Jay-Z in 2001 and alyona alyona recently. Image source: CNN, Europe-cities.
More than 420,000 copies of Jay-Z’s “Blueprint” were sold the first week after the album’s release. At this time, the multi-platinum record has been legally purchased by at least 2,000,000 people in the United States only.
Some claim that 420,000 “Blueprint” copies successfully sold during the first week after its release is insensible, considering the record came out on Sep 11, 2001.
“Those (black and white) who purchased Jay’s album in the midst of slow moving thick clouds of pyroclastic dust billowing around the recently imploded Twin Towers were…seeking solace from a grim reality,” The Grio tragically informs its readers. “Or they were indeed doing the only thing they knew how to do in times war and peace: consume.”
I hope The Grio’s writers don’t get cold on the moral high grounds they seem to hold so close to heart. Meanwhile, the rest of us senseless consumers can go to various of Jay-Z’s “Blueprint” lyrics, like the ones below, and see why one would consider purchasing such a record when “seeking solace from a grim reality.”
“Hey, lil’ soldier, you ain’t ready for war
R-O-C too strong for y’all
It’s like bringing a knife to a gunfight, pen to a test
Your chest in the line of fire with your thin-ass vest”— “Takeover”
***
“I spring train in the winter, ’round early December
Run suicide drills over and over
With the weight of the world on my shoulder” — “Breathe Easy (Lyrical Exercise)“
Change “R-O-C” to “U-S-A” in “Takeover,” and you have yourself a military song.
Obviously, Jay-Z put completely other meanings in “Blueprint” tracks. The album’s unfortunate release date is just a result of unfortunate circumstances. Such would include that in 2001 the new records were usually available to the public on Tuesdays.
However, the album’s lyrics are still there, and one can take them in various ways. Considering the tragic events, “Blueprint’s” lyrics seem a good option for one to resort to. The point is music can unite and heal people during tragic or challenging times.
Music can also send a message.
Like the one alyona alyona is sending in her new “Mariupol” (“Маріуполь”) song and music video.
“Mariupol”
Mariupol is a Ukrainian city that has suffered countless devastating attacks since the beginning of the Russian occupation of Ukraine. Devastating attacks included bombing a maternity hospital, turning nearly half of the city into ruins, and killing tens of thousands of civilians.
Since the beginning of Mariupol’s full-scale occupation by Russia, reports of “propaganda trucks” appeared. Machines are driving around the city, showing people the “right” TV channels with news and kids’ programming. There’s no way to hide or get away from this. The transport drives around the city streets during the day, with the loudspeakers telling people “the truth.”
How do you combat the power which destroyed half of the city and now trying to forcibly indoctrinate its citizens? What do you put against its lies and propagandist messages?
The new alyona alyona’s music video primarily consists of Mariupol’s footage. The shots of the pre-war peaceful city with happy people and everyday routine change to the footage of destroyed Mariupol’s buildings, refugees trying to escape the occupation, and soldiers fighting for their homes. The music video’s distinction between war and peace says more than a thousand words or any propagandist message.
War & Music
Music unites. It helps to get through the darkest times. And motivates. There’s no proof or clarity on the amount of help “Blueprint” provided to boost the army to capture and eradicate Osama Bin Laden. However, it’s likely that many people resorted to Jay-Z’s record and found the source of power in it during the challenging times.
So, let’s hope that someone will watch alyona alyona’s new music video and motivate themselves to capture the Russian Osama Bin Laden sometime soon.
Watch the “Mariupol” music video by alyona alyona and the Ukraїner project below:
BEVERLY HILLS, CALIFORNIA - MARCH 24: Honoree Nia Long accepts an award onstage during the 2022 15th Annual ESSENCE Black Women In Hollywood Awards Luncheon at Beverly Wilshire, A Four Seasons Hotel on March 24, 2022 in Beverly Hills, California. (Photo by Rich Polk/Getty Images for ESSENCE)
Central Cee made a song titled, “Doja”, mentioning the rapper and Doja has responded. Women have been one of the core topics in hip hop since the genre began. Rappers rap about women in most of their songs. Whether it is to glorify, berate, thank, or hate, rappers love talking about women. I don’t blame them. Men and women encounter each other every day, so why not talk about it. Specifically, though, there are women who get brought up more than others. Most of the times, it is an attention grabber or just a shoutout. Let’s look at some of the most famous women mentioned in hip hop lyrics.
10. Oprah Winfrey
Oprah is rich! And rappers know it and love it. She is also more famous than most of them, which makes it better. Rappers have thrown Oprah’s name in their songs left and right. Whether they wanted to date her or wanted her to be their sugar momma. Oprah is a wanted woman. There are artists who would love to take Steadman’s place.
It’s too easy to mention Kim Kardashian in a song. Since she has hung out with Paris Hilton, she has been around numerous athletes, rappers, and tycoons. It’s a small world in Hollywood and word gets around quick. Rappers have either had ties to her, knows someone who had ties to her, or anticipate having ties to her.
The Queen of rap has been turning heads for over a decade. When she first came in, all the attention went to her ass. As we haven’t seen a woman in rap with all that junk! It’s easy for rappers to put her name in a lyric as she is in the same league as them. She still gets the adoration as she gets better with age.
Nia Long is a favorite amongst rappers. Rappers have adored Long since the 90s. And still to this day, she is a wanted woman. Too bad Boston Celtics Head Coach Ime Udoka took her off the market.
Lori Harvey’s name just started being brought up in songs. She has been seen with artists like Bow Wow, Meek Mill, & Future. Word on the street, she is pretty cold hearted after calling it quits with Michael B. Jordan. Don’t let the fact that she’s Steve Harvey’s stepdaughter fool you.
