"#NasIsLike: His Undeniable Influence On Hip-Hop..."

In many of the school yards, barbershops and recreational parks across America, a common topic of conversation is: “Who are some of the greatest emcees, ever?” Some people mention 2pac, others may say The Notorious B.I.G., but my personal favorite has always been Nasir Olu Bin Dara Jones, but more widely known as Nas. The aforementioned artist burst on the rap scene in 1991 on Main Source’s “Live At The Barbecue”. At only 17 years old, Nas recited the lyrics of a seasoned veteran with wisdom far beyond his years. Since then, he has experienced trials, tribulations and triumphs; but what one can never deny is Escobar’s influence on hip-hop, as well as its artists. 

“He had his own unique flow, which seemed to start the trend that we old-school emcees called the "off-beat conversational flow." Before Nas, every emcee focused on rhyming with a cadence that ultimately put the words that rhymed on beat with the snare drum. Nas created a style of rapping that was more conversational than ever before."  – Kool Moe Dee

Although his position in the “greatest of all-time” conversation fluctuates from time to time, Nas is considered as arguably the best lyricist to ever touch a microphone. His style has been categorized as introspective, enlightening and narrational. Also, many people fail to realize how extensive Nas’ catalog is; from penning classic albums such as IllMatic and StillMatic, he also had a hand in the soundtrack for the Netflix series The Get Down, as well as ghostwriting for Will Smith in the mid-90’s. His longevity, along with the quality of music that he has released over the years, can only be matched by only a handful of musicians; and that stands for all genres.

“Name a rapper that I ain't influence…” - Nas

Two of the greatest MCs in history had a highly publicized feud during the summer of 2001. The above quote is one of the more memorable bars from Nas’ “Ether”, the response track to Jay-Z’s “Takeover”. Even though that specific line was meant as a derogatory reference towards Shawn Carter and Roc-A-Fella Records, it also proved to be prophetic in many ways. Just as the legendary Rakim passed the torch to Nas, he eventually passed the torch to present-day lyricists J. Cole and Kendrick Lamar. Both rappers continuously name Nas as one of their biggest influences, as well as attributing their focus on vivid storytelling to the tales heard on songs such as “One Love” and “Rewind”.

It is important to note that Nas’ influence reaches far beyond the music industry. In 2014, Nas partnered with job placement startup Koru to fund a scholarship for 10 college graduates to go through Koru's training program. He also is the majority owner of the HSTRY clothing line, as well as being the national spokesperson for Hennessy. Although Nas has many endeavors outside of hip-hop, we must always remember that all he ever needed was one mic.

Everyday, A Star Is Born

“Grand opening, grand closing
God damn, your man Hov cracked the can open again
Who you gon’ find doper than him with no pen
Just draw off inspiration
Soon you gon’ see you can’t replace him
With cheap imitations for these generations…”

– Jay-Z, Encore

Even after Jay-Z’s first “official” retirement, these lyrics remained true.

For seven summers, he released multiple hits and classic material, giving his listeners the perfect balance of substance and entertainment in a way that no rapper after him has been able to replicate. During his 20-plus year career, there have been a handful of artists worthy of accepting the “torch”, but they were always missing something.

Eminem was present, but his output, as well as the quality of music he’s released recently, has declined as it has been able to line up with the times of evolvement. During the mid-to-late 2000’s, Lil’ Wayne also made a strong case for the best rapper alive; his delivery, punch lines and metaphors were second-to-none, but a large part of his music lacked the content needed to propel him past the other Mr. Carter. One can say that Drake has been the closest to Jay in terms of his consistency; even though he’s an amazing lyricist, many say that he’s shifted his sound more towards the pop genre and has focused less on music with the traditional hip-hop feel. Out of all the people who have touched the microphone since Reasonable Doubt; Hov has found the first suitable successor… and he goes by the name of Kendrick Lamar.

