The Onyx Express: Hip Hop Issue (Spring 2013)

Onyx Express

Volume XVIII I I November 2012 University of California, Volume XVIIIIssue | Issue | Spring 2012 | University of California, BerkeleyBerkeley

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G aylord

2 Introduction of Black Organizations (BRRC and BSU) 4 Happy Halloween From Theta Delta Chi 5 Saving the Multicultural Student

1 6 10 11 12 13

Hip Hop Timeline Bitch Bad: Misogyny, Misappropriated Anger and “Me-ism” I Used to Love H.E.R.An Open Letter to Love & Hip Hop For the Commodification of Hip Hop Sexuality and Hip Hop Rhyme Over Crime

14 Rick Ross: God Forgives, I Don’t &

Trey Songz: Chapter 5 15 Kanye West: G.O.O.D. Music:Cruel Summer 17 Kendrick Lamar: Good Kid, M.A.A.D. City & Lupe Fiasco:Food and Liquor II

THE E volutionOF

P O H HIP

*continued on page 17 1983 1982

1987

1995 1995 1988

1991 1990

1997 1989

1999

2002

1998

2004 2007

2003

2006

Introduction of Bla UC Berkeley’s Black Recruitment & Retention Center has be en serving students of color, specifically those within the African Black Diaspora, for nearly thirty years. Founded in 1983 UC Berkeley’s second oldest Recruitment & Retention Center, BRRC, prides itself on informing the community at large about the advantages and possibilities of higher education at the K-12 and community college levels. BRRC also provides services and programs here on campus in light of retaining our people here at the UC Berkeley campus.

Following the passing of the UC Regents policies P1 & P2, which banned the consideration of race and ethnicity for admissions purposes in 1995 in addition to the passing of statewide legislature Proposition 209, which carried forth the intentions presented in P1 & P2 for all California public institutions, numbers for students of color plummeted to all time lows, specifically for African American students statewide. Though BRRC was founded with the hope of increasing Black representation on campus, since Proposition 209, we have found ourselves struggling to merely keep our numbers afloat. With current legislation not in our favor, it has been crucial that we position our efforts not only in the form of outreach, recruitment and retention but also in educating our community at large and lobbying for legislative change to reverse the institutional barriers that are preventing many of our brothers and sisters from the education in which they all deserve.

The many institutional programs that we offer are the heart and foundation that has sustained the work that BRRC has done for all of these years. Programs such as our Southern California Outreach (SoCal Trip), Bay Area College Tour, BRRC Day and Black Senior Weekend have all been viable means of guiding Black students into CAL and into our beautiful Black Community. The Harvest Dinner, Halloween House Party, Transfer & Spring Admit Mixer, Bi-Annual Merit Scholarship Program and Study Jams have continuously helped with the transition and retention of the multitude of black students here on Berkeley’s campus, in addition to our recruitment efforts off-campus as well. Though we are adamant and passionate about helping our people fulfill their dreams at the number one public university in the nation, the promotion of higher education in a broad sense has always came first, conveyed through our High School, Community College and College Fair presentations where we offer a helping hand in the college application process to those of all ethnic backgrounds.

The work in which we do in BRRC requires dedication, passion and resilience all of which we witness day after day, outreach after outreach from our interns and community volunteers. As the hurdles we strive to overcome are indeed manufactured to insure we are not victorious, through a community effort we envision the impossible to be achievable and within reach. Getting involved with BRRC is easy and highly encouraged as this OUR fight! Contact us at brrcboard@gmail.com, talk to any of our board members, attend our monthly general body meetings or visit us at our weekly board meetings in Hearst Field Annex A-10D. As Nzingha frequently encourages us with her gracious words, “Nothing beats a try, but a do,” we DO intend to make it clear that Black students have a right to be in abundance upon this campus and with your help would our declaration be even more sweet.

BRRC Board 2 Hip Hop ‘12-’13 Onyx Express

ack Organizations The Affirmation, Blackouts, Minister Louis Farrakhan, ABC Conference, “The Political Voice,” …with all the things associated with the Black Student Union it is difficult to simply capture in essence the role that this organization has within the Black Community. Stating the purpose as being the “umbrella organization dedicated to being the unifying voice of all Black campus organizations and students in order to create an inclusive experience for all members of the greater Black community at CAL” is certainly not taken lightly.

After 2011-2012 BSU Chair, Salih Muhammad led the board and the community in hosting one of the most successful ABC conferences to date, many questioned if he left shoes too big to fill. With a task sheet listing introductions, creating programs, hosting events, preparing for the 2012 elections, and always being on call for any situation, the new board has certainly risen to the task.

No matter the obstacle, this board has carried on the legacy of resilience and strength. From hosting the first Black Wednesday of the semester as well as hosting the 3rd annual Black Student Leadership Training we realize the importance of cultivating leaders. It is vital that we increase Black political participation so events such as Black Caucus in addition to bringing Congresswoman Barbara Lee to campus for the first Black Vote Day have certainly continued on the tradition of Black Power.

This year the theme of “Seeds of Consciousness, Deeds of Progression” has served in establishing our core goals to reinvest in the community.

Words like, Power, Strength, Unity, and Love should be used to describe this organization and if there is ever a time to be a part of something special, the time is now.

BSU Board

The Blackout 2010

Slogan for The Affirmation 2011

Hip Hop ‘12-’13 Onyx Express 3

Theta Delta Chi Theta Delta Chi

Happy Halloween from

Halloween display resembled lynching, critics say A Halloween display by a UC Berkeley fraternity house has been criticized for resembling a lynching. The Berkeley chapter of Theta Delta Chi, as a part of their “House of Horrors” display, including a “zombie head” on a body wearing a white t-shirt, jeans, and tennis shoes hanging from a noose. The display was removed after complaints.

Photo Courtesy of Darion Wallace

Darion Wallace, an advisor to the African American Theme Program, objected to the display, calling it a lynching. Wallace was alerted to the display by a students living on the Afro-Floor, a residential live-in space for Black students directly across the street from the house at College and Durant.

“Halloween is not an excuse to display lynching. Hanging a person is an act of bigotry,” Wallace said. “This pratice has a negative historical significance that triggers a haunting past for African American people.”

An emergency Black Community Townhall meeting was called on Halloween night to mount a response to the effigy. Despite some people calling the response “overblown,” the zombie-lynching triggered other negative experiences for students. Two young women shared how they were called “dirty a$$ ratchets” by members of a white fraternity, and another woman had alcohol poured on her. These stories followed two other women who shared being threatened with a water hose when attempting to enter a frat party during the fall of 2012.