Just like Rihanna, everyone loves Queen Bey. Even though she is married to Jay-Z, rappers still don’t hesitate to put her name in their lyrics. And out of respect for Hov, the artists are never disrespectful or derogatory. Well then there’s Kevin Gates who said in his latest freestyle he would let Beyonce piss on him. I’m not sure how Hov felt about that one
Nicknamed “Superhead”, Karrine Stephans was known all over the industry. She was known for being with many rappers, most notably Lil Wayne and Busta Rhymes. It was easy to put Superhead in a song with a name like that. She became so famous she even wrote a book about her experience in the industry.
In the 1990s and early 2000s, many rappers mentioned Halle Berry in their songs. Whether it was to point out her beauty, her acting, or how they would treat her, Halle was a wanted woman.
She was hot on the Hollywood scene as she was always in the media.
2. Rihanna
You can hear Rihanna’s name mentioned a lot by rappers. Everyone loves Rihanna and wants to be with her. Now, that she is with ASAP Rocky, no one has a chance. Rappers have been mesmerized by Rihanna’s beauty, talent, and Barbadian accent since she started. Not too many people have gotten the chance to woo the Fenty founder, so why not get her attention by putting her in a song.
Monica Lewinsky has been mentioned in numerous hip hop songs. From 2 Chainz to Jeezy to Beyonce, Lewinsky’s name can be heard by many. Her infamous moment with President Bill Clinton will never be forgotten. It has been written in books and said many times on record. After Beyonce named dropped her on Renaissance, Lewinsky has called for her to remove her name from the song “Partition”.
Kodak Black and Jackboy have had beef on and off the past few years. Just recently, Jackboy responded with a diss track to Kodak’s EP, Closure. Jackboy and Kodak were “best friends” and Jackboy is signed to Sniper Gang, Kodak’s record label. This is not a strange thing in hip-hop. There have been numerous times where rappers on the same label have dissed each other. Let’s look at some of them.
10. Megan Thee Stallion and 1501
Megan Thee Stallion and 1501 Certified Entertainment have been feuding for a while now. She claimed the label was preventing her from releasing new music. She filed a lawsuit against Carl Crawford, head of 1501 claiming she was only paid $15,000 by them. Carl Crawford claims Megan started to keep her financial information from the label after doing a deal with Roc Nation. He said that was a tactic to try to get him to renegotiate her deal. Recently, Meg was at a concert where she put her middle finger up during a song where the lyrics are “I’m the 1501 queen”. Their beef is still unsettled.
Consequence was already apart of Kanye West’s G.O.O.D. music label. He appeared on tracks with Ye on The College Dropout and Late Registration. After his absence in the G.O.O.D. Music Cypher at the 2010 BET Awards, Consequence made a diss track towards Kanye called “Man Purses”. He claims Kanye did not help him with his second album with the label causing him to feel that they weren’t brothers. Later, Consequence claimed that he wrote a lot of Kanye’s lyrics on The College Dropout. In 2015, they patched things up as Consequence worked on Kanye’s album, The Life of Pablo.
Tyga and Drake were both on the label Young Money for quite some years. In 2014, Tyga called Drake “fake” when he did the cover story for VIBE magazine. He mentioned he didn’t get along with Young Money, Nicki Minaj, or Drake. Tyga adds that he likes Drake’s music, but just doesn’t like him as a person. Chris Brown is his close friend and Drake, and Chris Brown were feuding at the time.
Drake responded by liking a few of Blac Chyna’s pictures on Instagram, the mother of Tyga’s son. Tyga then took a few shots at Drake on “Make It Work”. Drake stayed on Instagram and posted a photo with Kylie Jenner, Tyga’s fling at the time. Then Drake went to the booth to drop “6 PM in New York” that included some lines for “Rack City” rapper. In 2016, Tyga said he and Drake were on good terms because of Kanye West.
Tyga in a Exclusive Vibe interview says ‘I Dont Get Along with Nick Minaj or Drake. To me Drake is just fake’. Ouch 👀 pic.twitter.com/vyIUvgozNn
Freddie Gibbs was signed to Jeezy’s CTE record label in 2010 after making the XXL Freshman list. Two years later though, he revealed he was no longer with Jeezy. He even put out a few diss tracks including “Real”. Jeezy dropped his single “Therapy for My Soul” where he spoke on the situation with Freddie Gibbs. He says he couldn’t trust Gibbs after he invested in him and adds that he isn’t “gangsta” at all.
After hearing the track, Gibbs hopped on Twitter to poke fun at the Atlanta rapper, saying BMF put him in a headlock and posted a video of Jeezy dancing. Jeezy claims that when Freddie was with CTE, he put him on songs with T.I. and Eminem, took him on tour, and paid for his music videos. When it was time to go to the labels to get Freddie a deal, no one wanted to sign him, so Jeezy cut ties with him over the phone. Recently, Freddie said he is interested in clearing the air between them two.
If Jeezy & Freddie Gibbs ever squash their beef & start collaborating again, that would be a big shocker in Hip Hop history.
Meek Mill & Wale were leading the charge for the Maybach Music Group in the 2010s. Along the way, Meek Mill felt that Wale was hating on him as his album was about to drop. He went to Twitter to vent his frustrations about his D.C. labelmate. Wale responded on Instagram with a photo and a lengthy caption stating he supports Meek but doesn’t feel Meek’s support. The boss of MMG, Rick Ross, stepped in and said both artists were on the phone, and everything was “all love”. A year later, Wale discussed Meek’s beef with Drake on The Breakfast Club where he said Meek brought a “pencil to a gun fight”. Meek didn’t like that and let Wale know through an Instagram post as he berated him. Rick Ross stepped in again and now the two continue to make millions together.
