O.G. Original Gangster
Pebbles
Ice-T
Lyrics & Rhyme Analysis
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Rhyme Groups — hover to spotlight
"Black is beautiful
Brown is sick? slick? stiff?
Yellow's OK
But white ain't shit."
Rjam Productions,✦ modestly headquartered✦ in a mixed✦ black/Hispanic✦ Field, Corner✦ section✦ of North Dorchester,✦ is as follows:✦
* One (1) four-car✦ garage✦ fitted✦ with dubbing✦ and remastering✦ gear worth more than most of the rest of the real estate✦ on the block;
* One (1) touch-tone✦ telephone✦ (leased);✦
* Two (2) Chevy✦ Blazers, vanity-plated✦ RJAM1 and RJAM2, each equipped with cellular✦ phones✦ and slick tape decks (also✦ leased);✦
* One (1) VCR with Kathleen✦ Turner's Body✦ Heat cued up on the morning✦ in question;✦
* Most importantly,✦ eight (8) promising acts under✦ binding contract✦
If, as has happened✦ to many✦ local✦ labels,✦ Rjam were liquidated✦ to satisfy creditors, these would be the pieces.✦ But there are stores✦ of value in the converted✦ garage✦ beyond the reach of the auctioneer's✦ gavel.✦ Schoolly✦ D, the original✦ Signifying✦ Rapper,✦ looms irresistibly✦ from the pages✦ of rap "fanzines"✦ Hip-Hop✦ and The Source; and Rjam's prime, unauctionable✦ asset✦ is the consuming✦ ambition✦ of the artists in its stable to be the next Schoolly✦ D. Or the next Ice T, or Kool Moe Dee, or L. L. Cool J., or whoever's✦ the special✦ hero✦ of the kid cutting✦ the demo.✦ On this particular✦ morning,✦ the dream is to be the next MC Lyte--a✦ hard-rapping✦ woman✦ known for jams like "MC Lyte vs. Vanna✦ Whyte" and "10% Dis"--since today✦ is Tam-Tam's✦ day and Tam-Tam✦ is, at 16, a tough girl in the MC Lyte mold who, like MC Lyte, can dance, look good, and tell men to beat it, all at once.
Or so claims Tam-Tam's✦ producer,✦ promoter, and dutch uncle, Gary✦ Smith, who opened✦ RJam on Martin✦ Luther✦ King's birthday,✦ '89, with his older✦ brother✦ Nate. Nate, the elder✦ statesman, is 25. Gary,✦ 22, runs the company✦ while Nate travels with his boyhood-friend-turned-boss, quadruple-platinum,✦ Prince-derived✦ rapper/singer, Bobby✦ Brown. RJam was founded in part with an investment from the 23-year-old multi-millionaire✦ Brown, a native✦ of Roxbury.✦ Brown now lives✦ in Los Angeles.
Nate and Gary✦ Smith turn a healthy profit✦ making✦ demos✦ at $500/tape, but the brothers✦ aren't✦ in the health business.✦ Their aim: to follow✦ in the corporate✦ footsteps of Def Jam, a once similarly✦ tiny✦ production✦ company✦ run from a basement✦ in Hollis,✦ Queens, which since its basement✦ days, has given✦ America✦ Public✦ Enemy,✦ L. L. Cool J., the Beastie Boys, and much of the rest of that culture-quake✦ called✦ rap. Gary✦ Smith doesn't compare✦ RJam to Def Jam, and, unlike✦ Def Jam's Russell✦ Simmons,✦ Gary✦ produces✦ pop, soul, and R&B as well as straight rap, and actually✦ prefers R&B. But how many✦ sophomores at nearby✦ Jeremiah Burke can afford✦ to dream in R&B, to front music✦ lessons and $500 for an nth-hand sound set-up,✦ find three friends to learn drums, bass and keyboards, and then raise another✦ $500 to make a demo✦ at RJam? Anybody✦ with a larynx can rap, however,✦ and Rjam's brisk business✦ in rap demos✦ pays the taxman,✦ Boston✦ Edison✦ and the Chevrolet Motor✦ Credit✦ Corp.
Twenty✦ minutes farther south on the Fitzgerald Expressway,✦ across✦ the Neponset River✦ and into✦ the pricey✦ suburbs, is the scene of John Cheever's✦ boyhood,✦ more recently✦ celebrated✦ as Massachusetts Miracle✦ country,✦ where technology✦ ventures✦ are started✦ at the rate of five per week, four of which will fail within✦ 12 months. RJam's Gary✦ Smith is secret✦ brother✦ to the men of the suburban Chambers of Commerce, sharing their worries✦ about✦ cash flow, overhead,✦ and the enforceability✦ of his contracts; but Gary's✦ world and theirs are as far apart✦ as those of Ward and Eldridge✦ Cleaver. Worriers✦ in suburbia✦ fear that ballooning property✦ values✦ will hike taxes✦ on computer✦ executives'✦ seaside✦ homes.✦ In Gary's✦ neighborhood,✦ property✦ values✦ are actually✦ falling.
Waiting✦ less than patiently✦ for Tam-Tam,✦ Gary✦ honks twice. A tall, grave girl with an angel's✦ heart-shaped✦ face crosses✦ the ghetto✦ street and climbs into✦ the back seat of RJAM1. She has, apparently,✦ at least two voices,✦ the cynical,✦ sexy✦ rant heard on tape this morning✦ telling✦ Pebbles men ain't worth it, and the whisper in which she now says hello.✦
As RJAM1 re-crosses✦ North Dorchester,✦ heading✦ back to the soundproof studios✦ to get the day's work started,✦ Gary✦ and DJ Reese hash out production✦ details. Tam-Tam's✦ a dignified✦ island✦ in the back seat, and a shiver✦ accompanies✦ the thought that this could be the Motor✦ City✦ in '63 with Berry✦ Gordy✦ and an eighty-pound✦ teenage✦ Diana✦ Ross, just voted✦ Best Dressed✦ at Cass Technical✦ High School, driving crosstown to record✦ a little number✦ called✦ "Where Did Our Love Go."
Ask Tam-Tam✦ about✦ Diana✦ Ross, and she gives✦ a beatific✦ smile. She's 16; she can remember✦ only✦ with difficulty the first rap she ever✦ listened✦ to, when rap was new and she was 8; Run-DMC or somebody,✦ she mumbles in response✦ to what suddenly seems a foolish✦ question✦ about✦ her influences.✦ Like most of rap's black audience✦ (as distinct✦ from rap's white audience,✦ which is usually✦ a decade✦ older),✦ Tam-Tam✦ has no first-hand recollection✦ of James✦ Brown except✦ as a source for rap. She is too young to have attended segregated✦ schools. She was in diapers during✦ the violent✦ first few months of desegregation✦ in Boston✦ and can't remember✦ the awful✦ day in '74 when "pro-neighborhood"✦ marchers from Irish✦ South Boston✦ came upon✦ a black pedestrian✦ at City✦ Hall and beat him with pole-mounted✦ American✦ flags.
