BMi mag final

Michael “KoBena” BuadoThe death of the Hip Hop

artist and life of rap music8CO

NTENTS

L.E.P.E. Selling out and its adverse

effects on the hip hop genre 1Show Me The MoneySee where the money is

coming from in the music

industry.3

Michael “KoBena” BuadoThe death of the Hip Hop

artist and life of rap music8Hip Hop How ToA few simple steps on how

to further your career as a

hip hop artist.13

Commandment I: Thou mu st dis' black women. You are allowed to distinguish between bitches, hoes and "real sisters" only during interviews when asked to clarify your statements. You must talk about beating a woman up at least once on your CD or demo. On at least four (4) but no more than five (5) singles/demos you must talk about having rough and unprotected sex with a woman. You must also refer to your girlfriend or wife as a "bitch" in an endearing way. All music videos must reflect the aforementioned notions.You can talk about doing things to other people's mothers as acts of creative expression. You may also refer endearingly to an unplanned child as a "bastard," "shorty," "lil nigga," or "lil G." By honoring this commandment you vow to never rally behind black females or support a strong family bond. You see her only as an object for sex and to reap the repercussions of your rage. You also believe she is only out to get you.

Commandment II: Thou must kill. You must "lyrically" take the life of at least one other black person in order to secure a hit CD. This law does not promote the physical killing of another person. However, it is not against the law to assassinate another person on record. You must only talk about killing your own kind, however, or other cultures may sue you for inciting racial violence. You must express pleasure in the kill. The kill must be graphic and extensive in detail. The consumer must always be left with the feeling that taking a person's life (lyrically) was justified. Most of the lyrical murders must be done by guns, however creativity allows for poisoning, stabbings, beatings, stompings, and suffocating. You do not distinguish between male or female kills. By keeping this Commandment you vow to never claim acts of genocide publicly even when you are a victim of violent repression yourself. You also agree to "lyrical" acts of black-on-black violence, as well as prolific incidents of brutality.

Commandment III: Thou must covet. Thou must talk about lusting after things that do not belong to you. You must have an unusual craving for things that do not belong to you. Your desire must be so strong that you unwittingly uphold the second commandment. This law does not advocate you

physically go after the material possessions of someone in your community. By keeping this commandment you vow to never promote a strong work ethic in your music or to speak against greed, lust and impulsive behavior. In fact, you now believe greed is healthy.

Commandment IV: Thou must have a lot of sex. You must have no fewer than three (3) songs on your CD or demo that promote sexual intercourse with one or a group of individuals. You cannot express a deep sense of love or marriage. Thou shalt not talk about commitment, bonding, and intimacy. You can only talk about sex in its purest and rawest terms. Do not use "make love," or "provide pleasure," or "pro-create." You must never mention a sexually transmitted disease in the context of these records. You can however discuss the use of contraceptives, but only if you're referring to sexual intercourse with a hoe. (See first Commandment). If you are under age 16, you may substitute sex with the "flirting," and "fantasies about being intimate with your teacher, neighbor's child, or another rapper." You must be creative in your graphic detail of sexual intercourse so to leave nothing to the imagination. The details can be slightly skewered in order to circumvent radio censors. However, this does not excuse radio edits from removing references to sex. Therefore stay ahead of the game by using clever phrases with dual and triple meanings. By keeping this

Commandment, you vow to never promote unconditional or agape love in your community;; promote the black family in a positive light;; or uplift male/female relationships.

Commandment V: Thou must celebrate the drug culture. Thou must condone and identify with the proliferation of drugs in the black community. You should create endearing lyrical expressions to identify various narcotics and mind-altering substances. Though you are not to personally distribute or purchase illegal substances, you may allude to it lyrically. (To protect industry investment, we discourage musical confessions to crimes where the statue of limitations have not run out.) You may allude to a war on drugs,but only as justification to carry out the second commandment. You must continually suggest that selling drugs or "slangin'" produces the only legitimate income for impoverished black people. All music videos must either glamorize this lifestyle by showing the "success" of the narcotic trade, or glamorize prison living. You should refer to drug addicted citizens in comical terms that illicit disgust, laughter, fear, pity or retribution.