Over 100 students attended an ASUC council meeting on October 31, that same evening. After a presentation on the history of lynching by Marcel Jones, co-chair of political affairs of the Berkeley BSU, student after student told heart-wrenching stories of their experiences of being harassment and terror on campus and beyond. One young Latina student told of witnessing a body hanging from a noose when crossing from Tijuana to California. “Lynching is not dead. Oppression is not dead.”

ASUC passed Senate Bill 182, a bill condemning racial insensitivity, and calling for racial inclusiveness and sensitivity training for incoming students.

–Reginald James

4 Hip Hop ‘12-’13 Onyx Express

Saving

Multicultural Student Development

Students organize to defend African American Student Development Office

On October 3, the Black Student Union hosted a Black Community Town Hall to update students on the status of the Multicultural Student Development (MSD) offices. During the summer, coordinators of the offices–including the African American Student Development (AASD) office–were demoted. Student leaders said the changes would negatively impact the coordinators’ ability to advocate for students. Due to the renovation of Eshleman Hall, and the relocation of both the Multicultural Community Center and the Black Recruitment and Retention Center offices, students have voiced their displeasure with the lack of available spaces on campus.

At the town hall, students discussed the impact that AASD has had on their lives and the necessity of having a safe space on campus to gather with other Black students. Many also gave praise to Nzingha Dugas, coordinator of AASD, and said she has had and continues to have a huge impact on their ability to adjust to student life here at Cal. AASD hosts several events to help with the retention of Black students including an annual student orientation event called BlackSO, Student Group Day also known as the Yard Show, a student retreat, in addition to coordinating the African American Theme Program. Other MSD offices include the Chicano/Raza Student Development, Asian Pacific American Student Development, and Native American Student Advisory programs.

After the Multicultural Student Townhall held on October 17, students began a letter writing campaign to Dr. Gibor Basri, Vice Chancellor of Equity and Inclusion. As a part of Operational Excellence, a Bain Capital-influenced measure to make the university more efficient, Basri proposed the restructuring of MSD. According to students, Basri has stated he was “willing to sacrifice equity for efficiency.” Students are currently planning future actions to ensure their demands–including the creation of an MSD Student Advisory Council and reinstatement of the coordinators positions–are met by administration, especially considering the recent appointment of a new UC Berkeley Chancellor, Nicholas Dirks.

-Reginald James

Hip Hop ‘12-’13 Onyx Express 5

BITCH BAD: Misogyny,

Misappropriated

Anger & "Me-ism"

By AmeeR Hasan Loggins

www.TheUniversityOfLEFT.Tumblr.com 6 Hip Hop ‘12-’13 Onyx Express

@LeftSentThis

Before we get started, allow me to define “Me-ism” to all of you that have no idea of what in the hell I am talking about. “Me-ism” (as defined by LEFT) is a quasi-narcissistic obsession with one’s perspective, marked by feelings of personal omnipotence and grandeur. This megalomaniac focus on the self is often at the expense of other’s views/perspectives and is rooted in a delusional, selfcentered version of the truth thus placing a hyper-value on one’s personal opinion.

This “Me-ism” that I speak of, is at the center of the controversial fervor swirling around Lupe Fiasco’s new record entitled Bitch Bad.

First, you have Lupe’s take on the use and eventual danger of the word bitch being used in the Black community, while being propagated, defined and commercialized via Rap music (not to be confused with Hip-Hop) and its double entendreic function. To be clear, a double entendre is a word or expression capable of two interpretations with one usually being risqué. A double entendre is normally utilized to express potentially offensive opinions without the risk of explicitly doing so. Now, let’s play with the double in double entendre. Because doubling plays a key role in understanding Lupe’s record Bitch Bad and its functionality. As Lupe is attacking misogyny, manifesting and manipulating the minds of millions that move to the music made by rappers making money off of the “Bitchology” prevailing in the Black community, the record also touches on the de-gendering of who can be seen as a misogynist. Most commonly we associate misogyny (justifiably so) with men, but women harboring hatred towards other women- or even themselves thus, also practice misogyny. Misogyny functions as a patriarchal ideology/belief system that continues to place women in subordinate positions with limited access to power and decision-making. Wait; allow me to provide a truncated explanation of what I call “Bitchology.” The term Bitchology is the epistemic knowledge surrounding all ideological standpoints and usages of the word bitch. If you are a practitioner of the use of the term bitch as a vernacular norm, then you are aware that it is a roach-like term, capable of adapting to a multitude of conditions/situations. Bitch can be used as a term of endearment, a term of emasculation, a term of empowerment, a term of assertiveness, as well a patriarchal, sexist epithet, used to besmirch and belittle women. The term bitch is multifunctional, and though many may not agree with its use, if you’re keeping it real with yourself, you are aware of the terminological complexity of the term

bitch, or as a person that says bitch would say, “you’re acting like a bitch, if you don’t recognize how many different kinds of bitches there are.” Okay, now let’s get back to Lupe’s record Bitch Bad. In a blog post for Spin magazine, Brandon Soderberg goes in on Lupe Fiasco for “mansplaining” in his new song and video, “Bitch Bad.” Mansplaining, in case you’re unfamiliar with this term, generally refers to a man’s condescending way to explain an issue that primarily concerns women and their experiences within society (I’ll get back to Soderberg and Spin magazine later on in this piece). I can see how

"it is a roachlike term, capable of adapting to a multitude of conditions/ situations." a person would see Lupe’s mansplaining of how the use of the term bitch is affecting the impressionable minds of Black youth growing up with a normalization of the term, while simultaneously womanblaming for the continual colloquial use of the word bitch. As Lupe states in his first verse: Now imagine there’s a shawty, maybe five maybe four Ridin’ ’round with his mama listening to the radio And a song comes on and a not far off from being born Doesn’t know the difference between right and wrong Now I ain’t trying to make it too complex But let’s just say shawty has an undeveloped context About the perception of women these days His mama sings along and this what she says “Niggas I’m a bad bitch, and I’m bad bitch far above average” And maybe other rhyming words like cabbage and savage And baby carriage and other things that match it Couple of things that are happenin’ here First he’s relatin’ the word “bitch” with his mama, comma And because she’s relatin’ to herself, his most important source of help, And mental health, he may skew respect for dishonor

