Our nation is deadlocked. There hasn’t been any national issue this starkly divisive in recent memory. We’re split almost exactly down the middle on a topic that is hair-trigger sensitive and that presents fair logic on both extreme ends. The proposed plan for the construction of a Muslim cultural center two blocks from the border of Ground Zero in New York City started as a local news report, but as the politically polarized Capital Hill hopped onto the story as election fodder, it spread virally from state to state and mouth to mouth. Today, it is impossible to turn on the evening news and miss the extensive coverage of the little mosque that could. Def Jam founder and hip-hop sensei Russell Simmons recently added his two cents by hanging a banner from his apartment windows overlooking Ground Zero, bearing the clichéd “Coexist” logo comprised of various religious symbols. Besides this not-so-subtle response, however, the hip-hop community has been unusually quiet about the subject. This silence is especially startling because hip-hop has had such close ties to the Muslim faith since its beginnings. And the genre has been the sole forum for tackling many social, political and ideological conflicts throughout its history. There is much to be gained from hip-hop’s voice in this debate, but more often than not, we’ve held our tongue, and figuring out why may be more difficult than it seems.

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The internets have been ablaze ever since Kanye West took to twitter to propose a potential collaboration between himself, Raekwon, and Justin Bieber. Kanye proposed it, Bieber gushed, and Raekwon was in the studio two days later. The three settled on Ye and Rae adding some bars to Bieber’s “Runaway Love”, and while this is going to be incredibly awesome and uncomfortable (the original already sounds like something Kanye could have produced during his 808s days), we thought of a few other tracks from these artists we’d rather see the trio put their spin on.

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Many artists, including Diddy and Young Jeezy (and even Britney Spears) have claimed to be the embodiment of the American Dream. Indeed, the ashy-to-classy narrative that has been woven so thoroughly into hip hop’s fabric suggests that hip hop as an entire genre embodies this idea. Kanye West’s relentless pursuit of recognition and his resilience after his famed car accident would seem to lend itself to a similar American Dream status, but this is not quite the case. Kanye West in his current form is, culturally, the least American musician in the country, and this fact has done wonders for the establishment of his ever-growing importance. Through his duality, complexity and unwavering sense of self, Kanye West has reshaped what an artist in the public eye can hope to be, what is expected of him, and what we can learn from his choices.

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This past Sunday, August 15th, 2010, television audiences across the nation said goodbye to what had quietly over the past five years become a cultural phenomenon. “The Boondocks” series finale marked the end of three seasons of biting humor, razor sharp social satire, and a poignant narration of hip-hop culture dominating a world that fears it. Not since “The Fresh Prince of Bel-Air” had audiences seen such a clear presentation of hip-hop’s influence on mainstream society, one that’s all the more pressing with the culture’s current prominence throughout all forms of media. The Boondocks captured effortlessly the tensions, conflicts and contradictions that plague hip-hop’s presence in the mainstream spotlight, while simultaneously celebrating the culture as deeply and personally as all true fans do. This was most evident in the show’s soundtrack, which featured both original music scored by musical contributors Asheru and 9th Wonder and classic cuts handpicked by the show’s staff. Couple this with the fantastic “Hip-Hop Docktrine” mixtape series and the dozens of collaborations with artists on and off air, and The Boondocks stands as one of the most significant television shows in hip-hop history. A look at a few key moments in The Boondocks’ soundtrack reveals just how well the series used hip-hop to craft narratives, develop characters and make prevalent arguments about the state of the music and the culture altogether.

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The 90s. How we love thee. Possibly the most romanticized decade in music since the 60s, the ten years between 1990 and 1999 are largely regarded now as a magical time where hip-hop could do no wrong, every album was a classic, and every artist was a genius. It’s also the impossible watermark against which this past decade is held, mostly to suggest that everything post 2000 sucked. But although disgruntled music snobs (myself included) may hate to admit it, there is a significant amount of music being made today that captures the same spirit and originality that made the 90s so special. Peep a couple jams from artists that have a 90s state of mind, and pretend for a few short moments that you hopped in the Delorean and popped up within that legendary stretch of time after Kurt and before Monica.

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August isn’t always the most eventful month in hip hop. The big albums and singles have been out for weeks, and everyone in the industry begins to look forward to the most hyped stories of the fall, leaving the last few weeks of summer to melt away quietly. The one exception to this rule is Rock The Bells, the annual concert series that revives fans across the country with its always-consistent lineup of all-stars. In the constantly-evolving hip hop industry, there are still a few certainties: Kanye will be a narcissist, Lil Mama will never be taken seriously again, and Rock The Bells will be absolutely dope.  This year, however, the lineup will take on a noticeably new look, with the concert featuring some of hip hop’s hall of famers performing their classic albums in their entirety. Snoop Dogg will do Doggystyle, A Tribe Called Quest will dust off Midnight Marauders, and Wu-Tang is slated to break out the 36 Chambers. Throw in some other classics, and the rumored return of Lauryn Hill (Rock The Bells doesn’t seem 100% sure that Ms. Hill will be there, as she’s way down at the bottom of the set list when she would clearly be the biggest act), and fans at the series’ four shows will undoubtedly see something legendary. What’s most intriguing, though, isn’t whether rap’s Brett Farve will actually come out of retirement to perform Miseducation- it’s how the change in Rock The Bells, and its homage to an era that only now exists in flashes, represents major shifts in not just the industry’s makeup, but the way hip hop is now being consumed in America. Read the rest of this entry →

Weed rappers stay winning. Thus has been the golden rule in hip-hop for the past few decades, but 2010 has proven beyond a reasonable doubt that Mary Jane themed lyrics are a surefire way to sail to the top of the charts. With marijuana at its highest tolerance level in the nation’s history, the drug has been a heavily featured motif in all forms of media for the past few years including films, television shows, even art exhibits. And with the decriminalization and legalization of marijuana across many states, the drug is quickly becoming commonplace in everyday American life, at least in reference, if not use. Music is no exception, and hip-hop has fallen in love with marijuana all over again this year. Artists across the genre have sparked new careers and re-energized dying ones by focusing verses, songs, and entire albums on the drug. And if there’s anything that recent major label deals, sold out concerts and critically acclaimed mixtapes and albums prove, it’s that weed rap is a viable, lucrative, and very real sub-genre in today’s hip-hop. One could call it the gangsta rap of the new decade. Today we dive into the history, impact and implications of weed rap and its star MCs, so grab some munchies, light an incense, throw a towel under your door, and partake.

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