HIP HOP vs RAP

'You don't have to burn books to destroy a culture. Just get people to stop reading them."

--Ray Bradbury

Hip Hop -- This is an art form that is deeply rooted in an inner city, cultural fusion that was designed to embrace and enhance (said) culture which is typically ignored by those with no real VESTED interest (i.e. popular culture). The focus of Hip Hop music is generally (but not limited to) political accountability, social imbalance, street justice and it tends to be more intellectual in its lyrical content and wit. The artists are most often referred to as emcees, which is a rhyme skill that NOT every person that is standing on stage, rhyming into a microphone possesses.   

The quizzical nature of this subgenre is layered in utter complexity and cultural conundrums which is precisely why it’s not heard on the radio (anymore).  More plotting Hip Hop is not just limited to music.  The other aspects of the art form includes: graffiti artists, unique fashion, aftermarket car accessories, and most especially language, which all play a HUGE part in this art. Its cataclysm is often misunderstood by those with no desire to understand its origin since these loosely-termed analysts or pundits don’t live in or understand the environment that breeds a great emcee.

So, in short, Hip Hop music is much harder to marginalize using the magnifying glass of capitalism. 

Rap Music - This is an art form that is rooted in mainstream, popular culture and designed for MASS CONSUMPTION--similar to that of fast food and paper towels. Rap music was made, designed and sold strictly for entertainment purposes with little (if any) socially-redemptive value and/or shelf life, which makes it a gold mine for record label executives.  Most rap music is gimmicky in nature and unlike “the emcee” most rap artists sound and act similar which (naturally) makes them very interchangeable.  

There is no real substantive goal or allegiance to any particular culture…, as long as the listener is willing to consume its message or lack thereof, this art will always be there to take advantage of that their apathy—especially when you consider that rap music is the opposite of cerebral and is faddish in nature.  The typical rap artists’ goal is to make music for the radio and/or the adult night clubs; and in doing so propel and prorogate images that confirm the stereotypical mainstream exploitative aspirations.

In short, rap music is the epitome of capitalism.

Below are 50 alphabetical listed examples of both:

HIP HOP	RAP
2 Pac	2 Chainz
Andre 3000 (Outkast)	50 Cent
AZ	8 Ball MJG
Bahamadia	Al Kapone
Big Daddy Kane	Big Sean
Big L	Bobby Shmurda
Big Pun	Chief Keef
Black Thought	Childish Gambino
Busta Rhymes*	Da Brat
Canibus	Dolla
Chuck D (Public Enemy)	Drake
CL Smooth (Pete Rock)	Fat Joe
Common*	French Montana
Del La Soul	Future
DMX	Gangsta Boo
Doug E. Fresh	Gucci Mane
Elzhi	Iggy Azalea
Eminem*	Jay-Z*
Goodie Mob	Jazze Pha
Grand Master Caz	Juicy J
Grand Puba	Juvenile
Heavy D.	Kanye West*
Immortal Technique	Kid Ink
Invincible	Lil John
Jadakiss	Lil Scrappy
Jay Electronica	Lil Wayne
Jay-Z*	Ludacris
Jean Grae	Mannie Fresh
Keith Murray	Master P
Kendrick Lamar	Meek Mill
Kool G. Rap	Missy Elliot
Kool Moe Dee	Mystikal
KRS-One	Nicki Minaj
Lauryn Hill	Puffy
Lupe Fiasco	Rich Homie Quan
MC Lyte	Rick Ross
Mele Mel	Sir Mix-a-Lot
Method Man (Wu Tang)	Snoop Dogg
Mos Def	T.I.
Nas	The Dream
Notorious B.I.G	T-Pain
Pharoahe Monch	Trina
Phife (Tribe Called Quest)	Trinidad James
Raekwon	Waka Flocka Flame
Rakim	Wale
Royce Da 5’9	Wil I Am
Run DMC	Ying Yang Twins
Scarface	Yo Gotti
Styles P.	Young Jeezy
Talib Kweli	Young Joc

* Denotes artists that are MORE comfortable living in both spaces.  

Then there are artists that have made a clearer distinction where they are MOST comfortable, but their plight deserves further context (see below):

·        Jay-Z:  Shawn Carter is the poster child for this duplicity.  He began his music career with one Hip Hop’s best LPs ever, Reasonable Doubt.  His pathway was paved with great aspirations.  The debut CD is full of rhyme twists and complexities that made it to most every Hip Hop fan’s collection.  