To quote Lupe there are a, “couple of things that are happenin’ here.” As Lupe is giving a “mansplanation” as to how the terminology and understanding of how the word bitch is being taught to “shawty” (an innocent four or five year-old

boy with an” undeveloped context”) by his mother, we are left with the impression that “shawty’s” mother (therefore all mothers) is responsible for not only giving definition to the term bitch to her son, but also the child’s introduction to the term as a whole, while simultaneously providing him with an example of who and what a bitch is. My question is, what is the absentee variable in this equation? The absentee variable in this equation is “shawty’s” father. This doesn’t stop at “shawty’s” father, but also leads us to unpacking the “who” as to (if we are using the radio and rap music as the technological teaching/ spreading tools for the term bitch) “who is indoctrinating the ‘shawty’s’ of the world to see women as bitches?” The obvious answer is young Black men making rap music- this is a partial truth. The expanded version of that partial truth is that its the record executives, hip-hop magazine owners, program directors and all other men in influential positions of power that push, promote, propagate and profit off of the commodifiable component of Bitchology. In other words “bitches” bring in money. I am not writing this piece to talk about the economic exploitation of women, but understand, it’s a multi-billion dollar business, that takes place both legally and illegally. Point being, “shawty” probably heard the word bitch in his baby carriage and his brain has been bombarded with bitch-like female characters ever since “shawty” was able to watch cartoons on television. Like I said, I can see how a person can take the song as a mansplanation of an issue primarily pertaining to women, but was that Lupe’s intention? Is Lupe adhering to the tenants of the aforementioned “Me-ism” or is he doing something more? Well, according to Spin Magazine Lupe is the quasi poster-child of “Me-ism” and they didn’t mind letting it be known.

Spin magazine’s Brandon Soderberg took on the task of not only critiquing Lupe Fiasco’s record Bitch Bad (which is his job as a writer for Spin Magazine), Soderberg took the critique two steps beyond critiquing the record and lashed out, cracking the whip of criticism on the person, that is Lupe Fiasco. Soderberg calls Bitch Bad a, “muddled, mealy-mouthed missive about rap and misogyny,” “reckless social commentary,” and claimed that Lupe has a “moronic ‘lyrics over everything’ attitude.” This is not an attack on the song; this is an attack on the person that created the song. A Moron is a person of borderline intelligence in a former and discarded classification of mental retardation, having an intelligence quotient of 50 to 69.

By labeling his lyrics “moronic” Soderberg is thus, associating the creator of said

moronic lyrics as being (at best) temporarily befitting the status and stigmatization of being a moron. By using “mealymouthed” Soderberg is saying that Lupe is hesitant to state facts or opinions simply and directly as a form of cowardice, practicing hypocrisy and or timidity. And ultimately (according to Soderberg) Mr. Fiasco has a paternalistically “muddled” way of accessing/addressing Bitchological studies- he (Lupe) is thus a muddler, i.e. a person that thinks or acts in a confused and aimless way. This sounds less like a music review and more like a practice of judgment under the axiom of “Me-ism.” Interestingly, Soderberg’s Me-istical traits show themselves in plain sight when he paternalistically poses the question, “Does any female want to be called a lady?” Really, ”female,” as in the first word that I hear when some dude gives a half ass explanation as to why women shouldn’t be offended by being called a bitch? It goes something like this, “I mean why you trippin? A bitch is a female dog and you know you’re not a female dog- right?” If I were on Twitter I would have tweeted this face o_O when I first read these words by Soderberg.

Then I began to think, wait a second, is Soderberg “mansplaining” and paternalistically speaking on behalf of women, by insinuating that women despise being called ladies? How would he know this?

You see, this is another point where “Meism” is in play. Soderberg isn’t attempting to create a dialog to critique and attack the complexity affixed to the sociological issues and its damaging effects surrounding a word/concept/stereotype/ideology, that has/is/and will be, poisoning the children from the community from which he was reared. No, Mr. Soderberg is far from trying to create a dialog and bring attention to a larger issue. Mr. Soderberg is trying to bring attention to a smaller issue- himself and his self-centered version of the truth. Soderberg’s condescending tone not only comes off as patronizingly patrilineal, but it also comes off as uninformed and imbecilic.

Okay, that sounds harsh and dare I say, Soderbergish, but what am I supposed to think when he writes things like this: “Bitch Bad” is, to play Lupe’s game and get histrionic, how you “debase” a “culture.” You twist a rap song into poorly thought-out grab for attention, and give it a muddled video, all under the guise of “starting a conversation,” which implicitly suggests that rap music isn’t having these conversations already. The use of the word “bitch,” sensitively decon-

structed by Jay-Z on “99 Problems,” and currently being twisted and challenged

by Azealia Banks, Nicki Minaj, and many more female MCs, proves that the dis-

"muddled, mealy-mouthed missive about rap and misogyny," -Brandon Soderberg

cussion doesn’t need a backpack rap hustler selling cynicism.

– Brandon Soderberg I’m sorry, did Soderberg just say that Jay-Z “sensitively deconstructed” the use of the word bitch on 99 Problems?

And that Nicki Minaj is challenging the negative depiction of women as acting out and embracing the word bitch?

Really? Has he ever listened to Jay-Z or Nicki Minaj? This is the same Nicki Minaj that said, “I’m the baddest bitch.

The mistress, I’m the baddest bitch. I’m the baddest bitch. Trick-trick-trick please I’m the baddest bitch” and then chased those lyrics with, “Baddest, the baddest, my pussy’s the phattest I’m bad.” Really Soderberg? Again, if this were Twitter, Soderberg’s comments would be getting the o_O face. But like Soderberg’s articles, I am getting away from the larger point- Lupe’s record Bitch Bad and the necessity for a conversation in the Black community (which Brandon Soderberg is not a part of) concerning the effects of the proliferation and propagation of the “bitch” character and all that, that entails within the Black community. Being that the majority of men calling Black women bitches for public consumption are Black rappers (men and women alike), it’s only fair that a fellow artist address the issue, thus creating a counter context and conversation surrounding the issue of contention. Maybe, and just maybe, Mr. Soderberg feels like since it’s (like the man in the business suit in the Bitch Bad video controlling the “Buck” and the “Jezebel” characters in said video with stacks of cash) white males that own the labels, radio stations, magazines, and manufacturing plants that profit off of the proliferation and propagation of the Black woman as the “bitch” characterSoderberg felt that he had to speak up and defend his mentors and models of success within the industry. Maybe I’m wrong. Maybe Soderberg will read this and let me know what he thinks.

I am going to conclude this piece (although I could keep it going) with the words of the one person who needs to be heard the most in this conversation surrounding the Bitch Bad record/contro-

versy- a Black Women.

