Adventures In Elysian Fields 11.14.07: IGNORANT SHHHH

Posted by MSD on 11.14.2007

American Gangster, TI and some other high guy ramblings. Celtics are still undefeated!



Back on the scene, crispy and clean
You can try but don't lie because you can't get with me
* Black Sheep - "The Choice Is Yours"

DISPOSABLE ART Part Deux
Rappers got flow.

Let me rephrase that – rappers got a flow. Innate natural rhythm, unique to each like a snowflake. It's the sound you hear when you close your eyes and write a rhyme to no beat. Who knows where it really comes from? It's a mixture of things, much like a gene pool or the age old adage "nature versus nurture". But once you get it – you got it.

The real talent can write to a beat exclusively, doing with their voice what the instrumental commands. But again, flick the switch to silence and you've got a pattern as embedded as tattoos. What exactly defines this mechanism, and where does it come from? If style outlives its creator what's really worth more? Is a tree revered more for its fruits or its roots? The answer is in the art we love.

All rappers have a nexus point. A point in their style from whence their evolution can be traced. If Hip Hop were a giant game of Jenga, rappers would take pieces from the side while MCs find a way to build on top. You can't reinvent the wheel. But you can add spokes and inches. The game was built on recycled originality, yet only a true few can behold those standards. T.I. is a product of Jay-Z, who was a product of Big Daddy Kane. So if you have to find a way to make old shit sound new while only using a few basic components, how do you not get played out? Especially when you're required to strike the same pose over and over again. So with the game designed to be disposable, is (of will there ever be) a Rolling Stones of rap? Is it even possible?

After marathons of ecstasy-driven listening sessions it's easy to see – the art will outlive its creators. Hip Hop is a monster unleashed, devouring generations and growing stronger in their wreckage. Now it can never be tamed, never be contained. It's out of the cage. It's the same thing I used to tell the young homies – don't try to keep up with the streets cuz the streets never age. I used to be able to go to the Brockton Fair and know everybody there. 10 years later and there's a whole set of different faces. Pretty soon it's not the Fair you remember, and you forget why you fell in love with it in the first place. But then you find the perfect roller coaster and it all comes back to you. Rap is a roller coaster. This is the apex.

Most rapper have only one record worth of creativity in them. Yet they force themselves to stretch it out for the sake of a prolonged career. DMX was the greatest rapper ever in 1998. 10 years later he's said everything he can possibly say. Twice. How many dusty Hulkster legdrops or Flair flops do you need to see before it becomes routine? In a recent Pro Wrestling Illustrated interview, Bruno Sammartino called Ric Flair overrated – citing "if you've seen one Flair match you've seen them all. He practices a routine and takes it on the road with him". That's like Nas reminding us "No Idea's Original", but the real trick is in how you redecorate it. That's also another reason ghost writers and writing pools are so prevalent in the industry. So with that being said, is HOW you say something more important than WHAT you actually say? Gimmick heavy rappers or those with extremely narrow creative avenues cannot last. They will only extend. Acts like Master P and MC Eiht have only a few albums worth of great content. Yet they've dropped hundreds. That ratio of product/dopeness doesn't add up. Eminem hit this point with ENCORE (which is why he quit) and Jay-Z is approaching it with American Gangster. Other acts like ICP and Tech N9NE continue to flourish by sticking to a common theme, while simultaneously expanding it with different conceptual scenarios. Current events are always changing, and another great opportunity for established artists that create something new and meaningful. Partially why acts like Public Enemy and KRS-One have continued to stay (relatively) fresh in the new millennium.

Style over substance is as age-old as the chicken and the egg debate. Many rappers with purely anonymous rhyme deliveries are forced to concentrate on mentally taxing lyrics and rhyme patterns. Rappers with a drunken slur or Southern twang spit silly freestyles with a funny accent. What do you need to make a hit? Beats or lyrics? Style or substance? The real answer is "Balance" like my man Akrobatik says. Variety is the spice of life, and as long as we have "What Up My Wigga Wigger" (NYOIL) to with "Lip Gloss" (Lil Mama) we'll be in good shape as a culture. The ability to say the same old words but with a new addictive style is how you get artists like Young Jeezy and Lil Wayne saturating the game.