Tam-Tam✦ has star presence,✦ and like many✦ who do, she seems to see very✦ little of what goes on around✦ her, the price of the star's intense focus✦ on self. She reminds you of Senator✦ Gary✦ Hart. He, too, had star presence.✦ In front of a crowd, Hart was riveting; in the elevator✦ riding✦ up to the auditorium,✦ he was barely✦ there. Being barely✦ there in the neighborhood✦ Tam-Tam✦ calls home is probably✦ not such a bad thing, and perhaps✦ her drive to be star someday✦ is an elaborate✦ way to wall out the now and here. Ambition✦ is, finally,✦ a form of hope, a scarce commodity✦ in North Dorchester.✦
Back in Rjam's control✦ booth, Dj Reese and producer✦ Ralph Stacey✦ are programming the rhythm track for what will be "Ho, You're Guilty."✦ Drum parts are taken✦ from a Roland✦ TR-909 Rhythm Composer, a synth which electronically✦ reproduces✦ programmed✦ beats on the user's✦ choice of drum-matrix. The TR-909's keys, on a console designed✦ to resemble, vaguely,✦ the familiar✦ piano,✦ are named✦ after✦ the sound each creates-bass, snare, mid-tom,✦ hi-tom--and the sounds are named✦ after✦ the actual✦ drums which, until✦ the TR-909, were required✦ to make those sounds. The TR-909 even✦ sports a key named✦ HAND CLAP, making✦ it possible✦ for the first time ever✦ to clap hands with a single finger,✦ rendering✦ obsolete✦ the Zen koan about✦ the sound of one hand clapping.✦ The finished✦ "Ho, You're Guilty"✦ will sound lush with percussion,✦ melody,✦ and instrumental✦ breaks. Not one human✦ musician✦ will be employed✦ in the recording✦ process.✦
Each percussion✦ line is programmed✦ onto✦ the mixing✦ board as a separate✦ track: a snare track, a bass track, a clap track, etc. Reese has been studying✦ the classics lately,✦ too, viz: James✦ Brown's Dead on the Heavy✦ Funk from '75ish, including✦ the ageless✦ groove, "Funky✦ President,"✦ in which James✦ announces his third-party candidacy.✦ Some of Bobby✦ Byrd's Dead guitar,✦ and a holy✦ moment✦ when James✦ exhales rhythmically,✦ have been isolated✦ from a store-bought✦ cassette✦ of Dead, re-recorded✦ on clean tape, then re-re-recorded✦ onto✦ a computer-readable✦ memory✦ diskette✦ from which the sample is retrieved and altered✦ by Ralph Stacey✦ using✦ a Roland✦ D-50 linear✦ synth. The guitar✦ and the exhalation✦ then go, as altered,✦ from the synth to yet another✦ of the 24 tracks on the big mixing✦ board. Reese, the DJ, will weave a seamless rhythm track out of these 24 strands.
As Reese and Ralph Stacey✦ mix the 24 tracks onto✦ one master✦ tape, Tam-Tam✦ sips lemonade in the corner✦ of the booth. You ask her if she is interested someday✦ in learning✦ about✦ the obscure✦ digital✦ technology✦ the two men manipulate✦ on her behalf.✦ She doesn't seem to register✦ the question.✦ "The other✦ career✦ besides✦ rap I'd like to pursue is modelling,"✦ she says. "I'm five-seven.✦ That's the perfect height for a model."✦
Mixing✦ takes✦ the rest of the day. Producer✦ Ralph Stacey✦ at one late point corners you with a flinty✦ stare and an uncomfortable✦ question:✦ "Why do you want to write about✦ rap, anyway?"✦ It is lucky✦ that at that minute✦ Reese is done mixing.✦ Tomorrow the RJam staff will tape Tam-Tam's✦ vocal✦ track and lay this over✦ Reese's✦ rhythm track. Then the sound will be "fattened"✦ with stacks of horns, guitar✦ hooks, bells, canned✦ applause,✦ and whatever✦ else they decide✦ to take from other✦ tapes✦ or work up on the Rolands. The final✦ demo✦ tape of "Ho, You're Guilty"✦ will then be shopped to the 20 major,✦ minor,✦ and tiny✦ labels✦ who might release the demo✦ as a 12-inch single.
Everyone's ready✦ to call it a day. Gary✦ Smith's already✦ huddled with some new wanna-be stars in RJam's reception✦ area.✦ Reese plays the mixed✦ rhythm track once through over✦ the big speakers✦ in the control✦ booth, and Tam-Tam✦ immediately✦ stands, modelling✦ forgotten,✦ utterly alert.✦ Reese gestures✦ to her with maestro hands. She raps at an absent✦ Antoinette✦ in the hard, sexy✦ voice you haven't✦ heard since this morning,✦ extemporaneous✦ but on beat:
"I'm a female✦
You're just a fairytale."✦
The small-w we here are two white Boston✦ males:✦ one native,✦ one oft-transplanted; both residing✦ in Somerbridge,✦ a dim, ethnic-Portuguese✦ neighborhood✦ whose gentrification✦ we abet.✦ M. is an attorney✦ with a taste for jazz, Blues, funk; D. a grad student and would-be drifter who watches✦ TV instead✦ of sleeping. Our cultural✦ tastes✦ and interests✦ are day and night. They converged only✦ lately,✦ when D's stereo✦ arrived✦ UPS and we discovered✦ we shared✦ an uncomfortable,✦ somewhat furtive,✦ and distinctively✦ white enthusiasm for a certain✦ music✦ called✦ rap/hip-hop.* About✦ our passions✦ and discomforts we could determine✦ only✦ that they were vague & distinct✦ contexts✦ and cathexes brought to bear across✦ the same ethnic✦ distance✦ on the same thing. For instance,✦ we agreed✦ that real or serious✦ rap is not JJ FAD or Tone Loc or Beasties,✦ Egyptian✦ Lover✦ or Fat Boys, not experiments or freakshows✦ or current✦ commercial✦ crossover✦ slush. "Serious"✦ rap--a✦ unique✦ U.S. inner-city✦ fusion✦ of funk, technified✦ reggae, teen-to-teen✦ "hardcore"✦ rock, and the early✦ 70s "poetry✦ of the black experience"✦ of Nikki✦ Giavonni, the Last Poets, etc.--has,✦ since its late-70s✦ delivery✦ at the record-scratching✦ hands of Afrika✦ Bambaataa✦ and his Zulu✦ Nation,✦ Sugarhill✦ Gang, Kool Herc and his automated✦ Herculords, and Grandmaster✦ Flash, always✦ had its real roots in the Neighborhood,✦ the black gang-banger✦ Underground.✦ Black music,✦ of and for blacks.