It’s [a] bit absurd for two men who can enjoy rap music while existing on the outside of the culture that sustains it to dismiss the need for a conversation about “b*tch,” a takedown of gross stereotypes in rap culture and the influence that their favorite music has on kids who don’t look like them. Clearly, guys like Hogan and Soderberg aren’t here for a “supposedly serious rapper like Lupe Fiasco, or the many thinkpiece-writing raconteurs who spend their days on hip-hop panels” and considering what that rapper and those writers must look like to someone who gets to enjoy “everything but the burden” when it comes to Black culture, I can’t hardly say I’m surprised. But that doesn’t make their words less frustrating. - Jamilah Lemieux help, And mental health, he may skew respect for dishonor

To quote Lupe there are a, “couple of things that are happenin’ here.” As Lupe is giving a “mansplanation” as to how the terminology and understanding of how the word bitch is being taught to “shawty” (an innocent four or five yearold boy with an” undeveloped context”) by his mother, we are left with the impression that “shawty’s” mother (therefore all mothers) is responsible for not only giving definition to the term bitch to her son, but also the child’s introduction to the term as a whole, while simultaneously providing him with an example of who and what a bitch is. My question is, what is the absentee variable in this equation? The absentee variable in this equation is “shawty’s” father. This doesn’t stop at “shawty’s” father, but also leads us to unpacking the “who” as to (if we are using the radio and rap music as the technological teaching/spreading tools for the term bitch) “who is indoctrinating the ‘shawty’s’ of the world to see women as bitches?” The obvious answer is young Black men making rap music- this is a partial truth. The expanded version of that partial truth is that its the record executives, hip-hop magazine owners, program directors and all other men in influential positions of power that push, promote, propagate and profit off of the commodifiable component of Bitchology.

In other words “bitches” bring in money.

I am not writing this piece to talk about the economic exploitation of women, but understand, it’s a multi-billion dollar business, that takes place both legally and illegally. Point being, “shawty” probably heard the word bitch in his baby carriage

and his brain has been bombarded with bitch-like female characters ever since “shawty” was able to watch cartoons on television. Like I said, I can see how a person can take the song as a mansplanation of an issue primarily pertaining to women, but was that Lupe’s intention?

Is Lupe adhering to the tenants of the aforementioned “Me-ism” or is he doing something more? Well, according to Spin Magazine Lupe is the quasi posterchild of “Me-ism” and they didn’t mind letting it be known.

Spin magazine’s Brandon Soderberg took on the task of not only critiquing Lupe Fiasco’s record Bitch Bad (which is his job as a writer for Spin Magazine), Soderberg took the critique two steps beyond critiquing the record and lashed out, cracking the whip of criticism on the person, that is Lupe Fiasco.

Soderberg calls Bitch Bad a, “muddled, mealy-mouthed missive about rap and misogyny,” “reckless social commentary,” and claimed that Lupe has a “moronic ‘lyrics over everything’ attitude.”

This is not an attack on the song; this is an attack on the person that created the song. A Moron is a person of borderline intelligence in a former and discarded classification of mental retardation, having an intelligence quotient of 50 to 69. By labeling his lyrics “moronic” Soderberg is thus, associating the creator of said moronic lyrics as being (at best) temporarily befitting the status and stigmatization of being a moron. By using “mealymouthed” Soderberg is saying that Lupe is hesitant to state facts or opinions simply and directly as a form of cowardice, practicing hypocrisy and or timidity. And ultimately (according to Soderberg) Mr. Fiasco has a paternalistically “muddled” way of accessing/addressing Bitchological studies- he (Lupe) is thus a muddler, i.e. a person that thinks or acts in a confused and aimless way. This sounds less like a music review and more like a practice of judgment under the axiom of “Me-ism.” Interestingly, Soderberg’s Meistical traits show themselves in plain sight when he paternalistically poses the question, “Does any female want to be called a lady?” Really, ”female,” as in the first word that I hear when some dude gives a half ass explanation as to why women shouldn’t be offended by being called a bitch? It goes something like this, “I mean why you trippin? A bitch is a female dog and you know you’re not a female dog- right?” If I were on Twitter I would have tweeted this face o_O when I first read these words by Soderberg. Then I began to think, wait a sec-

ond, is Soderberg “mansplaining” and point- Lupe’s record Bitch Bad and the paternalistically speaking on behalf of necessity for a conversation in the Black women, by insinuating that women de- community (which Brandon Soderberg is spise being called ladies? How would not a part of) concerning the effects of he know this? You see, this is another the proliferation and propagation of the point where “Me-ism” is in play. Soder- “bitch” character and all that, that entails berg isn’t attempting to create a dialog to within the Black community. Being that critique and attack the complexity affixed the majority of men calling Black women to the sociological issues and its damag- bitches for public consumption are Black ing effects surrounding a word/concept/ rappers (men and women alike), it’s stereotype/ideology, that has/is/and will only fair that a fellow artist address the be, poisoning the children from the com- issue, thus creating a counter context munity from which he was reared. No, and conversation surrounding the issue Mr. Soderberg is far from trying to create of contention. Maybe, and just maybe, a dialog and bring attention to a larger Mr. Soderberg feels like since it’s (like issue. Mr. Soderberg is trying to bring the man in the business suit in the Bitch attention to a smaller issue- himself and Bad video controlling the “Buck” and his self-centered version of the truth. the “Jezebel” characters in said video Soderberg’s stacks of cash) white "I'm sorry, did Soderberg with condescending males that own the latone not only just say that ... Nicki Minaj bels, radio stations, magcomes off as pa- is challenging the negative azines, and manufacturtronizingly patriing plants that profit off lineal, but it alsodepiction of women as actingof the proliferation and comes off as out and embracing the word propagation of the Black uninformed and woman as the “bitch” bitch? " imbecilic. Okay, character- Soderberg felt that sounds harsh and dare I say, Soder- that he had to speak up and defend his bergish, but what am I supposed to think mentors and models of success within when he writes things like this: the industry. Maybe I’m wrong. Maybe “Bitch Bad” is, to play Lupe’s game and Soderberg will read this and let me know get histrionic, how you “debase” a “cul- what he thinks. ture.” You twist a rap song into poorly I am going to conclude this piece thought-out grab for attention, and give (although I could keep it going) with the it a muddled video, all under the guise of words of the one person who needs to “starting a conversation,” which implic- be heard the most in this conversation itly suggests that rap music isn’t having surrounding the Bitch Bad record/controthese conversations already. The use versy- a Black Women. of the word “bitch,” sensitively decon- It’s [a] bit absurd for two men who can structed by Jay-Z on “99 Problems,” and enjoy rap music while existing on the outcurrently being twisted and challenged side of the culture that sustains it to disby Azealia Banks, Nicki Minaj, and many miss the need for a conversation about more female MCs, proves that the dis- “b*tch,” a takedown of gross stereotypes cussion doesn’t need a backpack rap in rap culture and the influence that their hustler selling cynicism. favorite music has on kids who don’t look – Brandon Soderberg like them. Clearly, guys like Hogan and I’m sorry, did Soderberg just say that Soderberg aren’t here for a “supposedly Jay-Z “sensitively deconstructed” the serious rapper like Lupe Fiasco, or the use of the word bitch on 99 Problems? many thinkpiece-writing raconteurs who And that Nicki Minaj is challenging the spend their days on hip-hop panels” and negative depiction of women as act- considering what that rapper and those ing out and embracing the word bitch? writers must look like to someone who Really? Has he ever listened to Jay-Z gets to enjoy “everything but the burden” or Nicki Minaj? This is the same Nicki when it comes to Black culture, I can’t Minaj that said, “I’m the baddest bitch. hardly say I’m surprised. But that doesn’t The mistress, I’m the baddest bitch. I’m make their words less frustrating. - Jamithe baddest bitch. Trick-trick-trick please lah Lemieux I’m the baddest bitch” and then chased those lyrics with, “Baddest, the baddest, my pussy’s the phattest I’m bad.” Really Soderberg? Again, if this were Twitter, Soderberg’s comments would be getting the o_O face. But like Soderberg’s articles, I am getting away from the larger