So if you can only rap one way - and only have a few real creative angles you can pursue - then how does any rappers manage to last more than 20 years in the game? By transcending "song" into "sound". Artists like Too $hort, E40 and Snoop Dogg have elongated their careers by creating clearly defined (and easily recognizable) flavor for their music. It doesn't have to sound any different than the last, it's just "that new shit". It's that search for an elusive and defining "sound" that has grounded millions of promising rap careers. It's also that universal Hip Hop "sound" that's easy to identify, yet hard to capture – and the reason acts like AZ and DJ Premier continue to exist. So if you can originate a sound that's uniquely your own, without being too dope as to become the defining sound of an entire region or culture (like Dre's G-Funk or Dip Set's NY soul sound), you have a higher chance of attaining eternal relevance in Hip Hop.

It's some of these defining characteristics that make it so hard to consistently challenge yourself as a rap fan. Maybe it comes with age, maybe it comes with maturity. Most likely it just comes from experience. How many times can you hear a rapper say "I'm going to shoot you", even if the phrase is remodeled a million different ways? That's why the search for the next hit, the new shit, is enough to drive you into a fiendish feeding frenzy. Scouring the racks, burning up the internet trying to find that one E tablet that will remind you why you love taking drugs in the first place. But if you've already reached the pinnacle, is there any where else to go BUT down? Once that needle pierces your vein one time, you'll be chasing that euphoria for the rest of your life. That's why artists like 50 Cent seem so grand and magnificent when they first arrive, but quickly burn out after you see their entire work bench. They key is to be creative without staying stagnant, experimenting without going too far (like Andre3000 or Electric Circus). It's a tough road to traverse, and the growing reason why microwave (or "ringtone" rap) is seriously depreciating our chances of growing immortal acts like the Doors or the Beatles. It's hard to evolve when you're stuck in the tar, and the world around you revolves at the speed of light. Either way you slice it, I'm very phuckking high and have no idea where I've been for the last three hours. Find your own damn self, I got enough problems of my own.

SPEAKING OF A MAKE OR BREAK RECORD…
Although he currently has a lot of time on his hands while being on house arrest, rapper T.I. is staying active by working on a new album. For the rapper, the extra time represents the perfect opportunity to fully focus on the forthcoming project as well as acknowledge those who have stood with him during his legal troubles.

"The good thing is man, you know, I got a lot time on my hands; doing a lot of reading, doing a lot of writing, working on my next album, its called Paper Trail," the rapper said in a statement on his new website, StreetCred.com. "Oh and speaking of Paper Trail, extra special thank you to the Grand Hustle family and the Atlantic Records family. Man we gonna get thru this, you know what I'm saying...to whom much is given, even more is required." T.I.'s work on Paper Trail is the latest chapter in the aftermath of his recent arrest before his scheduled appearance at the BET Hip Hop Awards.

The rapper, who pleaded not guilty to three charges of illegally possessing silencers and machine guns, was released on $3 million dollars bond on Oct. 26. Since the arrest, T.I. has been at the center of various news stories and rumors that have influenced public opinion of him. However, the rapper advised fans to look deeper for the truth. "I just wanna tell everybody man, don't even believe every thing you see on the news, don't believe every thing you read in the papers, ya dig that," he said. Despite the drama, T.I. remains upbeat as he thanked his lawyers, fans and supporters for "for all the prayers and support." "You know, its a very trying time right now, but I want to let everybody know that I pled not guilty and I gotta stress my innocence, you know, to everyone out there who's listening! And I look forward to being exonerated on all charges. And I say that with the utmost sincerity." No release date is available yet Paper Trail.

MSD's RAP TRIVIA QUIZ
Answer Key

RIDDLE
"I had nothing but I made something outta that
Now I'm first out the limo like Charlie Mack…
* Black Thought of The Roots - "Game Theory"
ANSWER
Forever holding it down for their hometowns, rappers exhibit more civic pride than any corrupt city selectmen. Here, Black Thought of Roots pulls one back for his home court of Philadelphia PA. "Charlie Mack – 1st Out of the Limo" is an old DJ Jazzy Jeff & Fresh Prince song from 1988 (from the album "He's The DJ I'm The Rapper"). It's a song about getting so large they have a bodyguard named Charlie Mack who jumps out of the limousine before them, clearing the scene for the two performers. DJ Jazzy Jeff and Fresh Prince are, of course, from Philadelphia PA. Good looks Roots for the local history lesson.