Gillie Da Kid and Lil Wayne were both on Cash Money Records. He left the label in 2003 over disputes with money with label heads Birdman and Slim. Lil Wayne decided to diss Gillie on the song “Problem Solver” in 2006. Gillie retaliated by making statements about Wayne and Birdman being frauds in street DVDs. He even appeared in some videos with Wayne’s Squad Up members who weren’t too happy with Lil Wayne either. Gillie finally responded to “Problem Solver” with his own diss over the “Cannon” beat. A beat Lil Wayne rapped over on his Dedication 2 mixtape with DJ Drama. They traded diss songs once again after that. Today, when they see each other, they greet each other and that’s about it.
In 1997, Eminem linked up with Royce da 5’9 to form the duo Bad Meets Evil. They made a lot of songs together and Royce was on Eminem’s debut album, The Slim Shady LP. Shortly thereafter, Royce’s manager made comments about Dr. Dre in 1999 that Dre didn’t like. Dre cut ties with Royce and his manager leaving him and Eminem to be disconnected. A few years later, Royce Da 5’9 gave Eminem a freestyle for the ‘Anger Management’ mixtape. Eminem took one of Royce’s lines on the freestyle as a diss. D12 dissed Royce and Royce dissed D12, which ultimately led to Proof and Royce fighting one night at a nightclub. Proof was killed three years later, slowing down the beef. They continued their beef on and off again, but today Eminem and Royce da 5’9 have no issues.
Tee Grizzley Says Eminem, Royce da 5'9" Beef Is Big Misunderstanding https://t.co/2buIjcs8ON
Dame Dash named Cam’ron president of Roc-A-Fella Records, to which Jay-Z was not aware of. Jay-Z deleted Cam’ron’s verse on the song “One For Peedi Crakk”. Cam’ron then decided to take Jay-Z’s verse off the “Oh Boy” remix. Cam sent shots at Jay-Z on his song “Let Me Know” in 2000. As Dame and Jay-Z were feuding, Cam’ron took Dame’s side. He made another diss track at Hov called “You Got to Love It”. After Jay-Z released his album, Kingdom Come, Cam’ron and Jim Jones dissed him again on “Kingdom Done”. The beef continued for a while but was recently deaded.
Ice Cube was the lyrics to N.W.A., simply a poet. He was smart too as he was the first one to scope out how Easy E was the only one getting paid. Cube left the group and started his solo career, to which N.W.A. didn’t like. They dissed him on their EP, “100 Miles and Runnin” and Cube retaliated on his song ‘Jackin For Beats’. N.W.A fired back and that’s when Ice Cube made the infamous “No Vaseline”. This attributed to the breaking up of N.W.A.
We don't talk enough about the Ice Cube/NWA Beef. Real N's is one of my favorite disses of all time, but No Vaseline shut NWA down https://t.co/iwZLEStZf0
When 50 Cent was brought in to help with The Game’s debut album, tension started to rise. After helping write Game’s biggest singles on the album, 50 felt the label was focusing all their attention on Game after they pushed his album back. The Game was on HOT 97 and said he was going to do a song with Nas, who at the time was beefing with 50 Cent. A few days later, G-Unit went to HOT 97 and declared Game out of the group. Game came down there while G-Unit was on the air and a shootout took place. Game then disses 50 on “300 Bars N Runnin” and 50 retaliated with “Not Rich, Still Lyin”. They went back and forth over the years, and they are still not cool today.
Two weeks ago, Kelis blew up social media after discovering an old single in which she was featured, “Milkshake,” was sampled on Beyoncé’s new project. Kelis’ statements caught many off-guard, raising many questions and ultimately leading to the removal of the sample.
Beyonce’s “Energy” A Napalm Bomb
Beyoncé, known for her explosive releases and boundless creativity, recently made waves with the release of her new project “Renaissance.” As with everything Beyoncé, the project caused a significant amount of buzz. Upon the drop, news rapidly spread of the addition of a Kelis sample on the track “Energy.” However, it became evident Kelis was clueless about the fact beforehand. In fact, the artist found out through social media with the rest of the world.
Kelis Responds
Kelis’ response was much different than many expected. While many felt the artist should be overjoyed, Beyoncé used the track on her release; she was less than thrilled. In fact, she was enraged by the credulity of Beyoncé, Pharrell, and Hugo, who are listed as co-writers. Her primary argument lent to the premise of fundamental disrespect, saying that someone could have at least contacted her before the use of the sample.
Kelis and The Neptunes
Those who are aware of Kelis’ history with The Neptunes know that she is she doesn’t bite her tongue when it comes to them. She openly spoke out against them in 2020. Once again, she stands tall to tell the world how she feels.
“My mind is blown too because the level of disrespect and utter ignorance of all 3 parties involved is astounding.”
Kelis did not stop at one statement. Kelis made several posts on social media pontificating her point making her frustration evident. In her words,
“I have the right to be frustrated. Because no one had the human decency to call and go, ‘Hey, we’d like to use your record.”
And her grievance wasn’t done there; the artist went on to contend it was done on purpose.
History Bites Back
Two years ago, Kelis called out the duo (Hugo and Pharrell) for shady business practices. In the earlier dispute, Kelis claimed that the Neptunes outright tricked her as a younger artist. The duo tricked her out of money and publishing credit. In 2020 Kelis stated,
“I was told we were going to split the whole thing 33/33/33, but we didn’t.”
When asked how she could be tricked, her contention was she was young at the time and didn’t know what she was doing. According to the artist back then,
“Just the fact that I wasn’t poor felt like enough.”
So, she signed not knowing what she was signing or what it meant, which is not beyond the norm in the industry. However, when asked for a response from Hugo and Pharrell at the time, reportedly, the argument to the counter was, “Well, you signed it,” which is also an undeniable point. Because despite a lack of knowledge, contracts are binding. Does it make it ethical? That is an entirely different argument. Nevertheless, it appears the release of “Energy” once again touched a sore spot.