By Charles Gaylord

Dear Love and Hip-Hop,

What happened to Love? What happened to Hip Hop? What happened to H.E.R.( Hip-Hop in its Essence and Real)? I’m searching for this precious gift that was created from Love and Hip Hop. Where is the love? A love and appreciation that was born from the heart that found a permanent home in my soul. A home whose foundation was built upon a desire that then manifested into a life of matrimony. Where is the Hip Hop? The Hip Hop that was created by the people for the people. The Hip Hop that never fell on deaf ears. The Hip Hop that the people could distinguish the false vulgarizations from the truths. The Hip Hop that produced icons such as, Common, Outkast, Missy Elliot, NAS, Tupac, Queen Latifah, A Tribe Called Quest, De La Soul, The Notorious B.I.G., MC Lyte, KRS-One, Slick Rick, Wu-Tang Clan, Talib Kweli, and Mos Def. You were the living manifestation of God, Love, Hood-Struggle, Ghetto-Triumph, and Consciousness in the highest form. This is the Hip Hop that I as a child fell in love with. This is what I define as Love and Hip Hop. Who the fuck is Stevie J, Lil Scrappy, Joseline, MiMi and all of these other curious caricatures that are currently mocking your name? Walking travesties and farces that care nothing for you, that’s who they are.

Who do nothing but exploit and abuse you for the sole purpose of making money. Love and Hip Hop I am here to let you know what you have become but I am also here to tell you that I miss you. Love and Hip Hop you broke my heart, and I hate you for it. But I still need you. Love and Hip Hop I want you back.

Where did we go wrong Love and Hip Hop? I thought we were perfect for each other? But obviously this wasn’t the case. How did we go from describing our black women as Queens, Goddesses, and Sistas (BlackStar ‘Brown Skin Lady’) to bitches, hoes, and baby mamas (YG ‘Pop It” and every other new rap song out today that we seem to love to dance to)? Or what about the re-definition of black men from Kings, Gods, and Brothas to the niggas, goons, and baby daddies that you define them as today through reality television?

It’s an easy cop out to blame white corporate AmeriKKKa and BET but the issue lays deeper Love and Hip Hop. Both of us must be held accountable, as we are both responsible for this current state of flux within Love and Hip Hop. The misguided appreciation for all things wicked and the lack of consciousness has created a problem that continues to get worse and I don’t know how much of it more I can take. The acceptance of the foul embellishments of the vulgarity that was present within Hip Hop from the 90s plays a significant role for the current state of affairs. However, the time has come for change. No longer will I settle for the walking minstrel show that is now Hip Hop. No longer am I apathetic in my feelings toward Love, as I will do everything in my power to help the people recognize the positive impact that you have had within our community. I will erase the destructive images of Lil Scrappy, Stevie J, Joseline, Momma Dee (B-I-C-T-H, and yes that spelling), Karlie Redd and replace those with Lupe Fiasco, Jay Electronica, Ice Cube, Little Brother, The Roots, Kendrick Lamar, Slick Rick among many others. Can’t stop, won’t stop until the all of the people know the impact of your Love through Hip-Hop. With Much Love,

Peace

10 Hip Hop ‘12-’13 Onyx Express

For the Commodifcation of

Hip Hop

By Sunday Ely

Legend says more money, more problems or at least more responsibility. It is common for people who came from very little to practice extravagant spending, once riches are obtained. In other words artists may feel a need to distinguish themselves/celebrate their accomplishments i.e. affirming to the world and their self, “I made it.” I am not here to judge anyone’s success. By all means celebrate your self (don’t leave that responsibility up to others [insert YOLO]). I am here to take a critical look at the commodification of Hip Hop and how rhymes have evolved into serious business where investors, companies, and individuals recognize the influence that music has on popular culture.

Truth: Hip Hop has and will always be popular music.

Our current chart toppers are selling “Lamborghini Murciélago’s”, “private jets, Cîroc Vodka, Louis Vuitton, Christian Louboutin, Polo, Black diamonds, diced pineapples (yellow diamonds), Moscato wine, sneakers, Hermes, Gucci,” private islands, narcotics and Women.

These purchasable people, places, and things grace lyrical content and are boldly displayed, in every since of the word, in music videos. This business logic, product placement, is used to advertise to our eyes and ears. A corporation will pay anywhere from thousands to millions of dollars for our eyes and ears, just as Super Bowl advertisements and Summer Olympic Game commercials have shown.

Hip Hop in its own right, can be studied in a similar way to television commercials. The added bonus of music, in comparison to television ads, show that repeating words to a melody allow for an easier recall of information.

How many of you can say your alphabet without initially wanting to sing it? How many can recall the lyrics to “Big Poppa” by Biggie Smalls though you may have never read the lyrics or owned the album (or track for us who digital

mediums have replaced all knowledge of album, tape, record or vinyl practices)?

Music is a highly passive practice. An individual does not have to actively attempt to listen to music; one just hears the melody. For example if you go to a concert can you not hear the music being played? Even if you tried to turn off your ears, you cannot. Hearing does not mean that you are listening but if music is playing around you, you are hearing the composition regardless if you like it or not. This is how powerful your ears are, another cause in the exponential rise in codify the commodification of Hip Hop music.

2 Chainz states in “Birthday Song”, “They ask me what I do and who I do it for . . .” maybe he does it for the highest bidder at the expense of your subconscious mind. It seems today that many African American influential fields have economic styles similar to that of slavery, as the routine of buying and selling to the highest bidder have similar connotations to that of the slave trade. We now just brag about our material chains, or physical ones Overall, the charts don’t lie, Hip Hop is just as popular now, if not more, than it has ever been. African American artists are in Hip Hop, R&B, Rap, Pop and even Gospel rotations.

Artists are topping the charts in all categories, truly setting records for improved standards of economic success.