We concurred as to the wheres✦ and whens of rap's begetting--mid-to-late✦ 70s' South Bronx house parties;✦ then, by decade's✦ end, block parties,✦ with municipal electric✦ lights tapped✦ for a power✦ source, literal✦ dancing✦ in the streets; by '82, regular✦ rap-houses✦ and then "floating✦ clubs"--the Roxy✦ every✦ Sunday,✦ The Bronx's Disco✦ Fever✦ TWTh--everybody✦ Breaking to a new musical✦ antimusic✦ being fashioned✦ from records✦ and turntables✦ and an amateur✦ DJs ad-lib banter;✦ a very✦ heavy✦ reggae influence✦ at the beginning;✦ the more rhythmic✦ pure rap an offshoot,✦ its brisker, sparer,✦ backbeat✦ designed✦ for Breakdance,✦ and the smooth-rapping✦ partygoer who just didn't want to shut up when others'✦ music✦ was on. We agreed,✦ too, on rough chronology:✦ amateur✦ house-partiers✦ giving✦ way to professional✦ DJs, pioneers;✦ they, too, then overshadowed✦ by new art-entrepreneurs, former✦ Breakers,✦ failed✦ singers,✦ gag-majorettes; then the rise of "Indies,"✦ the tiny✦ independent labels✦ that keep most new music✦ on life-support--Sugar Hill, Jive, Tommy✦ Boy, Wild Pitch, Profile✦ Records,✦ Enjoy--then, after✦ King Tim III's "Personality✦ Jock" and Sugarhill✦ Gang's "Rapper's✦ Delight,"✦ an entree into✦ urban✦ black radio;✦ then to underground✦ "Mix" radio;✦ then corporate✦ levels,✦ digital✦ technology,✦ very✦ big money,✦ the early-80s✦ talent✦ that became✦ an early✦ Scene's✦ cream--Spoonie✦ G. and Sequence,✦ Eric✦ Fresh, Unknown DJ, Egyptian✦ Lover✦ and Run-DMC. Then, Spring '84, the extraordinary✦ Midas✦ touch of Rick Rubin✦ and Russell✦ Simmons'✦ Def Jam label✦ (now under✦ contract✦ to CBS) from which sprang a mid-80s stable of true stars, in the Underground--Public Enemy,✦ L. L. Cool J, Slick Rick, the still-unparalleled Eric✦ B. and Rakim--and L.A.'s alternatives:✦ Kool Moe Dee, L.A. Dream Team, and others.✦ And now, at decade's✦ end, an absolute explosion✦ of rap-as-pop, big business,✦ MTV, special✦ fashions,✦ posters, merchandise,✦ with only✦ a few big, new, cutting-edge acts--L.A.'s N.W.A., Philadelphia's✦ Schoolly✦ D, Miami's✦ 2 Live Crew, De La Soul's House-blend of rap/funk/jazz--remaining✦ too esoteric or threatening✦ or downright✦ obscene✦ to cross all the way over✦ and cash in with big labels.✦ By '89 rap is finally✦ proving as "important"✦ (read also✦ lucrative)✦ to an anemic✦ shock-and rebellion-music✦ industry✦ as Punk was an exact✦ decade✦ ago.✦ This was all just data.✦ We agreed✦ on it, and on how it was curious✦ that we both had such strange, distant✦ facts down cold.
Our point of departure,✦ essay-wise,✦ was always✦ less what we know than what we felt, listening:✦ less what we liked✦ than why. For this attempt at an outside✦ sampler we plunked down and listened✦ to thousands of hours of rap, trying to summon✦ a kind of objective,✦ critical,✦ purely✦ "aesthetic"✦ passion✦ that the music✦ itself✦ made impossible.✦ For outsiders,✦ rap's easy✦ to move to, hard to dissect.✦ The more we listened✦ and thought and drank beers and argued,✦ the more we felt that the stuff's appeal✦ for two highbrow,✦ upscale✦ whites✦ was just plain incongruous.✦ Because✦ serious✦ rap has, right from the start, presented✦ itself✦ as a closed✦ show. Usually✦ critical✦ questions✦ of culture,✦ context,✦ background✦ and audience✦ reduce✦ quickly to vexed✦ questions✦ about✦ prepositions.✦ Not here. No question✦ that serious✦ rap is, and is very✦ self-consciously,✦ music✦ by urban✦ blacks about✦ same to and for same. To mainstream✦ whites✦ it's a tight cohesion✦ that can't but look, from outside✦ the cultural✦ window,✦ like occlusion,✦ clannishness✦ (sic) and inbreeding, a kind of reverse snobbery✦ about✦ what's "def" and "fresh" and in-the-Scene✦ that eerily✦ recalls the exclusionary✦ codes✦ of college✦ Societies✦ and WASP-only country✦ clubs. Serious✦ rap is a musical✦ movement✦ that seems to revile✦ whites✦ as a group or Establishment,✦ and simply✦ to ignore✦ their possibility✦ as distinct✦ individuals--the Great White Male is rap's Grand Inquisitor, its idiot✦ questioner--its Alien✦ Other✦ no less than Reds were for McCarthy. The music's✦ paranoia,✦ together✦ with its hermetic✦ racial✦ context,✦ helps explain✦ why from the outside✦ it appears✦ to us just as vibrant and impassioned✦ as it does alien✦ and scary.✦
Other✦ incongruities.✦ Rap is a "music"✦ essentially✦ without✦ melody,✦ built instead✦ around✦ a digitally✦ synthesized✦ drum- and back-beat✦ often✦ about✦ as complex✦ as five idle fingers✦ on a waiting-room table, enhanced✦ by "sampled" (pirated)✦ "krush grooves" (licks or repetitive✦ chord-series)✦ conceived✦ and recorded✦ by pre-rap✦ rock icons, the whole affair✦ characterized✦ by a distinctive,✦ spare, noisy,✦ clattering✦ "style" whose obsessive✦ if limited thematics revolve with the speed of low-I✦ amperage✦ around✦ the performative✦ circuit of the MC/rapper and his record-scratching,✦ sound-mixing Sancho✦ Panza,✦ the DJ.
