Hip Hop Appreciation Week Pt 4

Mixtape 4 of 5 Bling & Remebering

Welcome to part 4 of my tribute for Hip Hop Appreciation Week. At this stage in the game, I wasn't what you'd call a fan. I was off listening to Dinosaur Jr, Nirvana, Hole and Soundgarden etc, wearing flannel and 'slacking'. It's also when I got into folk and Dylan for the story telling. But when Eminem dropped Stan, something that I had forgotten somehow resurfaced as I realised rap told many a great tale. It was just that now most of the tales seemed to be of little importance.

• Snoop Dogg - Still A G Thang : With the popular G-Funk style of synthesized melody and deep bass lines reminiscent of the 70s funk stylings of Sly, Parliament et al, Snoop Dogg told tales of the life of a G and his harem of 'bitches' and yards of bling.

• The Notorious B.I.G. - Things Done Changed : Cali may have been the in sound, but the Bronx kept a stamp on rap in the form of Biggie Smalls, aka the Notorious B.I.G., real name Christopher Wallace. Biggie talks here of how the streets aren't the place they used to be with kids punching on over territory. Using a sample from Dr Dre's Lil Ghetto Boy, BIG exerts "Remember they used to throw? But now they blast, right?" This is the violence and nihilistic attitude of gangbangers writ large

• Nas - N.Y. State of Mind : The West Coast v East Coast rivalry was in full effect by now and East Coast rappers had a penchant for burrough checking. Nas was very firmly in the East Coast camp having come up in Queensbridge. This song talks about the escalating violence of gang culture, as B.I.G. had, but without the swagger and with an added touch of disillusionment.
  

• Jay-Z - Izzo (H.O.V.A.) : An anthem of sorts with not much more to say than "I'm Jay-Z and I sell a lot of records but I used to be a drug dealer." A long way from the positive message of rap's 'founding fathers'. Famously, Jay-Z was involved in a feud with fellow NY local Nas and was later Nas' boss after he signed him to Def Jam in 2006.

• Eminem - My Name Is : Marshall Mathers aka Slim Shady aka Eminem burst onto the scene with this, for the time, controversial track which again had not much to say. It did later cost Eminem almost US$10M when later his own Mother sued him for the claim that she 'does more dope than I do'. While Eminem has a staggering talent for rhyme that helped suck me back into rap, he only occasionally has something important to say with his impressive tongue.
  

• 50 Cent - In Da Club : Many people may disagree vehemently with me, and that's fine, but as little as I paid attention to this kind of track, I think the new faux R&B / Rap reached its most vacuous low around about here. I have heard 50 Cent drop some tremendous flow, but this isn't it - and the dance track backing makes it all the worse. The backlash had to come, and it's coming still.

• Black Star - Definition : In 1998 two then little known MCs, Mos Def and Talib Kweli formed Black Star and released a self-titled debut. Much of their rhymes focused on reconciliation between the West and East coasts. This track talks about the inherent dangers of being a rapper and of life on Brooklyn's streets, while it takes a subtle swipe at the up and coming wannabe gangsters with "What a pity blunts are still Fiddy cents...".

• Missy Elliot - Wake Up : Just as guilty of the phony R&B but none-the-less starting to get on the positivity train, this track sees Missy Elliot and guest star Jay-Z reassure rappers and ghetto youth that "If you don't got a gun it's alright..."

• Common - I Used To Love H.E.R. : Telling the tale of a woman he once knew, Common lays down some soulful lamenting of how she went from a sweet young girl to a militant activist and eventually a drunken, crack-smoking gangster whore. The woman is of course Hip Hop. This was perhaps the most vitriolic track spat at Hip Hop culture up to that point.

• The Roots - Act Too...The Love Of My Life : The disillusionment turns to nostalgia and a longing for the long gone days of pure Hip Hop for the sheer joy of it. The Roots were proclaiming, it seemed in this track, that they would breathe life back into a dying art.

That's it for part four. In the final part, I'll take a look at how the ascendancy of 'Skip Hop' really sprung from the same thread of disillusionment that seemed to be running through much of the most important Hip Hop music coming from the States at the time. But it wasn't just Australia who wanted Hip Hop back, there were a number of Americans with the same idea.

Adios Amigos.