The industry seems to be getting smaller and smaller, with very little change in content, producers, ownership or artistry. We are still all about the “money, clothes, fancy cars, big’ole’ cribs, platinum on the wall, 7 Grammys, sold out concerts . . . private jets to France . . . [and] women” –“What Happened to You” –Usher. I guess it is just all fun and it’s not affecting you right? Because maybe we all can relate to this statement “Then I got my first little taste of paper, and splurged . . . I guess it’s just a nigga urge” –“Can I Live” J Cole.

Hip Hop ‘12-’13 Onyx Express 11

Sexuality&Hip-Hop

By Chantel Taite

For decades hip-hop has been described as the heart of Urban America. The rhythmic style of chanting, poetry, and beats have resonated deeply within the black community, allowing family and friends to come together to be entertained. However, underneath these rhythmic beats, lie the hateful secrets of misogyny, internalized racism, and homophobia. However, within these reoccurring controversies, hip hop has begun to witness a shift in its perception towards the queer community. Since the late 70s, during the birth of hip hop, homophobic slurs have been written and performed by artists such as Snoop Dogg, Wu-Tang Clan, and Lil Wayne. Rappers insulting one another as â&#x20AC;&#x153;bitch niggasâ&#x20AC;? and â&#x20AC;&#x153;faggotsâ&#x20AC;? not only disrespects women, but also support a stereotypical view of masculinity. In hip hop culture; homophobia and hyper masculinity are depicted as â&#x20AC;&#x153;thuggedâ&#x20AC;? out men of color who are usually shirtless and muscular, wearing baggy clothes, while at the same time indicating their sexuality. However, the idea of women and bisexuality seems to be accepted without hesitation in the world of hip hop.

Artists such as Nicki Minaj and Trina display bisexuality throughout their lyrics and music

10 Hip Hop â&#x20AC;&#x2DC;12-â&#x20AC;&#x2122;13 Onyx Express

12 Hip Hop â&#x20AC;&#x2DC;12-â&#x20AC;&#x2122;13 Onyx Express

videos. Lesbianism and bisexuality in these music videos are usually presented for entertainment, as men sit back and watch the women partake in this activity for their viewing pleasure. Because this is more of an accepted trend, women are less likely to harm their musical careers.

Homophobia seems to derive from a sense of insecurity of oneâ&#x20AC;&#x2122;s own sexuality.

For example, the idea that men should possess masculine traits such as strength and aggressiveness versus women, who should possess feminine qualities such as gentleness and sensitivity are depicted in many hip hop lyrics. The controversy here, however, is who KDV WKH ULJKW WR GHÂżQH WKHVH WHUPV )RU GHFDGHV sexuality has been placed under many stigmas to GHÂżQH RQHÂśV LGHQWLW\ 7RGD\ DV D QHZ JHQHUDWLRQ is forming, hip hop is gradually shedding a positive light on homosexuality. One of the most recent events in hip hop culture occurred on July 2012, when Frank Ocean (pictured left) posted a letter to his Tumblr, announcing that KLV ÂżUVW ORYH ZDV RI WKH VDPH VH[ +LV KHDUWIHOW message sought hope â&#x20AC;&#x153;that the babies born these days will inherit less of the bulls**t than we did,â&#x20AC;? meaning that hopefully one day, hip hop culture could accept homosexuality and other issues facing urban communities today, without hesitation or hatred. Since Frank Oceanâ&#x20AC;&#x2122;s announcement, thousands of his fans have continued to support him, as his album, Channel Orange, has become one of the top albums of the year. Although this is only the ÂżUVW VWHS WRZDUGV DFFHSWLQJ KRPRVH[XDOLW\ WKH question still remains if one day the entire hiphop culture will learn to accept homosexuality without hesitation or fear.

rowing up in the west Chicago projects, next door to a crack house, it would be a common societal assumption that a young black man would eventually give in to the surrounding life of crime. Mainstream Hip-Hop artists rap about this scenario of a lifestyle all the time; drugs, guns, money and women are all pieces to the successful street-life puzzle. Rather than turning to crime, Wasalu Muhammad Jaco, better known as rapper Lupe Fiasco, pursued a life of rhyme.

Contributing to his success in pushing the envelope for “conscious” rap and hip-hop, Lupe attributes his success to the path that his parents led him on. In many interviews Lupe paints vivid pictures of the rough area he grew up; how outside his home was a civilized battlefield, yet inside the walls of his parents’ house was a different world. From eclectic musical selections, in regards to genres as well as artists, to stacks of National Geographic magazines, Lupe’s parents built a sanctuary for furthering his knowledge of the world in any way they could. This included his father teaching Lupe how to properly operate a firearm by showing Lupe how to handle and fire an AK-47 assault rifle in order to protect himself against the neighboring drug dealers and users.

Although Lupe’s reputation in music is that of a conscious artist who writes about societal problems, the early chapters of his music life read much the same

By Anthony Thomas

G

as most mainstream hip-hop artists. As Lupe puts it (referring to his musical group Da Pak, at age 19), “We had a song about cocaine, guns, and women, and I would go to a record store and look at it and think, ‘What are you doing?’ I felt like a hypocrite. I was acting like this rapper who would never be judged, and I had to destroy that guy. Because what Lupe Fiasco says on this microphone is going to come back to Wasalu Jaco. When the music cuts off, you have to go home and live with what you say”. Not long after this epiphany, Lupe began to work himself into the realm occupied by conscious artists such as Mos Def and Common.

With his focus now on education, literacy and other strong issues in the local and global society, Lupe Fiasco has become a household name in the Hip-Hop world. Although he coincides in the music industry with many artists who have given Hip-Hop bad connotations among the public, Lupe is a prime, and highly influential, example that hip-hop is not synonymous to drugs, violence, promiscuity, and misogyny. The essence of Hip-Hop is not only in the creators of its arts, but in the audience as well. Lupe Fiasco is a momentous figure for positive change in mainstream Hip-Hop and is the voice for those who are socially mute to many issues that even the blind can see in society.

Hip Hop ‘12-’13 Onyx Express 13

Rick Ross: God Forgives, I Don’t Ayanna Smith

“Don’t judge a book by its cover.” I honestly learned the meaning of this after reviewing songs from Rick Ross’ latest album God Forgives, I Don’t. Based on the singles and features he’s produced, I didn’t think Mr. Ricky Rozay would have much to offer through his lyrics, so I was surprised to hear relevant topics covered through songs like “Privates,” “3 Kings,” and “Sixteen.” This album really iterates the struggle of black males who come from essentially nothing, and Ross celebrates himself for being able to achieve a better life. Rick Ross shares pieces of his background through his

lyrics, which highlight his mother struggling to pay rent, him having few clothes to wear, and even the use of government aid programs (government cheese). He often uses the phrase “self-made,” personifying his rise from the bottom to the top, without any help. The lyrics, “black runaway slave, cut the noose off my neck,” exhibit this as well. Rick Ross also alludes that though he uses music to tell his story, it still isn’t enough to relieve him of the pain from memories of times past.