The rapper✦ (the guy in the cameo✦ cut or Kangol✦ hat, pricey✦ warm-up,✦ unlaced✦ Adidas,✦ extra✦ thick gold chain or oversized✦ medallion)✦ offers✦ lyrics✦ that are spoken✦ or bellowed✦ in straight, stressed,✦ rhymed✦ verse, the verse's✦ syntax✦ and meter✦ often✦ tortured✦ for rhythmic✦ gain or the kind of limboing-for-rhyme we tend to associate✦ with doggerel about✦ men from Nantucket. The lyrics,✦ nearly✦ always✦ self-referential,✦ tend to be variations✦ on about✦ half a dozen✦ basic✦ themes,✦ themes✦ that at first listen✦ can seem less alien✦ or shocking than downright✦ dull. Eg: just how bad/cool/fresh/def the rapper✦ and his lyrics✦ are; just how equally✦ un-all-these✦ his music✦ rivals✦ are; how troublesome,✦ vacuous✦ and acquisitive✦ women✦ are; how wonderful it is to be "paid in full" for rapping✦ instead✦ of stealing✦ or dealing;✦ how gangs are really✦ families,✦ 'caine's✦ constant bad news. And, in particular,✦ how sex and violence✦ and yuppie toys represent✦ perfectly✦ the urban✦ black lifedrive✦ to late-80s✦ American✦ glory.✦
The masks are many,✦ too many✦ for anything✦ really✦ but direct✦ aural✦ inspection:✦ rap personae✦ can change frequently✦ even✦ within✦ single albums,✦ the rapper✦ delivering✦ Hard, violent✦ Black Nationalist✦ communique✦ on one cut, dubbing✦ against✦ Trinidadian✦ steel drums on another,✦ basking in big label✦ eclat✦ on a third, cracking✦ a head and then defly✦ outwitting✦ someone✦ muscled and dumb, cooing to his "bitch" and then on the flip side, threatening✦ to go get his gun again✦ if she can't learn who's boss. Though any✦ crew naturally✦ wants its own distinctive✦ game and face, the quintessential✦ rap group is unquintessential,✦ chameleonesque.✦ This is either✦ by weird design,✦ or it's a symptom and symbol✦ of 80s facelessness…or most likely,✦ it's just a good old venerable✦ synecdoche of rap's genre itself,✦ one that's now moving✦ so fast it can't quite fix on its own identity✦ -- much less hold still for anything✦ like cool, critical✦ classification✦ or assessment, from outside.✦
The MC's Alice✦ Toklas-esque✦ DJ hovers✦ ever✦ nearby✦ over✦ his buffet✦ of connected✦ turntables✦ and the black Germanness of a whole lot of digital✦ editing✦ & playback equipment. His responsibility✦ is the song behind✦ and around✦ the rap -- the backbeat,✦ krush groove, and the "sound carpet,"✦ i.e. a kind of electric✦ aural✦ environment,✦ a chaos behind✦ the rapper's✦ rhymed✦ order,✦ a digitalized✦ blend of snippets, squeaks, screams, sirens,✦ snatches✦ from pop media,✦ all mixed✦ and splattered✦ so that the listener✦ cannot✦ really✦ listen✦ but only✦ feel the resultant mash of "samples"✦ that results. The most recognizable✦ of these samples✦ range from staccato record-scratches✦ to James✦ Brown and Funkadelic✦ licks, to M.L.K.'s public✦ Dream, to quotidian✦ pop pap like "The Theme from Shaft," Brady✦ Bunch dialogue,✦ and '50s detergent commercials.
We have now read every✦ review✦ and essay✦ to do with serious✦ underground✦ hip-hop✦ available✦ in every✦ single on-line✦ periodical✦ ... xcept for one or two underground✦ newsletters✦ (viz. The City✦ Sun, Fresh-Est) circulated✦ in parts of the Bronx demimonde where learning✦ about✦ rap is as hard for white outsiders✦ as scoring fine China✦ White or AKs. From the kind of sedulous✦ bibliomaniacal research to be expected✦ of conscientious✦ lawyers and PhDs, the following✦ has become✦ clear. Outside✦ England, where the Punk-weaned audience✦ has developed✦ a taste for spectacle-through-windows, for vicarious✦ Rage and Protest✦ against✦ circumstances✦ that have exactly 0% to do with them, most of what Rolling Stone calls "devoted rock consumers"✦ (meaning✦ we post-baby-boomers), plus almost✦ all established✦ rock critics,✦ tend to regard✦ non-crossover✦ rap as essentially✦ boring✦ and simplistic,✦ or swaggering✦ and bellicose and dangerous--at all events, basically✦ vapid✦ and empty✦ because✦ of its obsessive✦ self-referentiality…in short, as closed✦ to them, to us, as a music.✦ Unrecognizable✦ as what we've been trained✦ and adverted✦ to buy as pop.... Great to dance to, of course, but then what might the white audience✦ for today's✦ mainstream✦ expect?✦ Rap, whether✦ fecund✦ or sterile,✦ is today's✦ pop music's✦ lone cutting✦ edge, the new, the unfamiliar,✦ the brain-resisted-while-body-boogies.✦ And that resisted, alien,✦ exhilarating✦ cutting✦ edge has always✦ been black.
"What have you left me? what have I got?
Last night in cold blood my young brother✦ got shot
My homey✦ got jacked✦
My mother's✦ on crack
My sister✦ can't work cause her arms show tracks
Madness, insanity✦
Live in profanity✦
Then some punk claim that they understandin' me?
Give me a break--what world do you live in?
Death is my sex--guess my religion."**✦
What makes✦ this stuff so much more disturbing, more real to outsiders✦ than the Punk Rock even✦ those of us who remember✦ it could never✦ quite take seriously?✦ Maybe even✦ a closed✦ music✦ has to have some kind of detente with received✦ custom:✦ I always✦ found it tough to listen✦ straight-faced✦ to a nihilist lecture✦ from someone✦ with a chartreuse✦ mohawk and an earring in his eyelid✦ who punctuates✦ his delivery✦ with vomit✦ and spit. All doctrine✦ and pronouncement,✦ exclusively✦ anti-,✦ this Punk of a decade✦ past afforded✦ even✦ willing✦ mainstream✦ listeners✦ no easement✦ across✦ cultural✦ void, nothing human✦ to grab onto.✦ I have no idea✦ what a Punk performer✦ thinks, feels, is, day-to-day...✦ in fact I always✦ suspected✦ he had no day, but just retreated✦ to his plush coffin✦ at cockcrow. Can you imagine✦ a Punk with four-foot✦ hair and spiked✦ jacket✦ and nose-ring,✦ say, eating✦ a bologna sandwich? Replacing a light bulb? Putting✦ a quarter in a meter?✦ Not me, boy. And even✦ Barnum,✦ who knew fear sells, also✦ knew that freakshows✦ aren't✦ frightening✦ when the freakishness✦ supplants all resemblance.✦ 0% affinity✦ = 0% empathy.✦ And fear requires empathy✦ as much as it does menace✦ or threat.
Public✦ Enemy✦ and N.W.A., Ice T and Schoolly✦ D discomfit us, our friends, the critics✦ we read and cornered,✦ because✦ the Hard rappers'✦ lyrics✦ are conscientious✦ about✦ being of/for✦ the real lives✦ and attitudes of recognizable,✦ if alien,✦ persons. Here's✦ where it's a level✦ up from mere spectacle:✦ ideology✦ in Hard rap is always✦ informed by incident✦ or named✦ condition.✦ This makes✦ rap not only✦ better✦ than Punk, but way scarier. Serious✦ Hard raps afford✦ white listeners✦ genuine,✦ horse's-mouth access✦ to the life-and-death plight and mood of an American✦ community✦ on the genuine✦ edge of im-/explosion,✦ an ugly✦ new sub-nation✦ we've been heretofore✦ conditioned✦ to avoid,✦ remand✦ to the margins, not even✦ see except✦ through certain✦ carefully abstract, attenuating✦ filters.
