“Party At SOBs and We Had Packed The Crowd…”
In the weeks preceding Kanye’s immortalized first solo show at SOBs back in 2003, I remember getting into several college lunchroom (and dorm room) arguments over whether or not the already-noteworthy producer could rap. Aside from “The Bounce” off Blueprint 2, at the time, there really wasn’t anything publicly facing (or mixshow-facing for that matter) that helped support my case that he was going to be important. Not just “big” or on “son is poppin’” status, but a true value add- an asset- to the culture and the economics of its entertainment landscape.
I forget exactly how I did it, but I managed to collect a few scattered freestyles from across some random message boards with hopes of piecing together some adequate proof that Kanye was, in fact, dope, and that his contributions as a going-against-the-grain-but-still-acceptable traditionalist and music purist to what was, at-the-time, an unstoppable force, but a label which represented everything but middle-class.
Anyway, after playing those joints for my crew of Doubting Thomases (some of whom work in the music industry now, coincidentally), the monumental project “I’m Good” (the classic mixtape that was released right after his infamous car accident- kicking off a series of events which unfolded so opportunistically that it made him the urban manifestation of an “outlier”… but I digress…) dropped, and that became all the proof I needed.
A few weeks later, a few of us took to SOBs, and the rest, as they say, is history.
A quick aside: Urban America has experienced a cultural shift specifically in the second half of the last decade, largely defined by widespread Internet penetration and democratization of information… and the former “gatekeepers” growing irrelevant and obsolete entering a new life stage.
Quick jump in the Delorean (or hot tub, if you prefer), and here we are seven years later. Same place. SOBs.
To Varick and Houston I returned early last week, in anticipation to hear to what J. Cole, Roc Nation’s ace-in-hole, had to offer. I had met Cole quickly almost a year ago backstage at a Wale show in the East Village, and even before the attention and recognition, he struck me as a very cool cat.
The stage was already set, the story drafted to perfection- (I’m just sayin’, “Jay-Z Protégé Performs On Same Sold-Out Stage As Kanye Seven Years Late! Everyone’s Faith In Hip-Hop Is Renewed!” is a layup for today’s authenticity-starved blogosphere)- and to say the least, I was impressed.
But not fulfilled.
I left the show with a certain perplexity that I couldn’t shake- was it that I began to realize that the reasons that I valued hip-hop were evolving into something different, or worse, invalid? Like any hip-hop fan, I played Devil’s Advocate and immediately compared what I just saw in young Cole to the immediate, unswerving awe and impact I felt when first hearing Jay-Z, Kanye, Nas, etc., because they’re the gold standard- those who left the game different from when they first touched it (in my experience at least). Right after the show, my emotional investment just didn’t look like it’d pay dividends with Cole as he was very calculated and was following a predesigned roadmap- ultimately, I wanted to hear something truly new… something I couldn’t fully grasp but would be drawn to.
However, after a brief IM conversation with my good friend (and Billboard.com editor) Mariel Concepcion the next day, I realized that my stubborn, content-spoiled Brooklyn ass wasn’t being fair. In fact, I was being a cabezón for failing recognize Cole for what he’s already accomplished and contributed- an honest, wonderfully-crafted project in The Warm Up, and a stage presence that was polished far beyond his experience would suggest. Over the last few days, I listened to The Warm Up with a more purposeful ear, and I feel confident saying that his range, depth of lyrics, and versatility of delivery have earned J. Cole a place at today’s influential roundtable (who, for all intents and purposes, includes Drake, Jay Electronica, Kid Cudi, and Donnis. But that’s just me. And my track record is flawless.), and considered to be of XXL’s systematic 2010 Freshmen Class.
I say that to say this: if you’re a hip-hop cynic, keep your “show and prove” shield up, as it’s your filter to block out nonsense- your defense against the dark arts, if you will . But lend an ear to J. Cole and embrace what he’s about to prove… because all the stars are seemingly aligning in his benefit.
This Is NOT The Remix: A Case For Letting Songs Live.
This is something that has occurred to me for some time now. So I decided to throw my two cents into the stream of consciousness that we call the Innanets.
The other day I was listening to “Beamer, Benz, or Bentley”, the awe-inspiring yet thematically out-of-place-with-the-times opus by Lloyd Bank$ & Juelz Santanta, when it occurred to me that there was an astounding 8 or 9 playful imitations iterations simultaneously being discussed on various blogs, web magazines, and mechanism for self-promotion on Twitter, etc. If I didn’t know any better, I might not know who’s song was the original.
Do we even know who produced the joint? Theoretically, if ‘Elz and Banks propagated it into our consciousness, they’re more promoters of the beat than they are owners of it- something that is alarming in this era where the life cycle of a “single” is comparable to that of a palm tree growing in Canada.
How did we get here?
Pardon me if I’m overstating the obvious, but this dynamic exists in part as a result of a lack of quality filters. And the truth is, current standards don’t call for one in these rabid days of UGC and digital entitlement. There’s no respect or “content etiquette”- ideologically, everything has become one big, flat (and boring) plateau. The dominance that the blogosphere (and I’m referring to those who are more glorified citizen reporters than journalists) has attained by promoting and encouraging a cacophony of unauthorized- and often uninspiring- “remixes” immediately after a joint has come out has withered our appetite for flava flavor. We’re being fed content so rapidly, our tastes have dissolved, and as a byproduct, our standards have devolved.