Rick Ross explains in “Ashamed,” that his goal was never for the fame, but for the money, and that he is ashamed of becoming a “D-Boy.”

I think this is a powerful message to those like me, who may have the tendency to judge artists based on how they present themselves through their commercialized music. Ross says it himself, “Who am I for you to criticize?” Still though, I find it hard to listen to music that degrades women and glorifies wealth accumulation by any means necessary (ie. “only love it when her a** fat,” “I just hit a lick I’m tellin’ you that it’s amazing”). I definitely respect Rick Ross’ hustle, but I think it is done unfortunately at the cost of enforcing black stereotypes.

Trey Songz: Chapter 5 Ayanna Smith

Definitely different from his last two albums, Trey Songz changed the game with his latest Chapter 5 album. This album really emboreydies a growing artist, as his music truly show his appreciation for the plight of women in and out of relationships (“Pretty Girls Lie,” “Simply Amazing,” “Fumble”). He covers many aspects of love including mistakes and lessons learned, heartbreaks and regrets. He has a clever mixture of songs you can dance to and those that you can really vibe with and relate to. He even gives us a sample of his rap 14 Hip Hop ‘12-’13 Onyx Express

skills through “Playin’ Hard,” and “Check Me Out” and it actually sounds pretty nice (getting his Drake on). What I find interesting though really is the diversity of the things he talks about.

Compared to his past albums dominated by sexual content, he really maintains a balance on this album and even covers more mature topics like marriage in his song “Almost Lose It,” one of my favorites. I have heard critics from those my age comparing Trey’s latest to R. Kelly. I don’t see it, but then again I don’t listen to much R. Kelly so maybe

there is some similarity that I’m just not tuned in to. Either way, I can really appreciate Trey’s move into a new direction with his music. This may definitely sway his audience from the teenager fans to older listeners.

As he is approaching 28, it’s commendable that he embarked on a minor transformation instead of trying to stick with the younger crowd.

: G.O.O.D Music Cruel Summer Charles Gaylord Arguably the most anticipated release of the summer, the G.O.O.D. Music compilation Cruel Summer doesn’t disappoint for those who are fans of the new look collective. The all-star roster led by Kanye West comprises of Pusha T, Big Sean, Common, Kid Cudi, Mr. Hudson, Teyana Taylor, John Legend, CyHi the Prince and the newly added 2 Chainz who all come together to proclaim their dominance of the rap game. The album features several heavyweights within popular music as R. Kelly, Jay-Z, The-Dream, Jadakiss, Marsha Ambrosius of Floetry, and Mase all provide contributions to the 12song collective.

On the Jay-Z featured ‘Clique’, Hov refers to his drug dealing past and how this has manifested into his present prowess as a corporate executive as he raps, “Your money too short you can’t be talking to me…turn that 62 to 125, 125 to a 250/250 to half a million, ain’t nothing nobody can do with me.” Later on in the record, Kanye refers to his relationship to Kim Kardashian as he raps, “my girl a superstar all from a home

movie/ Bow on our arrival - the unAmerican idols.” The rhymes spit on this track from Kanye, Jay-Z, and Big Sean all show high levels of lyrical wordplay genius, but the typical hip-hop subject matter leaves little to the creative imagination.

Nevertheless, possibly the best record on the album has to be the Pusha T featured ‘New God Flow’. The Kanye West, Pusha T and Ghostface Killah collaboration, which samples the song Mighty Healthy from Ghostface’s classic 2000 release Supreme Clientele, features some of the best lyricism on the entire album. Pusha opens the song, “I believe there’s a god above me/ I’m just the god of everything else/ I put holes in everything else/ New God Flow f*** everything else.”

Kanye through his verse sheds light on the recent high level of black on black gang violence in Chicago as he spits, “40 killings in a weekend, 40 killings in a week/ man the summer too hot you can feel it in the street/ Welcome to Sunday service if you hope to some day serve us/ we got green in our eyes, just follow my Erick Sermon.” Ghostface finishes the song by informing the younger

listeners that ‘I had my Jesus piece since ‘94’ in response to Kanye’s line from the same record “And ran to Jacob and made the new Jesus chains?”

Another standout record from Cruel Summer is titled ‘The Morning’, which features Wu-Tang Clan legend Raekwon, Common, Big Sean, Kid Cudi, 2 Chainz, CyHi the Prince, and Pusha T. The main topic of the song is focused around the recently alleged association of hip-hop artists with secret societies such as the ‘Illuminati’. However, these records are few and far between throughout the 12 song album, as the theme of a**, illuminati, money, and Lambos that was on the lead single ‘Mercy’ prevail throughout the album. Given the talent of the roster it is surprising that the subpar subject matter and the lack of quality production dominated this release. Kanye West was at one time regarded as a leading innovator within hip-hop culture, it looks as though he and his G.O.O.D. Music collective are just looking to be a part of the communal hip-hop pack.

Hip Hop ‘12-’13 Onyx Express 15

THE

OF

n o i t u l o P ... v O E H d e P u HI contin

1982 Afrika Bambaataa and the Soul Sonic Force release the techno-heavy “Planet Rock” on Tommy Boy Records.

1983 Ice T helps pioneer gangsta rap in the west coast with his rapcore singles “Body Rock” and “Killers.”

1987 Public Enemy stuns the world with their introductory album, Yo! Bum Rush The Show, signaling the genesis of politically-charged hip-hop.

1988 After years of being neglected by the mainstream media, hip-hop gets its own show on MTV, “Yo! MTV Raps.”

1989 A group of high school friends join the Native Tongues as promoters of the Afrocentricity Movement to make African-Americans aware of their heritage. These Manhattan based friends would later form A Tribe Called Quest 1990 Both a Florida record store owner and Luther Campbell are arrested over 2 Live Crew’s controversial album, As Nasty as They Wanna Be.

1991 The Notorious B.I.G. is featured in the “Unsigned Hype” column of The Source magazine 1995 Queen Latifah wins a Grammy award in the “Best Rap Solo Performance” category for her hit “Unity.”

1995 Eric Wright (Eazy-E of N.W.A) dies of AIDS on March 20th at the age of 31.

1997 Missy Misdemeanor Elliott redefines hip-hop and R & B with her first album, Supa Dupa Fly. Having broken barriers as a successful female producer, Missy would go on to become the highest selling female rapper of all time.