At the 60th Annual Grammy Awards, Jay-Z had a total of eight nominations, which led all artists. Unfortunately, he lost all categories that he was up for; four of which were awarded to Kendrick Lamar. This year’s Grammys was supposed to be Mr. Carter’s “swan song”, but I viewed it as an unofficial changing of the guard. That evening, Kendrick took home awards for “Best Rap Album”, “Best Rap Song”, “Best Rap Performance” and “Best Rap/Song Collaboration”, with Rihanna. All three of his studio releases have received high praise from fans and critics alike, as well as staying true to his craft. However, what sets him apart from his contemporaries (J. Cole, Drake), is his ability to merge lyricism with popular music, on top of receiving acclaim from those award academies that have eluded our culture for so long.

Since the release of Section.80 in 2011, Kendrick has had a DAMN. near flawless discography. With each of his projects, he has pushed the envelope, but are we honestly ready to call him the new king? Jay-Z has flirted with retirement since his return to releasing solo music in 2006; and some feel that his decision to keep making records was by choice, not by chance.

On The Blueprint 3’s “A Star Is Born”, Hov, like a sovereignty with the arduous decision between a progeny of worthy successors, asserted lines such as “Wayne scorching, I’ll applaud him; If he keep going, pass the torch to him…” and “Drake’s up next, see what he do with it”. The song also featured an up-and-coming young rapper from Fayetteville, North Carolina with the mark of merit; J. Cole has amassed a cult-like following and is also considered arguably the best lyricist in the game, today. He, along with Kendrick have solidified their positions at the top of the game in recent years, but the disparity in their latest albums caused a slight shift in the “…who’s better?” conversation, for many.

Hip-hop has really evolved as a culture. Although it has many facets, it’s heartbeat is the music. The sounds of hip-hop that we enjoyed in our formative years molded a lot of us into the people that we are today, and for almost 20 years, Shawn Carter reigned as it’s Caesar. Next winter, he will be a 50-year-old, father of three, so this would be as good a time as any to make the transition into a new era in rap.

In my opinion, the integrity of hip-hop was never seriously in question; because with every mumble-rapper with low quality records, there were also lyricists and artists who protected the purity of the music with their lives. This amazing genre will continue to grow with each passing year, and with Kendrick Lamar, I feel that it is in good hands.

Until next time,

– Okla

1998.

The year was 1998.

It was a time full of uncertainty; the world around us was shifting towards the digital age. With the turn of the century steadily approaching, little did we know that the way we consumed music was about to change, forever. In the years prior, we lost two of hip-hop’s brightest stars due to senseless, gun violence. The deaths of Tupac Shakur and Christopher Wallace left a gaping hole in our hearts, along with a huge void to fill in this still growing genre. 1998 proved to be one of the greatest years ever in hip-hop; as well as the beginning of its acceptance towards new regions and sounds.

Since it’s inception in the 1970’s, rap music was dominated by two regions – the East and the West. Groups such as The Geto Boys (Da Good, Da Bad & Da Ugly), UGK and 8Ball & MJG were prevalent, but there was an apparent lack of respect for most emcees below the Mason-Dixon Line until about the mid 90’s. OutKast’s win at the Source Awards in 1995 opened America’s eyes to the possibility of the existence of lyricism outside of New York or California; but it was in 1998 that we witnessed the explosion of the 3rd coast.

Master P, a resident of New Orleans, burst onto the national scene in 1997 with his sixth studio album, Ghetto D. The project topped the Billboard music charts, and his No Limit Records label flooded the market with a bevy of talent in ’98. Silkk The Shocker (Charge It 2 Da Game), Fiend (There’s One In Every Family), Mystikal (Ghetto Fabulous), Mia X and Snoop Dogg (just to name a few) all released albums during the calendar year. Cash Money Records’ Juvenile and The Big Tymers, also garnered widespread attention for their projects. In the fall, the aforementioned group, OutKast, presented to the world with what many people feel is one of the greatest albums ever to come out the south; Aquemini.  This record received widespread acclaim from critics, due to its experimental musicality and unique lyrical content. Aquemini was a testament to Andre’s words during that fateful night in ’95: “The South got something to say…”

The West coast was represented correctly in the midst of all this new and innovative music. Seasoned veterans such as Ice Cube, Nate Dogg, Mack 10, WC and Cypress Hill made their presence felt, while new comers like Xzibit, Kurupt (Kuruption!) and Daz Dillinger aimed to make albums that would solidify their place in California hip-hop history. The biggest story from the left coast in 1998, however, took place in New Orleans, Louisiana. After a tumultuous year with Death Row Records, the iconic Snoop Dogg was finally released from his contract and signed with No Limit Records. He dropped Da Game Is To Be Sold, Not To Be Told in the summer; which topped the Billboard 200, selling 520K in it’s first week.