Is Sampling Overdone
This is not a cut-and-dry issue. Beyond Beyoncé’s appropriate use of the song, there is much tied up in the creative nature of the sample’s origins. The issue’s root lies in the entanglement between Kelis and The Neptunes. Inarguably the root of that contention is the ideology of the authenticity of an artist’s genuine voice, the ideology of ownership regarding IP (Intellectual property), and the acceptable use of others’ work in general.
Kelis’ ardency in lifting her voice regardless of the pushback brings to the surface several inquiries. Is sampling overdone? Is sampling disastrous to the creator and the signature of the creative who uses it? And does sampling indicate a lack of creativity, and is it fundamentally theft?
Roots of Sampling: The Hip Hop Community
For many, samplings are as integral to hip hop as a seam is to a pair of pants. Much of earlier hip hop was held together by samples. According to uDiscovermusic, “legendary block party DJs such as Grandmaster Flash, Kool Herc, and Afrika Bambaataa would scratch out record labels on the records they were playing with to keep their sources secret – and keep their punters dancing.”
Initially, the elevation or transformation of recognizable music to a new form made people move. The ability to flip an old soul album and create something new was a distinct fingerprint of the talented ones in the community. Those songs which carried the signature were undeniably hits. As it is further noted by uDiscover,
“One of hip hop’s signature songs in the golden age included a sample “Apache,” recorded by The Shadows: a British intro combo led by guitarist Hank Marvin best known for backing Cliff Richard.”
For some, the signature sample may be unrecognizable in “Jump on It,” but one close listen makes it almost undeniable. The way the Sugar Hill gang remastered “Apache” was a marker of true talent at the time. And in fact, as the source notes,
“So important is the song in hip-hop’s history that it’s been claimed as the genre’s “national anthem.”
Although Sugar Hill’s Gang single was an earlier identifier of sampling, it was not the first to do so in music. And in Hip hop, they wouldn’t be the last. James Brown’s “Funky Drummer” was used to undergird Public Enemy’s Fight The Power. Rob Base And DJ E-Z Rock’s It Takes Two sampled Lynn Collins (Think About it) 1:30
And Snoop Dogg retrofitted Atomic Dog, fashioning it into his anthem, Who am I? (What’s My Name)
A Problem Brewing
The use of samples did not go unchecked; not everyone was down with the free-for-all, and several producers were taken to task. For example, De La Rose, who tried the same thing in sampling music by the Turtles, was sued for using their intellectual property. According to uDiscover
“The case was settled out of court for an undisclosed sum, and budding acts were subsequently forced to be more circumspect.”
It was obvious that things were shifting. Sampling was becoming a minefield. But, of course, that didn’t put an end to sampling. Many more of hip hop’s most recognizable songs contained samples.
“The iconic bassline for Lou Reed’s ‘Walk On The Wild Side‘ helped make A Tribe Called Quest’s ‘Can I Kick It?’ one of the most recognizable songs on the radio in 1991.”
Still, more and more, it became unsavory to some across industry lines. Finally, Laruche’s legal suit against Marly Marl became a significant turning point.
Spinning the record
In the ’90s, producer Marley Marl (Marlon Williams) was sued for sampling drumbeats from Impeach the President, a 1973 song by Honeydrippers, on two LL tracks, one being “Around the Way Girl.”
Additionally, the producer was said to use a vocal sample from the same group (Honey drippers) for EPMD single Give The People. Mr. Fuch had purchased the Impeach the President masters, so the sampling left a distaste in his mouth. Of course, money was at the base of Fuch’s beef. At the time, Lawrence Stanley, a representative of PM Dawn, contended that if Fuch, who lodged the suit, won, it would be highly costly to hip hop. Stanley had this to say,
“Probably 99 percent of drum samples are not cleared, everyone takes beats from other songs, adds things over them, amplifies them, does anything they have to do to make their own track.”
While this argument supports the industry’s actions at the time, one cannot help but question how solid the reasoning is. It was apparent that hip hop was being held together by samples. The massive nature of sampling made making corrective actions or altering the way things were done untenable. Furthermore, pursuing proper channels for rights to samples is laborious, time-consuming, and costly.
The New York Times notes, “A single rap album can include dozens of samples, from single drumbeats to full musical phrases. Finding the copyright owners, negotiating fees or royalties, and gaining legal clearance is time-consuming and can add tens of thousands of dollars to the production costs.”
Many areas regarding what was appropriate use concerning requiring permissions weren’t precisely clear. However, one thing was sure; sampling was too prevalent, perhaps abused, extremely problematic, and warranting some change.
Kelis/Sampling: No New Thing
As we know, things haven’t exactly changed. Let’s not forget Kanye West’s “Gold Digger”, which heavily sampled Ray Charles hit single “I Got A Woman” and songs as current as Beyoncé’s “Energy.”
Although using others’ work remains a go-to for many, more artists now seek the proper permission while others deal with it on the back end. However, does it still justify the overuse?
Back to Kelis
When Kelis spoke her piece, she picked up a lot of haters in the process. Many argued that the sample was extremely small. A lot contended she should have kept her mouth shut, arguing she self-sabotaged herself out of future profit. Others made claims the song wasn’t even hers to begin with. However, Kelis stood firm despite those who felt she was too dissident. Hearing what she proposed was her work being sampled without a modicum of respect for pre-knowledge broke her soul. In her words,
“I just heard the record everyone says has my sample. But it’s beyond this song at this point. This was a TRIGGER.”
She is not the only one to have argued a need for redirection, not so much regarding permissions but of using others’ work period, as Prince argued. “Sampling is getting to a point where it’s getting out of hand.”