RIDDLE
2) "You cats is home, screaming the fight's on
I'm in the fifteen hundred seats, watching Ty-son
Same night…same fight.
But one of us cats ain't playin right (I let you tell it)"
* Jay-Z - "I Love The Dough"
ANSWER
The most debatable, deliberately vague phrase of the entire bunch. This being the home of ELYSIAN FIELDS, I gotta go with the weed on this one. Dropping after the deaths of both Pac and BIG and included on BIG's posthumous last classic, "I Love The Dough" finds Jay-Z firing off more of those poignant NY subliminals. This is a reference to that infamous night in Las Vegas that claimed the life of 2Pac Shakur. Jigga's saying that despite all the so-called "Hollywood drama" of the East vs. West war, his gangsta is so real it transcends geographical locations. He was there the same night watching the same fight, yet no swords were crossed. Not necessarily saying he couldn't have been the person behind the setup, but leaving that sinister allusion in there helps paint that chilling rap image we all spill money for. The game is the game, some play it cool and some get carried away. But one of us cats ain't playing right. I'll let you tell it.

RIDDLE
"I'm Anthony Senior – they Jackie Juniors…"
* Jo Jo Pellegrino – UNRELEASED
ANSWER
Simple – THE SOPRANOS Season 3 finale entitled "Army Of One". Jackie Jr was the son of Tony's prior boss, and almost like a son to him. But in Season 3, Jackie Jr. robbed a card game without authorization and things went sour fast. By the end of the season, Tony Soprano (or "Anthony Senior") wound up having Jackie Jr popped in the back of the head at close range. Hence Jo Jo Pellegrino's clever little Italian mob reference.

RIDDLE
"I got Bobby by the pound, Whitney by the key
DJ Screw by the gallon, bitch the game belongs to me…"
* Pimp C - "The Game Belongs To Me"
ANSWER
Should read "I got Bobby by the Pound, Whitney by the Ki - DJ Screw by the gallon, bitch the game belongs to me". In other words, I got weed by the pound, cocaine by the kilo. Plus – cuz this is Texas, bitch – a gallon of codeine. Rap is legal drug money and UGK own the game.

RIDDLE
"Ultra violence be running through my head,
fuzzy navel y'all making me see red…
* Beastie Boys - "Looking Down The Barrel of a Gun"
ANSWER
Actual lines come from within the liner notes of "Paul's Boutique", which reprints all of their song lyrics. "Ultra Violence" is the mayhem caused by the characters in the book and movie "A Clockwork Orange" . They go on to mention that movie again by name later in the song. that movie in the song as well).

RIDDLE
"A shy n**** but I ain't ya fucking comforter.
And if I ever fall in love I bet I'm fuckin her
* Notorious B.I.G. - "Living The Life"
ANSWER
Should read "a SHAI n***a"… As in early 90's R&B quartet Shai who dropped their seminal classic "If I Ever Fall In Love" in 1992. Remember BIG's infatuation with New Jack Swing and R&B (like his warbling Silk tribute in "Can I Get Witcha") and this reference makes sense. "Comforter" was another hit song off "If I Ever Fall In Love"

RIDDLE
"You can't touch my riches…
Even if you had MC Hammer and them 3-5-7 bitches…
* Notorious B.I.G. - "Come On"
ANSWER
Another crazy reference from Biggie. This one is along the lines of his "Kwame and them fuckin polka dots" crack. MC Hammer tried putting on a few acts in his career, one of which was a female rap duo called Oaktown's 3*5*7. They released "Wild & Loose" in 1989 and "Fully Loaded" in 1991. I have both albums on tape, and for some reason "Fully Loaded" reprints the lyrics to all their songs on that album. Not bad, but obviously they can't touch Biggie's Bad Boy riches.

