April 2005 Archives

Black people complain about BET for many legit reasons. But the station doesn't get enough props for it's long standing commitment to independent hip-hop, and artists outside of the crowded New York scene.

Them Cash Money boys had regular rotation on BET's video shows way before anyone caught on in New York. And the almost-anything-goes show Uncut is really just an outlet for low budget videos to get national airtime. Where else can an indie artist get that type of exposure?

The Center's host Julissa is attractive, and seems like she has a nice personality, but she makes BET's after school video show boring. I know that all of the VJ's read from a teleprompter, but she makes it so obvious. It feels like I'm watching a school play.

To add to the staleness of the show, the set looks like it's the size of a small room. And Julissa usually spends the entire time sitting, something that must make viewers feel, "She's just as bored with this show as I am."

Weeks ago I wrote about the rumor that BET was canceling it's Nightly News program. In the comments section, Metalface blasted that decision, then came back later and wrote:

"With a little thought I realize that the show is pretty irrelevant."

Yeah, exactly. I only sometimes watch the show because I feel like I should, since I'm a Black man and all that. The Nightly News time slot competes with my local news program, so I have to decide do I want to be totally informed, or just get the chocolate only slice.

(This week I'll be doing a series of chin-checks about BET)

I don't understand all the Mad Linx hate. Since he took over Rap City from Big Tigger, all I'm hearing online and off is how corny Linx is, and how bad the show has gotten.

For us long time fans of the show, this should sound familiar. Big Tigger received the same reaction from fans when he took over the show from Joe Claire years ago. It took a while, but people warmed up to Tigger, and they will probably do the same for Mad Linx.

Holly M. Sanders shakes off a slow news day at the NY Post with an article about "Hip Hop Hustlers" and the products they pitch to fans. Despite her rehash of old ideas, she does raise one interesting point:

But as these artists branch out, it raises the question of how much they can cash in before they lose their "street cred."

I have personally been amazed how far artists have been able to pimp themselves yet still get love from their fanbase. This is mostly thanks to P. Diddy, who created an atmosphere in hip-hop where anyone who questions how an artist makes money is a "playa hater" and loses their own credibility.

Ain't it crazy that the best hip-hop criticism in the last few years has come through the NY Times? Yes, the NY Times. And it's mostly thanks to Kelefa Sanneh's sharp writing.

I wait on his new articles like I do albums. This Sunday didn't disappoint as he broke down Houston's exciting new music scene. Sanneh name checks all the big players (Geto Boys, UGK, Lil Flip, Devin the Dude) and the come-ups (Slim Thug, Mike Jones, Paul Wall). However, what's really cool is that he lays significant ink down explaining DJ Screw's pioneer role in Houston's new sound, and even links to Matt Sonzala's incredible blog about Houston hip-hop. Homebody is thorough.

My answer? It's because of the bangin beats.

However, I'm sure Bakari Kitwana has a more juicy answer, worthy of the book's 200+ pages.

I already knew Ife Oshun is a weak writer who's style and taste is still stuck in the neo-soul craze, but I never thought she would steal material from a blog.

I thought Ife's bosses (The New York Times) had stronger policies against plagarism after that whole Jayson Blair thing. I guess not.

...no one cares about this controversy with The Source except "those kids on the internet." And another group- industry insiders, who (as Danyel Smith admits) are biased in their opinion.

What do my non-net, un-industry friends think of The Source? It's still their magazine of choice. They still say things like, "Did you read that interview with Petey Pablo?", and you can safely assume it's The Source they are talking about. They also say things like, "Common's new album is 5 mics", even though the classic rating was given out by another magazine.

Ain't it crazy that the last two issues of the Source have been really good? Too bad they have nagging financial and ethical problems, plus have top staff fleeing to start other magazines (like Benzino and Jeremy Miller).

Now this:

Kim Osorio and Michelle Joyce, two of the highest-ranking former female executives of The Source magazine, the self-proclaimed “Bible of Hip Hop,” filed charges of discrimination with the Equal Employment Opportunity Commission accusing co-owners David Mays, the Chief Executive Officer, and Raymond “Benzino” Scott, the Chief Brand Executive, of committing gender discrimination, sexual harassment, and unlawful retaliation against women at the Company.

When it rains, it pours.

It's not just rappers who are beefin. T-Mobile has a commercial out that makes fun of Boost Mobile's aggresive hip-hop flavored campaign. Peep the "Poser Mobile" video.

I'm all for a good battle, but I hope that Catherine Zeta-Jones keeps it cool and doesn't take it to the streets.

Say it ain't so BET! Tell us it's a bad rumor that you're set to cancel your Nightly News program, replaceing it with Damon Dash's reality show!

For the last few years their news program used to make me feel better about watching Uncut afterwards. Now what will I do? I guess stay up until Inspiration comes on.

What's your first thought when you look at this ad for Rocawear? I'll be honest. Mine was, "White girls?? The Roc must really be on and poppin now!"

I may be off, but I think that's exactly the feeling they want you to get when you see this ad. Now, I'm all for interacial everything, but this ad gives me the feeling that they are using the image of White women as a status symbol. As if to say, "Forget them Black chicken heads. Once you have a natural blonde on your arm you know you've really made it!"

For better or worse, P. Diddy has a talent for popularizing trends that leave a lasting impression on hip-hop. The most impressive part of his legacy must be the invention of the "playa hater."

Ya'll remember those Mad Rapper skits, where a broke, disgruntled emcee would complain about the success of Bad Boy Records. That created a credibility shift in hip-hop where artists were less concerned with being sell outs, and more worried with being seen as a bitter and jealous playa hater.

This opened up room for rappers to explore media opportunities other than strictly hip-hop. Emcees freely appeared in R&B songs, commercials, and movies without fear that they were tossing away their credibility. If anyone doubted them, all they had to do was brag about the money they made, and tell the critics, "Stop hatin on me!"

Dan Charnas recalls the struggle that went on to create a rap radio station in New York. A snippet:

"I remember one meeting in particular, Bill Stephney called a few of us up to his offices at Soul Records. It was me, Jon Schecter from The Source, and a few others. I invited one of Chuck Chillout’s DJs along, a nice guy who wasn’t even on the air at the time because WBLS had suspended Chuck yet again for something or another. And we spent hours debating about how we could talk to Joel Salkowitz at Hot 97 (the big Freestyle, bridge-and-tunnel pop station) about a new format that would unite hip-hop and alternative rock for the urban and suburban masses. I left New York long before there was any movement in that direction; but I can tell you this: When Hot 97 finally did succumb to the inevitable, they hired that nice guy who was at our meeting as their first mix-show DJ. That DJ was Funkmaster Flex."

Read the whole thing. It's worth it.

I've been seeing Dame Dash everywhere lately, but I didn't know he's been specifically doing a promo tour for the incarcerated Beanie Sigel's new album. I saw Dame on a couple of BET shows, heard him do some radio interviews, and read flattering articles about him in the NY Post, and the NY Times.

In all of those appearances and articles, Beanie's album barely gets mentioned. After reading the Post, I was more excited about Dame revealing an upcoming Jamaican flag colored Pro-Ked sneaker, than any album release on his label.