For outsiders,✦ rap is hard to dissect,✦ easy✦ to move to. The command is: dance, don't understand; participate,✦ don't manipulate.✦ Rap is a fortress protected✦ by the twin moats of talk and technology.✦ The first is that nu style of speak--the "dialect drug," De La Soul calls it--that✦ rappers✦ fashion✦ from jive and disseminate✦ through record✦ stores✦ to all of us. Some in-words, like "fly," meaning✦ "finelooking,"✦ have been in coin since the beginning,✦ now venerable✦ as Old English✦ because✦ they turn up on Grandmaster✦ Flash cuts from '82. Others,✦ like "dead presidents," rap for $$, are either✦ coming✦ into✦ or going out of currency,✦ depending on when you read this. Rap, a club language,✦ has myriad✦ ways to describe✦ one's✦ own or others'✦ looks. "Fly" is how a man digs a woman.✦ One would never✦ describe✦ oneself✦ as "fly," even✦ when cataloguing one's✦ own attractions✦ (done more in rap than anyplace except✦ perhaps✦ Village✦ Voice personals). "Fresh" means irresistibly✦ stylish,✦ oft-modified✦ by "funky,"✦ "crazy,"✦ or "stoopid,"✦ predominantly✦ used✦ to convey✦ the fly-ness of things other✦ than women,✦ including✦ oneself✦ or one's✦ rap, which two concepts rappers,✦ like schizophrenics,✦ can't always✦ keep separate✦ in their heads. "Dope" means "def," and "def" means crazy✦ funky✦ stoopid✦ fresh. Synonyms include:✦ the shit, the It, the cool, the thang, the word, the grooviest, the categorical✦ imperative,✦ die weltanschung, the that-which-Potter-Stewart-would-know-if-he-saw. A def rapper✦ is so style-defining✦ as to make the stylish✦ mere copycats. To be def is to rap to the beat of a different✦ drum machine--not✦ seeking solitude,✦ but rather✦ confident✦ that others✦ will follow.✦ The def rapper✦ MC's a def rap, which rap def-ly✦ tells of its own (and the rapper's)✦ def-ness--so def, as MC/manager, entrepreneur✦ Russell✦ Rush Simmons✦ brags, that it had to be on a label✦ called✦ Def Jam.
Rap celebrates✦ power,✦ equating✦ strength with style, and style with the "I" in "Individuality."✦ Rappers✦ "dis"--dismiss--the styleless,✦ faceless.✦ To "ill" is to be weak or wrong; to "bite" is to thieve another's✦ dope beat. And only✦ the ill would bite.
Early✦ remastered✦ pop was the first fake music✦ ever,✦ since what the record✦ buyer of '63 experienced✦ as Aural✦ Event✦ on his turntable✦ couldn't happen✦ live. Rock began✦ to become✦ an Illusion✦ of Event✦ which technology✦ made possible;✦ rock became✦ more like the movies,✦ starting down a long road at the end of which was MTV.
Not that this kept Phil Spector up nights. The gurus✦ of the studio✦ had fatter✦ fish to clean, for the new freedom to shape sound had come at a price. With each magnetic✦ jump from live, as tape was made of tapes✦ which were themselves✦ tapes✦ of tapes,✦ the hiss and crackle of interference✦ multiplied.✦ Dual high-bias✦ media✦ with 2 units✦ each of sonic✦ garbage✦ per 10,000 units✦ of Elvis✦ Presley,✦ retaped✦ on similar 2-units-per-10,000 tape, became✦ 4 units✦ of hiss; retaped,✦ 8; then 16; then 32. As the sound got fuller,✦ it decayed.✦
The solution✦ was a breakthrough✦ called✦ multi-tracking--using recorders that could capture✦ and play back on 2 (as in stereo),✦ 4 (as in '67's then-ear-shattering✦ Sergeant Pepper's Lonely✦ Heart's Club Band), 12, 16, and today✦ 24 parallel tracks, eliminating✦ the hiss of transference✦ from one machine✦ to the next. Rhythms, melodies,✦ harmonies✦ could all be captured✦ on separate✦ tracks, allowing✦ the performer✦ or producer✦ to mix and listen✦ and re-mix,✦ adding✦ vocals✦ or lead instrument on yet another✦ track. Rap Edisons like Kool Herc, Grandmaster✦ Flash and Afrika✦ Bambaataa✦ began✦ as party✦ DJs, not musicians. Their wiring✦ of twin turntables✦ to a mixer,✦ allowing✦ them to "stack" the sound of two different✦ records✦ while rapping✦ into✦ a mike, was a kind of crude, extemporaneous✦ multitracking.✦ Technological✦ loops like those in the NASA-esque✦ studios✦ of CBS and Polygram were now in the hands of the homeboys. Carter✦ was President.✦ The Bee Gees, with five Top-Ten✦ hits in twelve months, were king.
Digital✦ recording,✦ the science dividing✦ Rjam's Tam-Tam✦ on tape from Tam-Tam✦ as heard "live" is a technology✦ that converts✦ music✦ to codes✦ or "digits."✦ The codes✦ are "read" by a computer,✦ one combining✦ sophisticated✦ sound-to-code translation✦ hardware✦ with a number-crunching COS and a high-response✦ synthesizer,✦ at speeds of 40,000 digits✦ per second✦ and up. The recorded✦ sounds, reduced✦ to numbers, can be shaped,✦ mangled, muffled, amplified,✦ and even✦ canonized.***✦ Hardware✦ then translates✦ the digits,✦ as read and altered,✦ back into✦ sound, which can itself✦ be recorded✦ on multitrack and combined✦ with yet more sounds. The result: hiss-free reproduction✦ on an infinity✦ of tracks, each of which can itself✦ be manipulated✦ infinitely.✦
Digital✦ recording,✦ part of the 80s sea-change✦ in how pop gets made, divides✦ the responsibility✦ for the final✦ song more or less equally✦ between✦ the performer,✦ the engineer✦ at the mixing✦ board, the producer✦ who coordinates✦ the multi-tracking✦ and mixing✦ process,✦ and the electronic✦ hardware✦ that actually✦ "makes"✦ the music✦ we buy. The latest✦ synthesizers**** produce notes✦ from pure electric✦ current✦ instead✦ of electronically✦ amplified✦ vibrations,✦ with voltage-meters rather✦ than hands or feet determining✦ everything✦ from key to pitch to timbre to "attack-delay✦ envelope"✦ (another✦ non-rap✦ term, denoting the microtimed, counterpoised✦ quality✦ of a note's✦ duration,✦ how a note's✦ sound/quaver-structure✦ as it builds is different✦ from its sound and structure✦ as it fades--the✦ manipulation✦ of a piano's✦ foot-pedals, for example, affects the delay✦ component of each note and chord's envelope).✦ The Kurzweil✦ 250, a state-of-the-art system,✦ is a 1-?track/12,018-note synthesizer✦ linked✦ by software✦ to an Apple MacIntosh Plus, which serves✦ as an exhaustive✦ library✦ of digitized✦ sound. The Kurzweil✦ could put all of culture✦ in a blender--take✦ Janet✦ Leigh's Cremora-curdling scream from Psycho,✦ store it in the Mac, program the synth such that an F# will be reproduced✦ as Janet✦ Leigh's F# scream, then play "We Shall Overcome"✦ as if screamed by Janet✦ Leigh; store this; treat similarly✦ Bach's St. Matthew's Passion,✦ except✦ with vast choruses✦ of screaming✦ Janet✦ Leighs, then "Mary✦ Had a Little Lamb," then "Twist and Shout" (by the Isleys,✦ not the Beatles), all as screams; then replay✦ the four as one horrific✦ jumble, or select✦ amidst the jumble; and then whatever✦ you came up with in the final,✦ painstakingly re-mixed mix you could play backwards. And call that "finished."✦ Or never✦ finish.✦ It's like holding✦ music✦ at gunpoint. You can make it do--or do to you --whatever✦ you can think of. Whim is the only✦ limit.✦
Basically✦ we decided we were into✦ rap because,✦ even✦ media-hype aside,✦ this music✦ had some kind of hard edge to it. Date of composition✦ here is July✦ '89. Think back. This last has been a fiscal✦ year in which Madonna's "back on top," in which covers✦ of classic✦ covers✦ of classic✦ tunes✦ are themselves✦ covered✦ and then climb corporate✦ charts, in which Rod Stewart's out of cryogenics✦ and back on top.... MTV's ceased✦ to be anything✦ but a long commercial✦ for itself✦ and the interests✦ of corporate✦ labels;✦ Bobby✦ McFerrin makes✦ a platinum✦ mint and then several✦ commercial✦ jingles✦ out of a burbled synth-reggae✦ invitation✦ to "Be Happy,"✦ a song that has the same verbal-pre-packaging feel as "Where's✦ the Beef?"