So, the more appropriate question becomes, do artists need to sample another artist to deliver mind-blowing projects? Beyoncé’s response to Kelis’ outrage and allegations of theft was to remove the sample with no further reaction at the time. And Bey’s response gives us a bit more to contemplate. Is the removal of Kelis’ sample proof that perhaps the sample wasn’t necessarily needed? If it didn’t matter in the big scheme of things, why include it in the first place? And why remove it so rapidly if it mattered and required all the excess permissions to make it part of her creative model? Was the initial inclusion Queen B’s attempt to correct a wrong she felt Kelis had undergone? Or was it a simple artistic decision, and she didn’t feel obligated to include Kelis? Whatever the purpose of the inclusion or the abrupt removal, we don’t yet have a definitive answer.
Future of Sampling
Regardless sampling remains an issue that is not clear-cut and dry. And it will remain a point of contention. There is no denying sampling has been done before and has often gone unchecked. Some swear by it. Of course, there is the argument that using samples brings the work of latter artists to a new generation. And thus, the former artist owes gratitude to those who have selected them for this great honor. But does this matter? Does the potentiality for success or re-introduction override a creator’s desire for what to do with their intellectual property, provided proof of ownership? As the current issue has been brought to light, perhaps it is time to re-evaluate the use of samples. Maybe it is past time that all artists stand on their creativity alone.
Pro-life and pro-choice demonstrators gather in front of the US Supreme Court. Image source: BRENDAN SMIALOWSKI/AFP via Getty Images.
Roe v Wade is a hot-button issue currently in the United States. But the medium of rap music has been speaking on it for decades.
It’s no secret music has a significant influence on American society’s social and political landscape. The 60s sound-tracked the public feelings on civil rights, and the hits of the 70s reflected Americans’ thoughts on the ongoing war. With rap being the most dominant genre of music on the Billboard charts, it works as a vessel for discourse in our modern day.
Following the 1973 Roe v Wade ruling, a precedent was set to consider abortion a constitutional right. At the time, this disrupted state anti-abortion laws across the country and sparked a pressing debate, continuing to this day. As the public’s view on abortion changes drastically over time, How has its narrative in Hip-Hop changed with it?
Fresh Off Roe V. Wade
One of the earliest and most condemning mentions of abortion in rap is the aptly under name “Abortion” by Doug E. Fresh. The 1986 song is entirely about opposing the procedure on a moral basis. Doug E. Fresh and the Get Fresh Crew reflected many Americans’ views back at the times when sex education was much hardly available.
36 years later, we see the same anti-abortion arguments as in 1986 Doug E. Fresh’s and the Get Fresh Crew’s song. However, today such discourse takes place on the Senate floor.
Mind distortion, the world morals is out of proportion
And I want it played in every Walkman
All of us were born into a life of sin
That’s something in the genes buried deep within
But to give or take life, you must pay the price
Of course, this is just 13 years after Roe v Wade. Soon enough, many more artists and Americans alike would gain a deeper understanding. At least, for a bit of a while. 2
Tupac Turns The Tide
Tupac Shakur is known for being ahead of his time in more ways than one. This includes his take on reproductive rights. Seeing as how Shakur grew up with a single mother, he shows rare sympathy for young girls raising kids. In his 1993 song “Keep Ya Head Up,” Tupac clearly states his belief that women should have the right to choose.
And since a man can’t make one
He has no right to tell a woman when and where to create one
So will the real men get up
I know you’re fed up, ladies, but keep ya head up
Obviously, this is something Shakur felt passionate about. Two years earlier, he released “Brenda’s Got a Baby.” This well-known track details a pregnant young girl facing unimaginable hardship after suffering sexual abuse.
I hear Brenda’s got a baby
But Brenda’s barely got a brain
A damn shame, the girl can hardly spell her name
Tupac vividly paints a picture of the circumstances a baby can be born into when women are stripped of their reproductive rights. Notably, “Brenda’s Got a Baby” struck a chord with many listeners who never heard a record told from the mother’s viewpoint. It remains one of Tupac’s most beloved records in his impressive catalog.
Up Close & Personal
Another rapper who hasn’t shied away from the topic of abortion is Lauryn Hill. The Fugees alumna has a firsthand account of being pregnant and on the fence about getting the procedure. In her 1998 song “To Zion,” Hill describes in detail the pressure she was under to terminate her first pregnancy.
Woe this crazy circumstance
I knew his life deserved a chance
But everybody told me to be smart
‘Look at your career,’ they said
“Lauryn, baby, use your head”
But instead, I chose to use my heart
Now the joy of my world is in Zion
Zion came to Hill during a tumultuous time in her life and career. The then-22-year-old was just starting her solo career after a rocky relationship with bandmate Wyclef Jean. It’s easy to imagine those around Hill discouraging her decision, but the beauty of “To Zion” is the presence of a decision. Through a mix of storytelling and actual experience, the “Ex-Factor” MC expresses her love for her son and stands firmly in her choice.
Common and Lauryn collaborated on another song about family planning the previous year. “Retrospect For Life” follows a young couple discussing if they should start a family or not.
I wouldn’t choose any other to mother my understanding
But I want our Parenthood to come from Planning
It’s so much in my life that’s undone
We gotta see eye to eye about family before we can become one
By the content and context of the lyrics, it’s clear that abortion has shifted from a complete taboo to an ordinary conversation. Of course, the public eye would still avoid the subject. However, many couples start talking behind closed doors. Kids impact everything for their parents, money, space, time, and “Retrospect For Life” gets candid about that. Similarly to Zion, this adds a human element to the debate.
The Hardest Decision
As Hip-Hop transitioned into the new millennium, the politics surrounding reproductive rights continued to evolve. Two rap songs from the 2000s, “What’s Going On” and “My Story (Please Forgive Me),” give a more regretful stance.