The murder of The Notorious B.I.G. still remains a mystery, but in 1997 his death not only left the Big Apple questioning the future; sadly, the title for the “King of New York” was also left vacant. At the time, Jay-Z was making a strong case for that position; with Reasonable Doubt, In My Lifetime: Vol. 1, and 1998’s Vol. 2… Hard Knock Life. However, during an era that was controlled by catchy hooks and shiny suits, one man came and shook the game to its core… that man, was DMX. X (birth name Earl Simmons), released two number one albums in a seven-month span. He also starred in the cult classic, Belly, with the legendary Nas. Big Pun (Capital Punishment), The LOX (Money, Power & Respect), Cam’Ron (Confessions Of Fire) and N.O.R.E., also rose to prominence with their respective releases; each easing some of the pain caused by Biggie’s untimely death.

Even though 1998 was kind to many, it only belonged to one person. On the 25th of August, Lauryn Hill dropped her debut solo effort, The Miseducation of Lauryn Hill. This album broke both barriers and records; her first-week sales were the highest by any woman at the time, and her 10 Grammy nominations (5 awards) made her the first female to receive that many nods and wins. Her singles, “Doo Wop (That Thing)”, “Ex-Factor” and “Everything Is Everything”, were all huge hits, and only added to the popularity of the album, as well as the artist.

From the viewpoint of any millennial that lives in today’s fast-paced world, the 90’s seems like a time long ago. So much has changed since then, and the music industry has become a true reflection of that. Some of the popular artists of that time have faded into obscurity, and some aren’t with us at all. Regardless of how much time passes, nothing can take away from the memories that 1998 provided not just to hip-hop, but the world. Maybe one day, 20 years from now; some young journalist will construct a nostalgic post about 2018 and write about how much joy this year brought him/her…

…Or maybe not.

– Okla

"When the Allure of the Game, Keeps Calling Your Name..."

In the world of sports, an athlete retires when they lose the passion for the game, or when they become physically unable to perform. Year after year, the pain and stress of the season will eventually take a toll on the mind, body and spirit. While the decision for an athlete retiring is almost concrete (i.e. Michael Jordan, Brett Favre), the line gets blurred when it comes to artistry; music to be specific. In reiterating a previous statement, athletes leave their respective sport “when they become physically unable to perform”; which makes sense, but these same rules do not apply when it comes to music. Barring a vocal disability, a musician’s career can extend for as long as they desire; which brings us to the question: “How long is too long?”

Two of the most popular artists of the millennium are that of Eminem and Lil’ Wayne. Both of their careers have spanned over 20 years, and their impact has not been restricted to America; their influence is on a global scale. Not only have they been able to set the bar when it comes to record sales, but their level of talent and consistency of their releases throughout the years have pushed the envelope for the culture of hip-hop. In recent years many people believe that they have regressed in terms of their output, quality and overall drive. Although these things may be true, they can also be subjective.

Marshall Mathers (p.k.a. Eminem) burst onto the national music scene in 1999 with the release of The Slim Shady LP. The album was met with both critical and commercial success, debuting in the top 10 on the Billboard charts. What separated Eminem from the rest of the pack wasn’t totally dependent on his skin complexion, but lyrically, he was just better than everyone else. Since then, he has become the highest selling artist of the 2000’s in America, with ten #1 albums and five #1 singles. His most recent album, Revival, has been panned by critics and fans alike. The consensus has been that Eminem, being the introvert that he is, has become out of touch with the current climate in music. The public has always linked him to his contemporary, Jay-Z, who has maintained his relevancy due to his uncanny ability to reinvent himself and adapt to the times. Em’s talent level is still there, but his music has failed to translate in the modern-day music scene that has become dominated by streaming.

