the live broadcast. Let’s see if we can move somethin’.

“Yes We Can” is the Barack Obama-affirming musical short by Black Eyed Peas front man and producer “Will.i.am” Adams Jr. It’s peopled by minor celebrities, and Scarlett Johansson, sing-songing an insignificant melody to text and footage from Obama’s January 8, 2008 New Hampshire primary victory speech. As I post this, it’s been viewed 5,460,140 times at its main YouTube location.

Make that 5,460,140.5 times: I only got halfway through it before I just couldn’t take any more.

Pourquoi? I think it’s more than the film’s bloated, black & white solemnity and manufactured earnestness, both, perhaps, best signified by an otherwise throwaway gesture at the 0:06 mark: Will.I.Am “offhandedly” “fixing” a lapel pin that appears to be just fine. (These despicable qualities are also on display in the newer, “We Are The Ones” video, as is another starlet, Jessica Alba.) Indeed, to really put one’s hand on what the problem is, one has to briefly go back to the recorded origins of the Black Eyed Peas in the 1990s.

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That’s the title of a piece I recently wrote about hip-hop in Gaza, the West Bank, and Israel for VIBE. It’s in their March 2008 “Hollywood” issue, the one with Robert DeNiro and 50 Cent on the cover, as seen at left.

The narrative focuses on the completion of Palestinian-American artist/director Jackie Salloum’s new doc, Slingshot Hip-Hop, and the experiences of her film’s subjects, especially the Palestinian crew DAM, within the setting of Israeli occupation of the aforementioned territories.

It was one of the hardest articles I’ve ever written, not only due to the fractal-like, almost never-ending complexity of the subject, but even more due to my initial lack of familiarity with virtually every major detail around it. One of the first questions I asked Salloum: Why is it called “the West Bank” when it’s in the eastern part of the Occupied Territories? A member of her team kindly answered: It’s on the west bank of the Jordan River.

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