Love & Hip Hop star and artist Remy Ma loves to gush about her kids and the joy of motherhood. But avid fans know motherhood has always been a big part of her. In “What’s Going On,” featuring Keyshia Cole, Remy tells the tale of a young woman looking back on her abortion with remorse.
Tell me what’s going I know what I’m doing is wrong
Can you hear me, Lord, when I’m calling? Forgive me, my baby
How am I supposed to feel the situation is real
Neva wanted to let you baby go. We’ll meet again, I know, baby
Similarly, in “My Story” by Jean Grae, pregnancy termination is allegedly dark and guilt-inducing.
See when the rain comes down, I know it’s fallin’ for me, and only for me
And when the pain comes around, there’s nowhere else I rather would be
I know what I’ve done. Please forgive me
It’s worth noting neither artist here puts down women who choose that planned parenthood trip. There are no petty insults or agendas but rather harsh truths about the realities of such a difficult choice. Like many rap songs about reproductive rights, simple storytelling here makes compelling points.
Looking Ahead At Roe V. Wade
More recent offerings in the Hip-Hop world reflect the still chaotic debate raging on. On the one hand, there’s still sympathy for potential mothers in tracks like “Lost Ones” by J Cole. The early 2010’s deep cut documents a young man telling his girlfriend he doesn’t think they’re ready to start a family. Abortion here is framed as a decision for a man and woman to make together for their own sake. However, many rappers in our current landscape still see abortion in an inherently negative light. “If These Walls Could Talk,” by Gat Turner and Viva Fidel, explicitly calls it murder.
Shook like an unborn man, my life in danger
Cause first sign of trouble mama looking for the hanger
Shook like an unborn mama trying to murder me
First-degree abortion, devil call it surgery
Indeed, time doesn’t wash away long-held beliefs. These two songs perfectly exemplify the two sides of the coin in the contentious political battle. What appears as family planning to some has more immense moral implications for others.
Wherever you stand, it’s clear that reproductive rights are going through a change unseen since 1973. The country’s political landscape is slowly changing, and rap music will continue to be the soundtrack for that transition.
During a recent interview, will.i.am expressed his thoughts on the ever-present Tupac or Biggie debate. The grammy award winner’s response no doubt shocked many hardcore hip-hop heads. The Black Eyed Peas founder stated, “That kind of music doesn’t speak to my spirit.”
Will.i.am answered while on an episode of Hip Hop Confessions. The host asked the rapper a question asked to every rap fan at least twice a week. Biggie Smalls or Tupac Shakur? Will.i.am intended no harm or ill will with his nevertheless controversial take. The rapper went on and clarified his previous statement.
The Explanation
He elaborated, “I’m such a Tribe Called, De La Soul fan that I don’t like Tupac and Biggie.” He later went on to praise Pac and referred to him positively. However, he added that while Tupac’s music helped people, especially those in the projects, he found solace in other artists. He explained to the host that he found his escapism through the works of the groups above, A Tribe Called Quest and De La Soul. To anyone familiar with his work, this should come as no shock. The happier and beat-driven work of the two groups find their way into will.i.am’s work.
The Bigger Question
Will.i.am’s words no doubt shock many rap enthusiasts; however, his claims raise an interesting question. When discussing rap greats, are the influences of Tupac and Biggie overblown to the point of detriment for other notable artists? Throughout this section of the interview, will.i.am name drops Tribe, De La Soul, Eric B. and Rakim, KRS-One, and Boogie Down Productions. All are influential rappers in their own right, but are they respected enough? It is a compelling enough question to ask. Certainly, Tupac and Biggie receive the most attention in discussing classic and historical greats of the genre. Perhaps it is time to offer recognition to those artists who spoke to the projects like Pac and Big, such as the ones mentioned in the interview.
It remains to be seen if the question raised by the interview will receive an answer soon. Much like the ever-present Biggie or Tupac question that started the whole discussion.
Method Man, rap pioneer and Wu-Tang Clan Member, gave unsolicited advice to up-and-coming rappers trying to enter the industry. On the July 10 episode of the popular podcast “My Expert Opinion,” Method Man discussed a trend quite common in today’s rap game. While the Wu-Tang legend chatted with host Math Hoffa about various hip-hop topics, one in particular raised the eyebrows of many young emcees. Method Man claimed that it is not a wise move to sign to an artist-owned record label. His main critique of this standard practice is that by doing so, one’s music will always play second fiddle to the owner’s work. It’s certainly a compelling point. The level of thinking showcases why Method Man became the musical icon known the world over. Method Man explained the difficulty of the situation further, “They can’t give you the time or attention…you probably deserve.”
However, a rule is rarely a rule without exceptions. As such, the podcast did give credit to Drake as an example of this business model succeeding. He also cited Rick Ross and Meek Mill as other positive examples. Of note is the standard that Method Man gave as to why he dislikes the concept. He briefly mentions Puffy and Bad Boy Records as examples of why artists become neglected in this system. During the height of Bad Boy’s prominence, Puff received frequent criticisms. Some of the most memorable came from claims that Bad Boy existed more for Puff’s advancement than the artists he signed.
The Takeaways
Method Man’s words should be heeded. After all, it’s not every day a rapper of his caliber provides insight into the industry. However, with the success of rappers like Drake, Rick Ross and Meek Mill, one does wonder if Meth’s advice will continue to hold true. Perhaps a new era of rap management is on the cusp. One where label owners engage in their own projects and give the needed attention to the projects of label partners. The future might look different from the past, but we should still listen to the insight given by music legends like Method Man. To do so the entire podcast can be found here.
Serbian 1990s political memes. Image source: AP/YouTube.
In Jul 2020, the British singer Dua Lipa first went on the Internet and then opened Pandora’s box, confusing many and reminding some of the old war wounds.