A native of New Orleans, Louisiana, Dwayne Carter’s trajectory was perhaps the most atypical we’ve ever seen. Initially a member of the southern supergroup The Hot Boys, Lil’ Wayne was a rising star on a label full of superstars. As time progressed, business matters caused the core of the Cash Money Records label to disband, leaving Carter as it’s lone breadwinner. The demise of the CMR imprint seemed imminent, but while pressure makes some people fold, it turned Lil’ Wayne into a diamond. In 2004, with the release of Tha Carter, Weezy released a dizzying flurry of albums, mixtapes and features in the subsequent years. The culmination of all his hard work and sleepless nights was that of his seventh studio album, Tha Carter III, which became the highest selling album of the year, in any genre. His chokehold on the music industry lasted for about three more summers, with projects like Rebirth, I Am Not A Human Being and The Carter IV all topping the Billboard charts. Since 2011, legal troubles and disputes with label head, Bryan “Baby” Williams have affected Lil’ Wayne’s music. His fans attribute him taking a step back semantically to an apparent lack of focus, not a lack of talent.

Both of the aforementioned rappers have been a staple in hip-hop culture for quite some time, and they’ve reached heights that some of us can only imagine. With their careers on a steady decline, when would be the opportune moment to call it quits, if ever? With such polarizing music being released recently, we can still see those flashes of brilliance every now and again. It is obvious to many that these two artists still have a lot more to give before they officially “hang it up”, they just may need to re-adjust their focus and dedicate the time needed to mesh with the current state of music. Regardless of how far many feel they have fallen, they will always possess the ability that made them legends in the first place.

Honestly, it may be time for Eminem and Lil’ Wayne to move on from music, but who is really to say when the time is right? What many people fail to realize is that music isn’t necessarily for the audience, it can sometimes be for the artist; and an artist can make music for as long as they deem fit.

So, to Eminem, Lil’ Wayne, and any other musician that may have lost that fire, that passion for the art that has made them great at what they do; never stop searching for it… because when you find it, your true fans will always be waiting.

– Okla

"Are Music Genres Disappearing?"

Since its inception during the early 1970’s, hip-hop has grown into the most popular form of music in the world. Its influence reaches every walk of life, regardless of race, gender, or ethnicity. Traditionally, the musicians involved with the genre of hip-hop maintained a certain style, or sound that was unique, and completely different from any other art form. The practice of reciting spoken word over an instrumental (whether it be electronic, acoustic or otherwise), is how many would describe conventional hip-hop. However, as a result of the genre’s progression, its sound has evolved as well.

In recent years, the line between traditional hip-hop and other forms of music has been blurred to a certain extent. Artists such as Bryson Tiller, Raury, 6lack and Post Malone can be considered members of hip-hop, but they tend to incorporate a heavy dose of R&B and Alternative Rock into the music that they record. The aforementioned artists’ popularity with the general public continues to increase, thus creating a shift in the sound of hip-hop that we are accustomed to, and it eventually led us to the question:

“Are music genres disappearing?”

Initially, hip-hop music was predominantly practiced and accepted by minorities, specifically people of African-American or Hispanic ethnicity. But throughout the years, the diversity of both the genre’s musicians as well as its fan base has expanded. The culture was once exclusive to the people who embodied the struggle of growing up in impoverished, urban areas of America have now included an audience that varies in age and social class. For the young, Caucasian male musician who may have been exposed to the alternative rock bands of the 1980’s by their parents but has a passion for hip-hop; it is only natural that the music they produce could possibly be a mesh between the two.

Hip-Hop is an ever changing culture that has always moved the meter when it came to societal and musical norms. It is common belief that B.o.B., Kid Cudi and Andre 300 (just to name a few) have heavily influenced the new generation. Creatively, they have pushed the boundaries of what traditional hip-hop is supposed to sound like, and challenged the normal process of how artists record music. On the other hand, rappers like Kendrick Lamar and J. Cole continue to stay true to the pure essence of the art form by placing emphasis on lyricism.

The up-and-coming artists of the future are expressing themselves in innovative ways that will force us to alter the way that we view and listen to music, and instead of thinking that music genres are disappearing; let’s focus on the fact that new genres are being created. As long as it maintains its quality and consistency, the future of hip-hop is promising, regardless of the change.

Regards,

    - Okla