Jay-Z is one of the more witty emcees ever. His duets with Mary J. & Biggie underscored his charm, wit and charisma.  However, since his street credible classic, commerce has been Jay-Z’s goal and he is becoming less and less apologetic to his original fan base.  In fact some have embraced it.  His stance on social issues are muffled or compromise by his associations with corporations that clearly demonstrate an antithetical agenda to the culture.  While Jay-Z sometimes shows signs of cultural commitment (Open Letter) don’t be surprise if a war between corporate and culture erupted which side he would lend the knife to and which part of your back it landed.

·        Common:  Just like Jay-Z, Common began his Hip Hop career spitting out one classic after another.  His single “I Used to Love Her” is probably the single-best metaphor for the love and complexity under the umbrella of Hip Hop.  That single was also the catalyst to one of the best movies (Brown Sugar) in the history of Hip Hop. Then the Chi-town native decided to shred his cultural consciousness to appeal to wider array of "fans" that are more comfortable being called B’s and H’s versus queens and princesses.  What’s more troubling is…., his newfound fans are his loudest defenders AND actually the people he denigrates most often.

·        Ice Cube:  It is simply hard to imagine that a man that once (lyrically) threatened to burn down Hollywood for its lack of cultural support is now their box office meal ticket.  Ice Cube has cut his ties to South Central and comfortably moved up to Beverly Hills.  Only he knows how well that view helps him to rest at night.

·        Joe Budden:  Only Royce Da 5’9 tops the New Jersey native’s lyrical wit in their Detroit-stationed group (Slaughterhouse). Joe’s lyrical prowess is unquestionable.  However his reoccurring appearances on the cultural tidy bowl reality show, Love and Hip Hop makes it tough to defend or pledge his allegiance. 

       

·        Eminem:  He just may be the best freestyle rapper in Hip Hop history.  Once dubbed an irritating, commercial Midwestern with a boy-band look, Em has emerged as one of the best emcees the genre has ever spun.  He simply slayed Jay-Z on Carter’s “Renegade”.  He is the architect of Slaughterhouse Group and the mastermind behind 50’s In the Club.  At this stage one could argue he is MORE relevant in the Hip Hop game than Brooklyn’s own Jay-Z—which is another example of the ironic twists this culture continues to unleash.  

1 Love, 

Ray Lewis 

EMPIRE STRIKES BLACK

“Whoever controls the media, the images, controls the culture.”

Allen Ginsberg

I have a few thoughts on the Fox season premiere of Empire, starring Terrence Howard and Taraji P. Henson. 

For starters, I am really happy that scripted series (in general) have seemingly taken back the reigns from Reality TV.  After all, there are few things in life further from reality than Realty TV.  I challenge you to find any love or Hip Hop in Love and Hip Hop. Naturally, there is room for it all, but in recent years it seems like the tomfoolery is running unopposed.  It’s clear (to me) that the Writers Guild of America strike (in 2007-’08) probably had the greatest impact on American television since the launch of cable TV.  Nothing like a good boycott to bring a reality check to a plastic entity.

Here’s the Half Full Side

For the most part it’s always good to see people of color working in this industry—especially when you consider most of America is more Des Moines than New York, L.A., Detroit, Chicago or Atlanta.  So having a predominately black cast on broadcast television in prime time is certainly worth noting, no matter how low a bar.  Now we know Empire won’t have the television impact of (say… a.. Cosby Show, but…, hey, unless you are one of Bill’s attorneys you probably wouldn't want that type of association anyway.

  

Here’s the Half Empty Side:

Did we really need a TV version of Hustle and Flow, meets Baby Boy in South Central?   Granted this series has a more plausible plot than the last time Howard and Henson locked lips and glock on TV.  And, a better storyline is saying alittle something since I am about as big of fan of the show’s producer, Lee Daniels as I am of: potholes, red lights and cold toilet seats—I would rather avoid them but I deal with them when I have to. 

The high-profile peek into the record label “empire” has a bit of intrigue, but the storyline seems almost as typical of the cast themselves.  Taraji P. is not-so slowing becoming THAT neck-rolling, gum-poppin' loud-mouth, fast-talking chick that every man dreams of smashing then dashing.  Howard is an above-average talent and his flair shines in this "Belly" of a storyline.

If you like mainstream (Timbaland-induced) RAP music (and I stress rap music), shiny P. Diddy-eqque suits and sitting at the bar, popping bottles in your typical urban filled night spots this will be appointment viewing for you. The rest of us should wait for the book. Now there are some decent acting from Jussie Smollett, Trai Byers and a cool showing from the not-so-newcomer like, Gabourey Sidibe—who isn’t a bad actress.  And, honestly..., what would a black nighttime drama be without Malik Yoba?

Overall, I give it a C- mainly because I like black people FAR more than I like the low standards Hollywood holds us to.

    

1 love,

Ray Lewis