RIDDLE
"Thousands of cracks bagged up inside the shoebox
Don't keep jack in my lap, don't wanna see 2Pac"
* Ghostface Killah - "Verbal Intercourse"
ANSWER
Another debatable line. But like the above-mentioned Jigga line, I gotta go to the darkside with another patented "Paranoid Twisted Conspiracy Theories" angle. Going with the assumption that Wu are big on the NY street scene, and have access to high level knowledge, this line shows Ghostface flexing those connections. Everybody knows Haitian Jack – the so-called "snitch" – was instrumental in getting 2Pac sent to jail on that rape charge. He may even have had something to do with the infamous Quad Studio shootings of '94. So Ghostface don't ride with industry/street thug hanger-ons like Haitian Jack who prey on weak, naive (yet blindingly rich) rap stars. Cuz he don't wanna see the insides of a jail like 2Pac (who was there when this song was recorded).

RIDDLE
They bombed innocent people trying to murder Saddam
When you gave him those chemical weapons to go to war with Iran
This is the information they hold back from Peter Jennings
Cuz Condoleeza Rice is just a new age Sally Hemmings…
* Immortal Technique - "4th Branch"
ANSWER
Sally Hemings was a house slave owned by Thomas Jefferson in the early 1800s. It is thought that she might have been, by blood, the half-sister of Jefferson's deceased wife Martha Wayles Skelton Jefferson. But what IS known (and has been documented since 1802) was that Jefferson was said to be the father of several of her children. Hence Immortal Tech's reference to Condoleeza Rice being a new age house slave for the Bush family.

AMERICAN GANGSTER
I saw the movie on opening night. Too slow and kinda boring. Definitely too long. Like it was supposed to be the black Godfather but never reached that pinnacle. Just read a recent story on the real life Frank Lucas in one of my new rap mags (SOURCE or XXL I can't remember). Sure he's been romanticized on screen (and on wax, courtesy of Jay-Z's stunningly "aiight" new record), but the former Harlem drug lord is anything but that, according to the widow of Johnson's mentor Ellsworth "Bumpy" Johnson.

In her new book Harlem Godfather: The Rap on My Husband, Ellsworth "Bumpy" Johnson, Mayme Johnson takes aim at Lucas' larger than life image as she reveals the true extent of his relationship with the Black mafia boss. "Frank wasn't nothing but a flunky, and one that Bumpy never did really trust," Johnson said. "Bumpy would let Frank drive him around, but you'd better believe that he was never in any important meetings or anything. He would say, you can trust a thief quicker than a liar, because a thief steals money because he needs money, but a liar lies for the hell of it!" Mayme Johnson's criticism of Lucas comes amid the success of American Gangster the movie.

The film, which chronicles Lucas' rise to power as a drug dealer in Harlem during the 1960s and 1970s, took the top spot at the box in its first weekend of release with $43.6 million. Despite the movie's focus on him, Lucas, admits that Bumpy Johnson was his mentor, the person who taught him everything he knew, while he served as Johnson's second-in-command. In addition, Lucas stated that he and Bumpy Johnson spent Johnson's last moments alive, as he told a magazine writer that the Johnson died in his arms in 1968. Lucas' story conflicts with Mayme Johnson's version, as the 93-year-old woman said that he was nowhere around the night her husband died from a heart attack, while dining at Wells Restaurant on Seventh Avenue in Harlem.

She says Lucas probably thought he could get away with the lie because he figured everyone who was around Bumpy at the time is now dead. "Junie Byrd's gone, Nat Pettigrew's gone, Sonny Chance is gone, and Finley Hoskin's gone. Frank would never have said any garbage like that if one of them were alive, because he'd know they'd come after him," said Johnson. "I bet he thought I was gone, too, but I'm not. I'm 93, and I don't have Alzheimer's or dementia…Frank Lucas is a damn liar and I want the world to know it." A heroin kingpin a liar? Couldn't be! To help bring Harlem Godfather to the masses, Mayme Johnson enlisted Essence Magazine best-selling author, Karen E. Quinones Miller as a co-author of Harlem Godfather. For Miller, the project is a labor of love as she worked with Johnson to tell her story. "This book is so important to me," said the former Philadelphia Inquirer staff reporter, who met Bumpy Johnson when she was child and credits him for helping realize the value of education.