This last year heavy✦ metal's✦ fake-Satanist male models✦ accounted✦ for 1/2 of total✦ U.S. record✦ sales;✦ U2 filmed✦ a $20,000,000 homage✦ to their own self-righteousness and Bono's✦ ever✦ more ill-disguised✦ megalomania.✦ A year when even✦ good old REM finally✦ went corporate-pop with Green, when good old Springsteen✦ trashed his bride, when as modest✦ and nascent a talent✦ as Tracy✦ Chapman earned✦ cymbal-crashing critical✦ raves✦ for her competent, updated✦ frappe of Baez and Armatrading,✦ so desperate✦ were pop critics✦ and consumers✦ for any✦ voice at once comprehensible✦ and even✦ remotely✦ fresh. Just not a notable✦ pop year at all. Except✦ in rap. Rap appears✦ in the famished✦ late 80s as potentially✦ a genuine✦ musical✦ Scene the way early✦ jazz, rock, the Summer✦ of Love, folk/protest,✦ god even✦ the way New Wave and Punk were "Scenes"--the✦ S-word here simultaneously✦ meaning:✦ something✦ new to look at; something✦ loud and upsetting✦ ("Oh please, Veronica,✦ let's not have a Scene!"); and, best, an identifiable✦ set of places✦ in time where large forces✦ meet, marry✦ and beget.✦ Whether✦ by virtue or default, rap is pretty✦ much what there is to like right now, if you want to regard✦ today's✦ pop as anything✦ more than covert✦ jingles✦ in 4/4-time. In our opinion.✦
But so the point is we enjoy✦ it. Plus we've developed✦ some theses✦ about✦ why serious✦ rap is important,✦ both as art-for-own-sake✦ and as a kind of metaphor-with-larynx for a subbed-culture✦ unique✦ in its distillation✦ of the energy✦ and horror✦ of the American✦ present.✦
Rap is expanding gas-like✦ through the 80s' dry time, growing✦ from house party✦ schtick, gang anthem,✦ a small-label fad with the sort of pop lifespan you measure✦ with eggtimers--then somehow,✦ when we weren't✦ looking,✦ into✦ Scene, movement,✦ On The Air--finally,✦ in the last 24 months, assuming✦ the fecund✦ role of genuine✦ Genre. Exploding into✦ subspecies✦ now faster✦ than you can track. There's✦ now Dub's mix of rap and reggae, House's✦ mix of rap and 70s-, huge-afro'd funk, Acid✦ House's✦ psychedelic✦ hip-hop.✦ There is black rap for white mass-consumption✦ (Tone Loc, Run?DMC), black rap for local✦ set and -house consumption✦ (countless local✦ stars and wanna-be's in every✦ large city),✦ ultra-black rap superstars for the whole marginal✦ Nation✦ inside✦ (Heavy✦ D, Public✦ Enemy,✦ Big Daddy✦ Kane), white rap for white masses✦ (the execrable✦ Beastie Boys). There is Hispanic,✦ Salsa-influenced✦ rap out of different✦ West Coast barrios,✦ rap fused✦ with West Indian✦ or Islamic traditional✦ music✦ in Digital✦ Underground,✦ Eric✦ B. and Rakim,✦ and others,✦ or fused✦ with oh-so-danceable✦ R&B in the new "jack swing" offshoot✦ (Bobby✦ Brown, MC Hammer);✦ even✦ gay and bohemian✦ young urban✦ Bs have their trendsetters✦ in Teddy✦ Riley✦ and Guy, De La Soul, Kwabe. Etc. etc.***** A major✦ impediment to sampling this Scene is the kaleidoscopic fury✦ with which the Scene itself✦ is changing. If you're reading✦ this in print it's already✦ dated.✦
And the rap world's vitality✦ is one of replacement✦ as well as variety, allowing✦ the genre to remain✦ fresh, as band after✦ band is seduced✦ into✦ the "real" music✦ biz. This Scene is hydra-like.✦ Almost✦ the moment✦ a rap artist✦ like Run-DMC or L. L. Cool J "breaks through" into✦ major-market mix appeal,✦ MTV's land of corporate✦ bankability,✦ certain✦ reactions✦ within✦ the urban✦ underground✦ that spawned them can almost✦ always✦ be observed. The breakthrough✦ band's B-boys themselves✦ are without✦ qualms about✦ the pop bigtime: after✦ all, they've been rapping✦ all along✦ about✦ their entitlement✦ to money✦ and status,✦ about✦ the inevitable✦ rewards of their freshness✦ and unbiteable✦ voice. Their postbreakthrough✦ raps tend all often✦ to become✦ celebrations✦ of their new wealth and fame, of the now-enhanced✦ authority✦ of their "Message"--though✦ it's hard to feature✦ Public✦ Enemy✦ rapping✦ about✦ a Black-Militant renaissance,✦ about✦ revolution✦ and American✦ apocalypse, while lily-white CBS Records✦ pays them millions✦ for the distribution✦ rights to just such exhortations✦ to cut corporate✦ throats.