Commandment VI: Thou must rarely talk about God and spirituality. You must lyrically condone atheism and a false belief system that negates the existences of a

higher being. You must routinely question the existence of a god by lyrically challenging him/her/it to take your life or to grant you three wishes. You are to refer to yourself as a god who gives and takes life. You may lyrically create your own religion (see tenth commandment) based on a ghetto belief system. Thou shalt not talk about life and death as it relates to spirituality or a sense of purpose. You should never speak of scripture or religious texts. You are prohibited from acknowledging any spiritual beliefs that may have been instilled you by family. However, you may identify with a Jesus by wearing a large, diamond encrusted piece whereby you may brag about its costs. Under no circumstance are you to promote prayer, reflection, meditation, atonement, redemption, sacrifice, mercy or grace.

Commandment VII: Thou must promote capitalism. On no fewer than four (4) singles or demo records you must talk about money as if it were a living, breathing thing. You must talk about making it, taking it and the love of it. Your lyrics must always place money over love, over women, over religion (see sixth commandment). Thou must never start talking about savings and investing. Thou can, however, sayeth the words "currency exchange," "welfare check," "first of the month," and "food stamps." You must never talk about pooling of resources. Thou can never equate capitalism with poverty. You must never

creation. You must uphold its principals and create new creeds. You must lyrically create a fictional account of ghetto living that inspires comradeship and a sense of pride among its residents. Your lyrics must create a ghetto dweller that is proud to live in the ghetto and takes offense at others moving into it. You must celebrate ghetto life by reminiscing about days in poverty and your mothers on welfare and about your fathers who were not there. Additionally, your lyrics must offer the mainstream a rare glimpse inside a "socio-economic matrix" while allowing them psychologically off the hook for the ghetto's creation. You must celebrate ghetto language, ghetto living, ghetto housing, ghetto clothing, ghetto hairstyles, ghetto sexual habits, ghetto education, and ghetto economics and ghetto self-hatred. You must romanticize poverty with tales of sex, drugs, money, creed and fear. The ghetto must become a magical place.

By keeping this commandment you vow to create and then instill pride in a false culture of poverty, crime, drugs, illegitimacy, ignorance and apathy. You also vow to attribute the ghetto only to Black people. You also vow to never leave the ghetto matrix psychologically, even when your economic status changes (see seventh commandment) In other words you will remember to "keep it real.."T

This sacred scroll must be handed to every potential and current Black hip hop artist in the nation. While some sign, many others I am sure others have refused, as there is circumstantial evidence that supports that. Occasionally a break through performer will offer lyrics that make us think, act and believe as if we have purpose and are loved in this life. Yet the majority of our youth must be forced to sign, recite and then internalize these commandments in order to guarantee their market success. I imagine if they do not sign the doctrine, they are relegated to doing poetry readings at open mics, working menial jobs, fading into relative obscurity and living in the "ghetto matrix." This must be the answer, because the truth is surely a lot more painful.

Commandment VIII: Thou cannot have a sense of history. Never ever refer to any historical event that may cause the consumer to think about his/her relation to history. Your role is to entertain, not educate. Thou art prohibited from speaking of the following: Trans-Atlantic slave trade;; African holocaust: Reconstruction: the civil rights movement;; the Black Power Movement;; the "real" Harlem Renaissance, and so forth. You can never mention the following people: Martin Luther King Jr., Hannibal, Mansa Musa, Harriet Tubman, Sojourner Truth, David Walker, Nat Turner, George Jackson, El-hajj Malik Shabazz (Malcolm X), Jesse Jackson, Patrice Lumumba, Nelson Mandela, Winnie Mandela, Steve Biko, Louis Farrakhan, Booker T. Washington, W.E.B. DuBois, Huey Newton, Fred Hampton, Bobby Seale, Kwame Ture, Ida B. Wells, Assata Shakur....unless you are making fun of their names, causes or crusaders. (I.e., Rah Digga's Harriet Thugman). Do not mention Africa, Brazil, the Caribbean or Asia, unless to disparage. By keeping this commandment you vow to never promote a sense of awareness, a knowledge of self or the consumer's global relationship to kindred spirits.