“au•toch•tho•nous,” the “Don’t Start Now” artist explained on Twitter. “adjective (of an inhabitant of a place) indigenous rather than descended from migrants or colonists.”
Attached was also the picture of the ‘Greater Albania’ map. The map shows portions of Kosovo, Serbia, Greece, and North Macedonia as parts of Albania.
The image Dua Lipa attached to her controversial tweet. Image source: Dua Lipa, Twitter.
The responses below Dua Lipa’s tweet presented a culture war in a nutshell. “Using her fame to educate y’all is a queen move xx,” someone replied to Lipa. “She’s not educating anyone,” the other person responded. “She is delusional just like you. Do your due diligence and research the history.”
What happened? What is behind the idea of ‘Greater Albania?’ How come a pop artist can stir such heat by posting just one tweet?
“You Will Not Be Beaten Again”
In Apr 1987, another culture was starting to stir up, but IRL. In Kosovo, ethnic tensions between Serbs and Albanians began escalating.
Slobodan Milošević, then President of the League of Communists of Serbia, went to Kosovo to talk to “both sides” and supposedly try to regulate the conflict. Instead, tensions escalated right in front of the building, where Milošević was figuring things out.
Slobodan Milošević promising Kosovar Serbs that they “will not be beaten again.” Image source: “Death of Yugoslavia,” BBC.
In response to the Serbian protesters’ chants, Milošević went out into the crowd and started talking to an old man. An old man told Milošević (and, of course, the TV camera) that Albanian police officers had been brutally beating up Serbian women and children who came to the demonstration.
“You will not be beaten again,” Milošević responded.
Long story short, Milošević’s statement led to Serbian nationalists trying to take Yugoslavia under their control. The nationalists’ actions started the Yugoslavian war with its cities’ destruction, ethnic cleansing, and many other horrific events.
Sarajevo street in the aftermath of Bosnian Serb nationalists siege. Image source: History Hit.
Kosovo Internet War
Back in Kosovo, things also began to stir up. In 1989, the region lost its autonomy and came under Serbia’s direct control. The ethnic tensions between Serbs and Albanians rose for around a decade. By 1998 the military conflict started. Eventually, NATO sided with Kosovo and launched a bombing campaign in Yugoslavia.
Many horrific events occurred in Serbia and Kosovo, including bombings of cities’ living districts. However, history also claimed the conflict “First Internet War.”
By the end of the 1990s, Worldwide Web had entered the era of mass internet communications. It included the former Yugoslavia, also providing ZaMirprehistoric social media platform. It allowed friends and relatives to stay connected during the earlier Yugoslavian wars.
By the beginning of the Kosovo conflict, its internet version was also launched. The prehistoric trolls posted memes online, joking about NATO playing with its toys. They also were raising awareness of what’s actually happening in Serbia.
Meanwhile, many common Serbs would also go online and fight. They came in chat rooms and forums, trying to prove that NATO propaganda is just a subtler version of Serbian propaganda. Milošević and Serb media would support their citizens’ efforts while informing them that NATO only represents one side of the story.
Other supporters of the Serbian side (Russian hackers) broke into NATO’s website. The anti-imperialist computer fighters posted such messages on the web page as “Asses out of Serbia” or “Russian hackers demand to stop terrorist aggression against Yugoslavia.” Together with inspirational messages came jokes about Bill Clinton and Monika Lewinsky.
The war ended with Milošević’s overthrow in 2000. He died in jail during his UN war crimes tribunal. Yugoslavia also completely separated and turned into multiple independent countries.
Copying for a creative is the reddest flag. Find out how to avoid the pitfall of plagiarism and why it’s easier than ever to plagiarize.
Is TikTok’s For You Page Really For You?
One of the quintessential parts of social media platforms in this age is customization. The Instagram explore page, TikTok’s for you page, or YouTube’s homepage are just a few examples. So many sites use the user’s own tastes to design their scrolling experience. This type of technology shows how far the capabilities of the internet have advanced. However, it also poses a unique problem.
When you scroll past viral videos on your phone, you may get the subconscious desire to do the trend yourself. Even the best of us have an embarrassing ‘Corvette Corvette’ attempt sitting in our drafts. Although this seems harmless, it pushes a dark idea to millions of social media users. The strategy of plagiarizing content to go viral is undoubtedly efficient; however, it massively suppresses creativity.
This is particularly the case on TikTok. Tiktok, more than any other social media platform currently, has a profound impact on pop culture. If you’re wondering why you couldn’t leave the house earlier this year without hearing a high-pitched “sheesh,” that’s the culprit. If you have an account, quickly open the app and scroll for a few minutes. Note how many videos are purely original jokes, stories, or narratives. Then take down how many are trends, reposts, or recreations. The ratio may shock you.
In addition to the push of “trend” TikToks, many users are getting posts on their FYP literally advising them to plagiarize content. Videos like “How to EASILY produce video idea for TikTok” explicitly suggest viewers simply imitate their favorite creator. “Find somebody else’s TikTok that inspires you and then literally copy it,” a user explains in the guide.
Got To Give (The Credit) Up
Plagiarism is obviously a lousy practice, yet it’s prevalent on apps where popularity directly leads to rewards. Unfortunately, individuality is often easy to disregard for a Wendy’s endorsement or Shein promo code.
Regardless of plagiarism’s stigma, it’s technically legal in the United States. Things only get tricky when dealing with intellectual property such as books, movies, songs, and designs. The only way someone can properly sue for stolen content is through the intellectual property system. The infamous 2015 Robin Thicke/Pharrell Williams v. Marvin Gaye Estate case is a prime example. Thicke and Pharrell were forced to pay the Gaye estate over $7 million after a jury determined their hit song “Blurred Lines” lifted the composition of “Got to Give it up.” In that instance, the Gaye family was lucky. They had the money and ability to pursue legal matters. However, many creatives don’t have that privilege. Even in cases where intellectual property is plagiarized, lawsuits are often too expensive and time-consuming for the victim to take on.