Nevertheless,✦ back in the underground✦ Scene, the breakthrough✦ band's tight set of original✦ fans tends to hang loyal, to await✦ feverishly "their" crew's spots on the same music✦ TV they love to dis. In short, there are comparatively✦ few of the accusations✦ of selling✦ out that accompanied✦ a similarly✦ oxymoronic✦ coopting phenomenon in late-60s✦ protest✦ rock. Which if you think about✦ it, is passing✦ strange. The white mainstream✦ Other✦ against✦ which serious✦ rap aligns✦ and defines✦ itself✦ makes✦ the 60s "Establishment"✦ too look downright✦ benign.✦
Our opinion,✦ then, from a distance:✦ not only✦ is a serious✦ rap serious✦ poetry,✦ but, in terms of the size of its audience,✦ its potency✦ in the Great 80s Market,✦ its power✦ to spur and to authorize✦ the artistic✦ endeavor of a discouraged✦ and malschooled young urban✦ culture✦ we've been encouraged✦ sadly✦ to write off,6 it's quite possibly✦ the most important✦ stuff happening✦ in American✦ poetry✦ today.✦ "Real" (viz. academic) U.S. poetry,✦ a world no less insular✦ than rap, no less strange or stringent✦ about✦ vocab,✦ manner,✦ and the contexts✦ it works off, has today✦ become✦ so inbred✦ and (against✦ its professed✦ wishes)✦ inaccessible✦ that it just doesn't get to share its creative✦ products with more than a couple thousand fanatical,✦ sandal-shod readers, doesn't get to move or inform✦ more than a fraction✦ of that readership (most of the moved✦ being poets themselves),✦ doesn't generate✦ revenue✦ for much of anyone✦ save the universities✦ to whom the best PhD-poets rent their names✦ and time ... and especially✦ does not inspire✦ a whole culture's✦ youth to try to follow✦ in their Connecticut-catalogue✦ brogans'✦ prints. Because✦ of rap's meteoric rise, though, you've got poor kids, tough kids, "underachievers,"✦ a "lost generation"...✦ more young people--ostensibly✦ forever✦ turned✦ off "language"✦ by TV, video✦ games✦ and low U.S.D.E. budgets--more✦ of these kids hunched over✦ notebooks on their own time, trying to put words together✦ in striking and creative✦ ways, than the U.S.A.✦ has probably✦ ever✦ had at one time. That few of these will become✦ "stars" matters far less than the grim stats about,✦ say, the tiny✦ percentage✦ of playground✦ basketball phenoms who actually✦ ride sports out and up from subclass status:✦ the same verbal✦ skills and enthusiasms rap values✦ (and values✦ enough✦ to let rap-dissing stand symbolically✦ for fighting or killing)✦ can obviously✦ be applied✦ in mainstream-approved, "productive"✦ ways--G.E.D.'s college,✦ Standard✦ Written English✦ ...perhaps✦ someday✦ even✦ ad-copywriting!✦
But is this wildfire✦ of urban✦ rap ambition✦ raging✦ around✦ converted✦ four-car✦ garages like North Dorchester's RJam's in spite of the genre's✦ near-disciplinary✦ prosodic restrictions,✦ or because✦ of them? Can't really✦ tell. Probably✦ doesn't matter.✦ The fact remains that, were "important✦ poetry"✦ presently✦ defined✦ in terms of what makes✦ important✦ art important✦ in a Supply-Side✦ democracy✦ (popularity,✦ effect,✦ the separation✦ of fan from his cash), staid journals like Poetry✦ and American✦ Poetry✦ Review✦ would be featuring some number✦ of fade-cut, multiple-earring'd authors' photos✦ in each issue; and highbrow✦ public✦ readings would always✦ carry✦ their back row fraction✦ of bangers ready✦ to "listen✦ rude" to Wilbur✦ and Levertov and Ashbery,✦ just as e.g Rimbaud and Pound did to their own contemporaries✦ ... to the delight✦ and invigoration✦ of a time's✦ poetry...✦
... And even✦ just the prospected✦ fantasy of seeing Public✦ Enemy's✦ be-clocked Flavor✦ Fav and like a Jorie Graham✦ or Amy✦ Clampitt sitting✦ down over✦ beer and Celestial✦ Seasonings to hash out the debate✦ over✦ line-breaks✦ in dactylic pentameter,✦ a very✦ serious✦ young homeboy in Italian✦ silk and pentagonal✦ shades✦ serving as interpreter✦ is enough✦ to make us hereby✦ officially✦ lobby✦ for the admission✦ of rhyme's✦ renaissance--at✦ least under✦ the stringent✦ rhythmic✦ demands rap has forced✦ on rhyme-as-form--to the cold corridors of Serious✦ Appreciation.✦
Unlike✦ the mostly✦ docile✦ poetry✦ and fiction✦ of the late 80s, though, rap's own quality,✦ the def freshness✦ of the MC's bit, is set up to be judged✦ primarily✦ in the context✦ of what it is against.✦ In case you thought we forgot,✦ rap is first of all a movement✦ in rock music,✦ and thus the time-honored✦ requirement✦ is that the rap Scene set itself✦ very✦ consciously✦ athwart those circumstances✦ and forces✦ whose enormity✦ is required✦ by all rock 'n roll to justify one of its essential✦ roles,✦ rebellion-against.✦ Except✦ now watch the objects of the rebellion✦ alter,✦ spread, grow in urgency--from the 50s' parents✦ and principals, homework, hot rods, the sweet hurt of teen love, to the urban✦ 80s, police,✦ violent✦ death, homelessness,✦ the lure of ecstatic✦ drugs that dehumanize✦ weaponry, fatherlessness,✦ the animal✦ emptiness✦ of sex w/o love, the almost✦ Trilaterally✦ sinister✦ White Establishment✦ ("THE GOVERNMENT'S✦ RESPONSIBLE✦ THE GOVERNMENT'S.✦ . . "), Everyone✦ Else: life as a series✦ of interruptions✦ from an angry✦ slumber about✦ what the electric✦ voices✦ say you must have and the human✦ voices✦ say you may not, about✦ the betrayal of the past, of the promises exacted by Carmichael, X, and the now-formal martyrdom of King.
Segregation✦ may affect✦ their hearts and minds, Earl Warren✦ warned,✦ as Malcolm X and Louis Farrakhan, both alumni✦ of Boston's old separate-but-awful schools, bear loud witness. Now, 40 years after✦ X disgustedly quit a racist✦ high school and began✦ a career✦ as a kind of be-bop✦ gang-banger,✦ 35 years after✦ Brown v. Board of Education✦ invented✦ integration,✦ 15 years after✦ Morgan✦ v. Hennigan✦ brought Brown to Boston,✦ North Dorchester✦ is worse and its schools aren't✦ better.✦ A former✦ United✦ States✦ Secretary✦ of Education✦ converts✦ to Drug Czar, symbolizing a national✦ change of mind: now drugs, not poor schools (and certainly not the American✦ apartheid of which segregated✦ schools were but one facet),✦ is our root "innercity"✦ problem. Tam-Tam's✦ Boston✦ is strangely✦ less hopeful than the notoriously✦ segregated✦ pre-Hennigan✦ city,✦ perhaps✦ because✦ before✦ Hennigan✦ reformers could promise✦ that segregation✦ was why things were so bad. Segregation✦ was blame's✦ bullseye: abolish✦ the bullseye, and blame for the estrangement✦ of the races✦ flies everywhere, hitting✦ the cops, or the courts, or the teachers, or the taught, or what's taught. There's✦ even✦ a rap--B.D.P.'s "Why is That?"--blaming✦ our miseries✦ on the failure✦ of the schools to "teach black kids to be black."