Commandment IX: Thou must not advocate. Thou art prohibited from advocacy of anything of social redeeming value. Your lyrics must reflect a detachment from the social, political and economic reality of your community. Your lyrics can occasionally ridicule people who march, protest and advocate social causes. The consumer should never assume that thou reads newspapers, magazines or books. In other words it must appear that nothing that happens in the "real" non-entertainment world, has any personal affect on your thinking. Nor should the consumer of your CD or demo walk away with the belief that you care about anything other than the Commandments IV and VII. Never talk about the "industry." By keeping this commandment understand you must

Commandment X: Thou must promote all things ghetto. You may never define the word ghetto or discuss its

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mention the IMF, WTO or Federal Reserve. In fact never mention banking or the stock market at all. Do not mention technology. Do not discuss taxing. Do not discuss the federal budget. (See Commandment V). You must promote individual wealth over community wealth. You should talk about all of your purchases, specifically naming makers and distributors of expensive jewelry, cars, clothing and liquor. Once you become a successful entertainer you should purchase a very big house and no fewer than three (3) expensive cars. Publicly, you should live within a lavish lifestyle in order to please your consumer fan base that now lives vicariously through your music. Your lifestyle should include, but not be limited to: living in exclusive communities, catering to huge entourages, routinely eating at expensive restaurants, flying to Europe for fashion shows, purchasing designer clothing only, ordering platinum and diamond encrusted jewelry for your body and teeth, purchasing expensive weapons and devices, frequent partying and purchasing big quantities of vexpensive liquor and tobacco/cigars. Thou should consistently ridicule those who cannot afford the aforementioned items. By keeping this commandment you vow to always promote a consumer culture v. a producer culture.

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veryone loves a story. The problem is that every person’s story is its own truth, omitting and observing the facts as they see fit. Oftentimes hip-hop is forced into this literary structure, a dramatic arc from rise to

fall to an eventual death and then finally one last shot at redemption.This classicist story is very very linear, a dialectic approach of dominant ideologies reacting to the outdated modes of thought. Old school begot hip-pop begot gangsta begot native tongues bling-bling. It is a story of the rise, fall, and eventual death of rap music. (The story often concludes with redemption (i.e. the “underground,” where the old spirit is kept alive.) In actuality though, hip-hop is a very large and contradictory animal these days, and it defies such generalizations.

There seem to be a couple dominant themes that have surfacd in the critiques of modern hip-hop, and for the most part, they are inherently conservative. Things were better in some imagined past and these old values have been compromised. Hip-hop is merely a slave to capitalism, misogyny, or violence. These descriptions of the genre today are, in part, accurate. The problem is that they imagine a fictional past of well behaved politicos with either leftist or moralist agendas writing “positive” rap music while kids breakdance in the parks. There are all kinds of variations on this theme, but they all seem to deny the real history behind hip-hop’s rise. It came from violence and it came from the streets, it came from drugs and crime and although lots of it was positive, the idea that the music has since fallen from grace seems to deny the facts of its origins, origins that these days seem washed with the brown wood-panel tint of nostalgia.

So it started in New York, thanks to the mobile DJs of Jamaican sound system culture, MCs getting the party hype while the kids threw on party records. And it spread, and capitalism was involved from the second it spread, from the moment a rhyme was laid to wax capitalism was there. We can’t separate capitalism from the history of hip-hop as recorded music because capitalism was always there. If capitalism killed hip-hop, it was an abortion. Eric B and Rakim were Paid in Full. Rappers were gonna “make money money make money money money.” Likewise, politics were there but never defined the

music;; writer and R&B enthusiast Aaron Fuchs was quoted in David Toop’s legendary Rap Attack aboutis disdain for the “message rap,” arguing that it was “a capitulation to the adult norm who can’t accept the music on its own terms” (120). Hip-hop was inherently political;; it began as the music of marginalized peoples, poor

urban minorities whose cultural capital was relatively small. Explicit attempts to be political, while sometimes musically interesting, tended to have a superfluous impact. It was significant in more dramatic ways on

The real story of hip-hop isn’t a dramatic rise and fall, a linear tale of revolution and consolidation, of hardcore rap rejecting pop or “positive” Native Tongues rappers rejecting gangsta;; hip-hop’s story is regional. Its rise is regional because of how differently it has been interpreted from place to place—from its beginnings in the boroughs of New York, moving across the country—hip-house in Chicago, bay area pimp shit, LA gangsta, and of course the massive conglomeration of styles that worked their way across the south, from Miami bass in Florida to the screw music of Houston and everywhere in between—rap is a highly adaptable

music form, and as a result is extremely democratic. You don’t have to follow New York lyrical rules and you don’t have to make southern club anthems;; the cultures of each geographical region would completely redefine the sound of hip-hop both at a regional level and, very often, on the pop charts.