How have we become desensitized to hot sh*t?
I don’t consider myself an old head to be reminiscing on days past, but I do consider myself someone of discerning taste and understanding of the role that different events played within the musical environment. If you jumped on another beat unauthorized, it was a beat jack, and in the case that it was done tastefully, it was reserved for late-night Flex, or a Clue? tape. Period. Additionally, your rendition was never called the “remix”- it was rightfully called “part 2”, or some alternate version (See: “Money, Cash, Hoes”. And it’s baby brother, the marvelous Money, Cash, Hoes (Part II)”).
I remember hearing the clever, breakthrough social satire genius that was Sporty Thievez’s “No Pigeons” in ’98 and thinking to myself in simultaneous perplexity and awe, “That isn’t their beat! How can they be on the radio going at TLC on their own joint?” Ownership was implied. It was revered. Today? Not so much.
To be fair, this dynamic of transparent entitlement has paid dividends within the career of certain artists: arguably, Kid Cudi wouldn’t have eventually attained critical mass if the abstract “Day N’ Nite” never made it across Jim Jones’s and Pitbull’s respective radars (ironic how in this case the large rappers act as early adopters. Who knew?). However, it opened up the floodgates for everyone to have a “Day N’ Nite”. Fast forward a year and a half, and everyone wants you to hear their “Exhibit C”, or their “Over” (which hasn’t been out more than two weeks!)… Ugh.
IF IT’S EVERYONE’S JOINT, WAS IT EVER ANYONE’S JOINT?
I say that to say this:
If hip-hop music is organically transitioning into a “riddim” culture, where artists are culturally inclined to be competitive on a dedicated beat, I think that’s pretty fresh, and certainly good for producers. But we need to ensure that this tipping of the scales is more pronounced, and allow new norms to be well, norms- giving the masses a defined culture to indulge in and guidelines to adhere to. Otherwise, the “I’m jumping on this because I got the instrumental, and I’m shooting a video because I can” attitude will continue to stain the game that is dying for some creativity. Literally.
Hip-hop was always more fun when there were rules.
HYPERlocal: The Armory Show (via iPhone)
I had a chance to stop by The Armory Show yesterday afternoon; it was my first time going through and I was thoroughly impressed.
The Drakeover.
[Their] generation is about something completely different. Let me tap into their generation and see what they like. because if I kept my mind on what I like … I wouldn’t make it. I gotta always stay relevant.
-Snoop Dogg on the “Juan Epstein” podcast, 12/22/09
Drake’s triumphant first official single was released several hours ago to the web (exactly where, I have no idea, but Twitter has almost completely replaced my need for HOT97- a tear almost comes to my eye saying that), and he officially enters the commercial landscape in grandiose fashion. (As if anything less was expected). In efforts to blot out the forthcoming groundswell of hype, I downloaded from one of the what seemed like hundreds of available links everywhere to indulge in the sh*t the GQ golden child was shovelin’.
The ability to instantaneously and utterly completely command the attention of the Twittersphere and spread throughout social media like a steroid-infused game of telephone is uncanny. And yes, there is much to be said about his behind-the-veil superteam and his engineered success, but if history serves us correctly, it’s best to focus on the content- which up to this point, has been quality. Despite my preexistent skepticism, I can now affirm that I’m intrigued at witnessing the progression of (and working with) the millenial generation’s first true cluster of relevant artists (excluding KanYe, who birthed their style).
Thank him later.
SUITS!
HYPERlocal: Please Clean Up Trash On The Train
…trash in the form of advertising that is. Seen on the R train this morning. *womp*
“Ivana Bowlmor”? Shame on you!
I guess if I saw the ad, it counts as an impression, but ironically, being impressed would be the last thing I’d describe my experience as. Read more…
Bridgez Magazine x Watagatapit… (Yeah That Guy From That Song)
Peace to the fam Ariel x Charlie & always-super-on-point Michelle Ten.
Poke Her Face(book): Is Lady Gaga A Social Media Star?
Advertising Age debuted an exposé today (in their “Digital A-List 2010″ section) about Lady Gaga and her unfathomable, drought-defeating anomalous rise to acclaim in which they attribute her success to social media. While I don’t completely disagree, I’m not sure if Gaga’s time in the spotlight has been a landscape-definining case study for social media marketing.
I’ll elaborate…. Read more…
Get ‘Em Puff.
Sometimes yelling into a filtered mic is what you need to get the creative process started.
DJ Wonder x Table Manners (The Vault)
Here is the very oft-requested audio from a super dope episode of Table Manners featuring DJ Wonder a few months back. All for your listening pleasure.
Oh, I’ll be liberating a bunch of the sessions and DJ sets from our guests over the next few weeks.
Peace to Wonder, Yonny, and Jayson Rodriguez for bringing relevance to holding down Delaware.
Yohji Yamamoto Will Roundhouse You.
…all in the name of fashion, of course (check the 0:30 mark).
Taken from yesterday’s FW10 Y-3 Show at The Armory.