1998 Lauryn Hill’s solo debut, The Miseducation of Lauryn Hill, scores her 11 Grammy nominations and 5 wins, including Album of the Year and Best New Artist.

1999 Backed by producer Dr. Dre, Eminem zooms past racial hurdles and sells 4 million copies of his debut, The Slim Shady LP. 2002 The rapping member of TLC, Lisa “Left-Eye” Lopes, dies in a car crash.

2003 50 Cent makes his major label debut with Get Rich or Die Tryin’, which sells over 10 million copies worldwide.

2004 P.Diddy’s “Citizen Change” campaign adopts the slogan ‘Vote or Die’ in a bid to convince young people to vote in November’s U.S. Presidential elections.

2006 Nas’ Def Jam debut, Hip-Hop Is Dead, dusts up controversy and debate over its title.

2007 YouTube and MySpace sensation Soulja Boy releases his first studio album 16 Hip Hop ‘12-’13 Onyx Express

Kendrick Lamar: good kid, m.A.A.d City Charles Gaylord

Throughout one of the most anticipated debuts in Hip-Hop history, Kendrick Lamarâ&#x20AC;&#x2122;s good kid, m.A.A.d City fails to disappoint.

K. Dotâ&#x20AC;&#x2122;s tales of a kid growing up in one of the most dangerous cities in America fuels Lamarâ&#x20AC;&#x2122;s phenomenal introduction. Unlike most of his peers, Kendrick does not sensationalize the violent, drug dealing laden culture that dominates the music industry today. Instead he uses songs such as â&#x20AC;&#x2DC;M.A.A.D. Cityâ&#x20AC;&#x2122; and â&#x20AC;&#x2DC;good Kidâ&#x20AC;&#x2122; to describe the harsh realities that are facing the many black males who grow up in gang stricken neighborhoods similar to Compton.

The Just Blaze produced track, â&#x20AC;&#x2DC;Comptonâ&#x20AC;&#x2122;, which features Dr. Dre is one of the standout tracks from the album. Kendrick details the reasons that folks who come from similar backgrounds endorse

the music that he creates as he raps, â&#x20AC;&#x153;America target our rap market, itâ&#x20AC;&#x2122;s controversy and hate/Harsh realities we in made our music translate/ To the coke dealers, the hood rich, and the broke niggas that playâ&#x20AC;?.

Lamar orates the love for his city throughout the entire album with cuts such as â&#x20AC;&#x2DC;Sherane a.k.a Master Splinterâ&#x20AC;&#x2122;s Daughterâ&#x20AC;&#x2122; and â&#x20AC;&#x2DC;The Art of Peer Pressureâ&#x20AC;&#x2122;.

However, the best track on good Kid has to be without a doubt â&#x20AC;&#x2DC;Sing About Meâ&#x20AC;&#x2122;. This track is the embodiment of the art of storytelling within Hip Hop. Kendrick describes a conversation he has with his brother, who is ultimately murdered, GXULQJ WKH ÂżUVW YHUVH DV KH VSLWV Âł, ZRNH XS WKLV PRUQLQJ DQG ÂżJXUHG Iâ&#x20AC;&#x2122;d call you/In case Iâ&#x20AC;&#x2122;m not here WRPRUURZÂŤ, ÂżQG QRWKLQJ EXW trouble in my life/Iâ&#x20AC;&#x2122;m fortunate you believe in a dream/This orphanage

we call a ghetto is quite a routineâ&#x20AC;?.

The second verse Lamar tells the story of her girl who has to resort to selling her body for money and how these elicit activities lead to her eminent demise. good Kid, m.A.A.d City GHÂżQLWHO\ LV RQH RI WKH EHVW UDS debuts in history. The lyrical content has to be compared to other great introductions such as Nasâ&#x20AC;&#x2122; â&#x20AC;&#x2DC;Illmaticâ&#x20AC;&#x2122;, Jay-Zâ&#x20AC;&#x2122;s â&#x20AC;&#x2DC;Reasonable Doubtâ&#x20AC;&#x2122;, and Public Enemyâ&#x20AC;&#x2122;s â&#x20AC;&#x2DC;Yo! Bum Rush the Showâ&#x20AC;&#x2122;. K. Dot looks like he has all the ingredients necessary that will ultimately brand him as a hip hop legend. Similar to west coast pioneers Dr. Dre and Snoop Dogg the longevity of his career is inevitable. And with releases like good Kid, m.A.A.d City Kendrick Lamar looks like he is here to stay.

Lupe Fiasco: Food and Liquor II Denesha Williams While other rappers are rapping about having a stripper for their birthday, Lupe Fiasco decided to take the conscious route for his latest album, Food and Liquor II: The Great American Rap Album (Part 1). Lupe has stirred up controversy pertaining to his album including sampling Pete Rock and CL Smoothâ&#x20AC;&#x2122;s â&#x20AC;&#x153;They Reminisce Over You (T.R.O.Y.)â&#x20AC;? without their formal permission, in addition to sharing his opinions on the misuse of the b-word. The 17-tracked album has mostly mid to up-tempo songs centered on themes pertaining to the

plight of the black community.

Although â&#x20AC;&#x2DC;B**** Badâ&#x20AC;&#x2122; has garnered the most publicity with his message on the use of the b-word, Lupe has other songs that enforce powerful messages pertaining to those who are struggling within the EODFN FRPPXQLW\ +LV YHUVHV UHĂ&#x20AC;HFW how Americaâ&#x20AC;&#x2122;s slave holding past has landed the black community in ghettos with fatherless families in â&#x20AC;&#x153;Strange Fruitionâ&#x20AC;?. He also talks about not using the N-word because God made black people better than that in â&#x20AC;&#x2DC;Audobon Ballroomâ&#x20AC;&#x2122;. There are also a great number of featured

artists who may be unknown to most including Bilal on the track â&#x20AC;&#x2DC;How Dare Youâ&#x20AC;&#x2122; and Poo Bear in â&#x20AC;&#x2DC;Heart Donorâ&#x20AC;&#x2122;.

After listening to the entire DOEXP RQH PD\ ÂżQG WKHPVHOYHV UHĂ&#x20AC;HFWLQJ RQ WKH W\SHV RI PXVLF WKDW they listen to. This album from Lupe may have you examine how todayâ&#x20AC;&#x2122;s PXVLF UHĂ&#x20AC;HFWV KRZ PDQ\ LQ WKH black community view themselves.

Some critics say this album is not as good as Lupeâ&#x20AC;&#x2122;s last few albums, but Lupe still drives his thought provoking message home with his FUHDWLYH O\ULFV DQG Ă&#x20AC;RZ Hip Hop â&#x20AC;&#x2DC;12-â&#x20AC;&#x2122;13 Onyx Express 17

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