Follow this idea further—hip-hop is worldwide. It has exploded beyond national boundaries with the same groundswell of partying and rapping. Worldwide rap is dance music that retains the edge of the streets and drugs and violence and love and sex and dancing and death and everything else that makes up the life of poor, young, and marginalized peoples. This may sound romantic to some people’s eyes—but it’s not. Where rap comes from sucks but it is also beautiful, and this is how it has always been. The slums (“favelas”) of Rio are not idyllic, they’ve got many problems, but they also are exploding with creativity and vitality, kids throwing together sounds using available technology and imitating imported rap stars (see 2004’s Favela Booty Beats compilation for an excellent example). 50 Cent is one of the biggest stars in the world, from Kingston to Capetown, and whether or not you like 50 is irrelevant;; he’s a mythic figure who has attained a cultural relevance so massive that it is hard to comprehend from our perspective. Rap’s cultural capital is larger than ever before. A mixed blessing, because in the United States, and many other countries, cultural capital doesn’t translate into social justice, economic justice or any kind of justice—it’s just another opportunity.

Hip-hop as a genre is not dead its just zhe, but perhaps hip-hop as a signifier is;; we need to redefine the term, extend it, and make it more practical. Hip-hop’s romantic past is over, and the current understanding of hip-hop will soon be too diffuse to be useful. Current chart rap music is too influential, too strong, and too popular to follow obsolete descriptors. Its characteristics have become dependent on the location, time, and the cultures that continuously shape and reshape it. Hip-hop is really youth culture plus the basics: rapping and beats. Hip-hop is worldwide, and whatever you call it—favela funk, dancehall, Miami bass, hip-house, grime, kwaito, sleaze, freestyle, desi—it is polyglot street music, populist reinterpretations of American hip-hop informed by the culture of its geography, the technology of the time and beats that still shake your chest. “Hip-hop” is dead;; long live hip-hopa cultural level.

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music form, and as a result is extremely democratic. You don’t have to follow New York lyrical rules and you don’t have to make southern club anthems;; the cultures of each geographical region would completely redefine the sound of hip-hop both at a regional level and, very often, on the pop charts.

Follow this idea further—hip-hop is worldwide. It has exploded beyond national boundaries with the same groundswell of partying and rapping. Worldwide rap is dance music that retains the edge of the streets and drugs and violence and love and sex and dancing and death and everything else that makes up the life of poor, young, and marginalized peoples. This may sound romantic to some people’s eyes—but it’s not. Where rap comes from sucks but it is also beautiful, and this is how it has always been. The slums (“favelas”) of Rio are not idyllic, they’ve got many problems, but they also are exploding with creativity and vitality, kids throwing together sounds using available technology and imitating imported rap stars (see 2004’s Favela Booty Beats compilation for an excellent example). 50 Cent is one of the biggest stars in the world, from Kingston to Capetown, and whether or not you like 50 is irrelevant;; he’s a mythic figure who has attained a cultural relevance so massive that it is hard to comprehend from our perspective. Rap’s cultural capital is larger than ever before. A mixed blessing, because in the United States, and many other countries, cultural capital doesn’t translate into social justice, economic justice or any kind of justice—it’s just another opportunity.

Hip-hop as a genre is not dead its just zhe, but perhaps hip-hop as a signifier is;; we need to redefine the term, extend it, and make it more practical. Hip-hop’s romantic past is over, and the current understanding of hip-hop will soon be too diffuse to be useful. Current chart rap music is too influential, too strong, and too popular to follow obsolete descriptors. Its characteristics have become dependent on the location, time, and the cultures that continuously shape and reshape it. Hip-hop is really youth culture plus the basics: rapping and beats. Hip-hop is worldwide, and whatever you call it—favela funk, dancehall, Miami bass, hip-house, grime, kwaito, sleaze, freestyle, desi—it is polyglot street music, populist reinterpretations of American hip-hop informed by the culture of its geography, the technology of the time and beats that still shake your chest. “Hip-hop” is dead;; long live hip-hopa cultural level.

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