"Mrs. Johnson is a living treasure. Her memory is so sharp it's absolutely astounding," Miller said. "At 93, it is crucial that her story finally be told. She is the missing link to the urban legend that is Bumpy Johnson." "I've decided to publish the book via my own Oshun Publishing Company," Miller continued. "If we waited for a mainstream publishing house, the book would not be released until late 2008 or 2009. Mayme Johnson wants to dance the Charleston at the book launch party and I want to make sure that happens!" In addition to insights about Lucas, Mayme Johnson provides details about her married life to Bumpy Johnson as well as a vivid recollection of Harlem during its heyday. But its her opinion of Lucas that has garnered the most attention.

In Johnson's eyes, Lucas has pulled the wool over Hollywood's eyes by making himself out to be bigger than he really is. As a result, the widow is doubtful about what is portrayed in American Gangster. "That's why I'm writing this book after all this time," explained Johnson, who has never spoken about the myths and rumors about Bumpy Johnson until now. Harlem Godfather: The Rap on My Husband, Ellsworth "Bumpy" Johnson is scheduled to hit stores in February 2008.

For more information visit www.HarlemGodfather.com.

THE GOOD LIFE DETERRED
The family of superstar rapper Kanye West are making funeral arrangements for Dr. Donda Williams-West in Oklahoma City, who passed away on Saturday. A spokesperson for Howard-Harris Funeral home told KOCO Channel 5 in Oklahoma City that the family had contacted them in preparation for Dr. West's funeral.
Kanye West released the following statement:

"Kanye West, his family and friends would like to thank everyone for the outpouring of support and kind words that have come in from across the country since the death of his mother, Dr. Donda West."

"After working in higher education for 31 years, Dr. Donda West and Kanye West co-founded the Kanye West Foundation with the mission of helping to combat the severe dropout problem in high schools across the country. The first and signature initiative of the Kanye West Foundation is Loop Dreams. Designed to capitalize on students' existing interest in hip-hop, Loop Dreams challenges students to learn more about what's behind hip-hop culture in order to help them develop skills, express themselves creatively and be empowered." Instead of flowers, Kanye West and his family request that donations be made in Dr. West's name to Kanye West Foundation/Loop Dreams Teacher Training Institute at 8560 W. Sunset Blvd., West Hollywood, CA 90069. Donations may also be made at www.kanyewestfoundation.org.
Dr. West excelled in education. She was raised in Oklahoma City and graduated from Douglass High School in 1967. She later earned her bachelor's degree in English from Virginia Union University in 1971. While officials expect to release the official autopsy report on Wednesday, tmz.com reports that weeks before Dr. West died, a plastic surgeon refused to perform a tummy tuck and breast reduction because of a medical condition that could have led to a heart attack. It has also been revealed that Dr. West was at her home when paramedics responded to a 911 call on Saturday (November 10) and took her to Centinela Freeman Hospital in Marina del Rey, California. Attempts to resuscitate Dr. West were unsuccessful and paramedics pronounced her dead around 8:30 PM that evening. Dr. West, who headed up Chicago State University's English Department, was also board President of the Kanye West Foundation and served as the rapper's manager.

LOST in the LAB
This is the part of our show where I dig into my archives and unearth some of rap's hidden jewels. These album or song choices may be shrouded in obscurity, or on the top of everybody's "Heard Of" list. They could be a few months young, or 25 years old. But one thing is sure - it's all HIP HOP MUSIC, and it's comin live and direct from Elysian Fields!