Unfortunately, Even with the intellectual property system, things can fly under the radar. Choreography, jokes, expressions, and shared knowledge cannot be copyrighted. This leads to professions like comedy and dance being some of the most vulnerable to plagiarism. Coincidentally, these are two ventures that are incredibly prevalent on TikTok.
Plagiarism Experts Say…
Jonathan Bailey is a writer who runs a blog called Plagiarism Today. After being a victim of plagiarized poetry in the early 2000s, Bailey created the blog to document notable instances of plagiarism in pop culture.
“[Social media] puts a lot of pressure on [the] creative process,” the writer explained. “I’ve talked to repeated plagiarists who say, ‘I felt pressure to put up this many [content].'”
This type of pressure is undoubtedly present on TikTok. In video guides like “How to Grow Your Account to 1k Followers in 1 Week,” users are taught to post at least several times a week to gain followers.
Faithe Day is a postdoctoral fellow at UC Santa Barbara’s Center for Black Studies Research. “[People] create trends…those trends are meant to be followed by everyone else,” she explained. “There’s a fine line between following a trend and copying what someone else is doing.”
Indeed, plagiarism is morally wrong. However, not all copiers might know what they’re doing. “They don’t know that the thing they’re talking about someone else has already discovered,” Day expounded.
The Fight Against Plagiarism
It can’t be denied social media is a massive hub for uncredited work. Even so, platforms do put a slight effort into fixing this problem. The stitch and duet feature on TikTok encourages users to provide credit when doing trends. Stitching combines an original video with another, while duetting places two videos side by side.
The commonly dubbed clock app is constantly home to stolen ideas, even with these features. It can be virtually impossible to track a trend down to the originator once it becomes too big. This is an issue that permeates black dances in particular. Online trends like the ‘Renegade’ and ‘Shake That S—-‘ have grown tremendously with very little credit given to the black youth responsible. With TikTok stars like Addison Rae and Charli D’amelio getting Met Gala invites off the strength of viral dances, this is leaving many black users feeling unsatisfied.
So when making your viral TikTok, make sure the word “credit” pops up somewhere in that caption. After all, nobody likes a thief.
Anger sells, ask P Diddy. In his promotional Instagram video for the 2022 Billboard MusicAwards, the artist angrily claims he is to “do whatever” he wants to.
For some reason, Diddy’s triumph-of-the-will Instagram speech also has multiple bleep sounds. The video’s captions also repetitively say “$@#%” instead of “fuck” or, at least, “f*ck.”
Was self-censoring the first thing Diddy truly wanted to do since realizing he had the right?
Unfortunately, Diddy’s motivational promotion doesn’t give any answers. “End of discussion,” the artist claims in the clip instead. “Meet me at the Billboard Awards, okay?”
“Love & Forgiveness” For Travis Scott
This is not the only questionable statement Puff Daddy released lately. Just a couple of days before his Instagram proclamations, Sean “Diddy” Combs had preached on REVOLT Black News. “I’m uncanceling the canceled,” he shepherded. “There will be no canceling on my watch. Love is about forgiveness.”
While that “uncanceling” thing with its “love and forgiveness” indeed sounds like a good time, there’s a nuance. “It was important for me to have Travis Scott perform [at the Billboard Music Awards],” Diddy revealed at the end of his Biblical speech. “It’s going to be a great night.”
In case you forgot, Travis Scott had a horrendous concert show in Houston back in November. The show ended up with a stampede, where 10 people died. Overall, 4,900 people were allegedly injured and are now coming against Travis Scott in a class-action lawsuit.
Yeah I mean putting Diddy in charge of producing this and him deciding that it would be his mission to get Morgan Wallen and Travis Scott uncanceled was probably not a brilliant idea.
— Ultimate Bias Kim Yeontan⁷ ⟭⟬ᴱ ᴬᴿᴱ ᴮ⟬⟭ᶜᴷ (@JudgyYeontan) May 16, 2022
Is it going to be “a great night” for the family of 9-year-old Ezra Blount, who died in a coma after the concert tragedy? Do nine more families, who’ve lost their loved ones, think it’s time to offer “love and forgiveness” for Travis Scott again? Why would anyone even believe it’s okay to “make a demand” like this after the previous “great night” killed a dozen of people?
Another “great show” occurred in Dec 1991, during a basketball game at the City University of New York. Back then, Diddy’s performance led to nine people’s deaths and 29 injuries.
The court ruled that Puff Daddy is liable for the deadly stampede, together with the late Heavy D and the City University of New York. “By closing the only open door giving access to the gym, Combs’ forces … were fully aware of the crowd uncontrollably pouring down the stairwell,” the judge explained. “[Combs’ forces intentionally] created something akin to a ‘dike,’ forcing the people together like ‘sardines,’ squashing out life’s breath from young bodies.”
“There is not a day that passes that I do not regret,” Diddy tearfully proclaimed after the verdict. “But my pain is nothing compared to what the victims’ families have had to face.”
Glad to know that we now live in a new world. The world where the third richest hip-hop artist and the supposed role model for millions of people have changed their perceptions so radically. Thanks to the issue of “uncanceling,” which turns out to be so important, it makes it okay to rub victims’ families’ faces in “love and forgiveness.”
The #JunoAwards is now over. It was good at times. I wish the #BBMAs were over; it is one of the worst major award shows I've ever watched. Travis Scott, arguably a murderer, now performing. Can we get a petition to prevent #Diddy from ever coming back as host/producer?
The views and opinions expressed in the article below are those of the author. Any statements do not necessarily reflect the official policy or position of FMHipHop.