But everything✦ the white rock listener✦ pays to enjoy✦ is black-begotten.✦ If today's✦ Top?40 environment✦ seems bleak or befouled, imagine✦ the present✦ mainstream✦ without✦ its sweetest sourcewaters, without✦ the King-Waters-King Blues trinity,✦ the Brownian✦ soul, the backbeat,✦ cut time, blue notes,✦ funky✦ French curves✦ of sax and brass, the guitar✦ solo,✦ call-and-response,✦ the Cold Medina✦ or Lucky✦ Powder,✦ those lithely✦ syncopated✦ quintets in pomade✦ and linen✦ suits, the single hand in the white glove holding✦ Pepsi✦ aloft in the shadow✦ of accidental✦ flames....✦ Black music✦ is American✦ pop's breath and bread; and we, as both born audience✦ and born salesmen, know it.
So maybe it's them. Them. Maybe we're approaching an enforced fork in the musical✦ road where the white-run entertainment industry✦ will have to pack up what it's taken✦ and go seek its fortune on the backs of new minorities.✦ Maybe, in serious✦ rap, the extreme new insulation✦ of the black sound is not only✦ intentional✦ but preplanned, part of a neo-Nationalist✦ agenda,✦ the hermetic✦ new Scene's✦ tight circle more like something✦ large and coiled✦ than something✦ small and flat.
You may now be getting✦ some hazy✦ idea✦ of the sorts of really✦ quite scary✦ possibilities✦ with which the rap we like is replete.✦ And, hazier,✦ of how complicated✦ this stuff of sampler-from-outside✦ can be. What's remained✦ passing✦ strange, for use, is the vague threat's appeal.✦ The unease✦ and ambivalence✦ with which the rare white at the window✦ loves✦ rap renders that love no less love. Whence the fear, though, is really✦ no matter.✦ For look at the world, at the masses✦ we're part of. At what you look at closest. The plain 80s data✦ is that, whereas love, devotion,✦ passion✦ seem only✦ to divide,✦ it's fear and strangeness that bind crowds, fill halls, unite✦ Us, somehow,✦ as audience,✦ under✦ the great tent.
*'Hip-hop'✦ is an older✦ synonym, coined✦ by Rap pioneer,✦ Kool Herc, to describe✦ the heavily✦ danceable✦ Jamaican✦ scatting he introduced✦ between✦ records✦ at the huge South Bronx block parties✦ he and other✦ new-Scene✦ celebrities,✦ like Jazzy✦ Five and former✦ Black Spades✦ leader,✦ Afrika✦ Bambaataa,✦ could turn into✦ late-70s✦ frenzies✦ of Breakdance✦ (both music✦ and dance a self-conscious✦ reaction✦ against✦ the glittered✦ unreality✦ of downtown Disco).✦
**Except✦ but now hey kids! thanks to AT&T you can now speak directly✦ to Ice T and hear his philosophy of life by phone! 1-900-907-9111. "Chill out with Ice T," the rapper✦ adrape✦ in military✦ hardware✦ and ammunition✦ says on MTV, "I'm just waiting✦ on you to call me," pointing at the camera✦ and then himself lest the audience✦ get at all confused. "Don't forget✦ to ask your parent's✦ permission✦ first" (white corporate✦ voice-over)--$2.00✦ first minute,✦ etc. etc.
***"Canon"✦ being another✦ non-jive✦ rap term, meaning✦ the division✦ of a single sequence✦ of sound into✦ two or more repeating✦ sound-sequences,✦ like a vocal✦ round.
**** ... themselves✦ the heirs of a long, 20th-century✦ evolutionary✦ process,✦ from the playe-?piano to the 20s Oncles✦ Martenot✦ and Theremin and Trautonium✦ (crude electronic✦ instruments big in France), to Pierre Schaeffer's musique✦ concrete✦ in '48, to the first Electronic✦ Music✦ Synthesizer✦ invented✦ by engineers✦ at RCA in the 50s to the inauguration✦ of the Columbia-Princeton Electronic✦ Music✦ Center✦ in '59, to Robert✦ Moog's '64 development of the Moog 55, the first emitter of amplified✦ "blurps, fwipps, simps, twings, and schlonks" to be commercially✦ produceable.✦ Walter/Wendy Carlos✦ used✦ a Moog 55 for his/her✦ '68 Switched-On Bach, an album✦ that did more than anything✦ to popularize✦ synthesized✦ sound.
***** Note how the ecstatic✦ force's✦ movement✦ extends beyond sound into✦ dance-Chicago-based✦ house-dancing✦ is very✦ different✦ from Coast-based✦ rap-dancing,✦ while both are distinct✦ from the Quaalude✦ sway a De La Soul's lazy✦ complexity✦ invites--and beyond dance into✦ urban✦ haute couture✦ itself.✦ The "cameo"✦ or "fade," that troubling cyberpunk flat-top haircut✦ favored✦ by Carl Lewis✦ and Grace Jones✦ but popularized✦ by the group Cameo's✦ rapping✦ Larry✦ Blackmon, has now become✦ less a haircut✦ than a sculptural✦ statement:✦ words, logos,✦ slogans✦ and complex✦ signs razored✦ into✦ the rigid✦ anvil✦ of hair that is, according✦ to the Voice, "the most culturally✦ conscious✦ unisex✦ hairstyle since the afro."✦ The standard✦ 80s-rap uniform--sideways baseball cap or Kangol,✦ ropey✦ chains, acetate✦ warmup✦ and unlaced✦ hightops--"...now symbolizes a cruder,✦ more casual✦ era,"✦ and is diffracting into✦ a rap-House-gay-jackswing look replete✦ with polka-dot ties, loose pleated✦ twills, and expensive✦ dance-loafers or British "moon boots," a combination✦ Ricky✦ Ricardo-Frank Sinatra dapper✦ that now befits✦ a Scene with the dignity,✦ silliness✦ and pull of real Genre. Plus don't forget✦ that just one big change in street and school fashions✦ means millions✦ and millions✦ in garment revenue--even✦ more $$ once the white mainstream,✦ as is its won't, follows✦ in the cutting✦ edge's✦ media-delayed✦ wake.
****** "We've lost a whole generation✦ to their own culture✦ out here," rues an LAPD Assistant✦ Commissioner in a 14 May '89 Boston✦ TV news special✦ on the national✦ Wa-?On gangs, drugs, crime, Others…✦
Technical Breakdown
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Multisyllabic Rhymes0.0
Complexity of rhyme schemes (data-driven)
Internal Rhymes0.0
Rhymes within a line (data-driven)
Wordplay / Double Entendres0.0
Clever language, metaphors, punchlines
Cadence / Rhythm0.0
Flow variation and timing (data-driven)
Vocabulary Complexity0.0
Range and depth of words used (data-driven)
Delivery / Breath Control0.0
Performance and control
Computed Score0.00
Production
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