Akrobatik
"THE EP"
Detonator Records
2000

"The Flow" is pure. DJ Fakts One sets it off with a fat beat that any hard rap fan can't hate, and Ak tackles it harder then a blow from Bruschi - warning his competitors "when you see Ak be prepared for the flow". Straight rap no chase, hard beats and hard rhymes. "Internet MCs" follows that and expands Akrobatiks lyrical content further. This song is a commodity rap track, the kind that can grow to be a cult classic with its unique gimmickry. The kind of song you don't even need to know who did it, you just know it – kinda like "Because I Got High". Funny rhymes with enough knowledge and internet savvy to make you realize how nerdy Akrobatik really is. "Don't Fear" calms things down a bit, with a DJ Supreme One banger that's smooth as butter. But Ak's lyrics are perhaps more lethal than anywhere else on this record. Another state of the game rap summary with a frozen New England mind state - "Hip Hop was not born in no damn crack spot!" He teaches and scolds with enough venomous fervor that even KRS-One would have to recognize. As typical with most of Ak's tracks here (in conjunction with REAL Hip Hop music), the DJ cuts up a few records to make the track complete. Next up, DJ Fakts One steps back into the flow with a remix to "Ruff Enuff" featuring Afu-Ra and Breez Evahflowin. More cuts on the hook, with an overall vibe that recalls Afu-RaM's epic "Mental Stamina" duet – even Aks rhymes reference that epic collusion. Good stuff with each successive verse building upon the last, growing in greatness until Breez Evahflowin knocks it out of the park like a Big Papi pop fly. Rowdy house party rap. True quam.

"U Got It" hits you over the head with another DJ Fakts One track that's as serious as it forceful and funky. It lets Ak go off on a "pro-black woman/ my woman is a queen not a bitch" track for the chicks. "I'm trying to motivate – there's nutting sexier than when a woman knows the state of the world". Word. "Battle Royal" is another one of those gimmick records that's either hit or miss. To me, it's a big hit. Knowing Akrobatiks love for the pro wrestling game (he's an indie wrestler too!), I can safely say this song is a labor of love rather than a labor of consumerism. It features fellow Bostonion (and wrestling fan) Esoteric, and the ring introductions alone are worth the price of admission ("Cactus Ak" aka "Black-Ak Muligan" aka "Bob Aklund" aka "Bam Bam Niggerow" – and "I-R-Eso" aka "Kerry Von Esoteric" aka "Eso-Delivery Jones"). To put in perspective, there's more wrestling references on this one song than on the entire WWE Aggression album. And how dope is it when Esoteric spits "I drop jewels (Jules) like Chief Jay going solo"? Dope! Ak himself jumps behind the boards to produce the "Battle Royal" beat and provide cuts on the hook.

"SayYesSayWord" opens with a live call-and-response routine before Aks self-produced track beats your eardrums to a bloody pulp. Really basic rap beat, bass heavy with slick cuts and an MC rapping about rap music. That's a recipe for pure Hip Hop right there, and Ak serves it up proper. Speaking of which, "The Fat Shit (Part II)" continues where "SayYesSayWord" ends. Ak blows minds with his own beatboxing routine and live vocal cuts, overlapped with freestyle rhymes of his own creation., "The Fat Shit" also features partner-in-rhyme Mr. Lif keeping rhyme flows over Ak's beatboxing. If you like rap music you'll love this song. If not, you'll think it's a mockery. Finishing the disc off is the abrasive "Militant Raw", another battle rap track with Ak using military references much in the same way he used wrestling references for "Battle Royal". He's speaking from the point of view of war like Nas was the voice for a gun in "I Gave You Power". Papa D!'s beat is abstract, and DJ Sense cuts it up on the tables, but overall this was a weak note to send the record off on.

Overall, this is one of my favorite records out of Boston in many years. I may be a bit biased, but even without the local flavor real rap heads must recognize. The essence of MCing is beats, rhymes and life – and Ak covers all of these topics with guts and creativity. He has a deep enough mixture of gimmick rap records to draw in a new fans, while still making the type of songs he wants his character to be associated with (in this case, real underground Hip Hop with songs like "SayYesSayWord" and "The Fat Shit"). Good heavy intro for an aspiring new rapper at the time. 7 years later and he's pretty much gone mainstream. Now he has a job doing sports recap shows for the Jamn 94.5 morning show (the biggest, most mainstream radio station out of Boston). Every morning (or close to it) Ak is there with a booming freestyle recapping all the previous nights local sports news. Everyday without fail, his rhymes are clever, witty and creative. Not a dull one in the bunch. This EP from 2000 was just the start of the creative energy Ak would come to infuse with Boston, and the Bean Town rap scene as a whole. 8.5 out of 10 for sure.