Let’s compare Hip-Hop to a simplified Advertising Industry. In advertising, you have various different agencies geared towards selling a particular product. The ad agency’s job is to create the most effective advertisement to sell the product. In Hip-Hop, the ad agencies are the record labels, and the product is Hip-Hop music essentially. The labels’ main objective is to sell as much music (the product) by creating the most effective record (the advertisement) as possible.

In an ad agency, there is a specific department designated to create the ad that will sell effectively. This is the creative department, made up of art directors and copywriters, theoretically. The copywriter creates the words for the advertisement, and the art director makes the visual. In Hip-Hop, this would be considered the recording artist and the producer.

Now the number one objective in any ad agency is to sell, and after buying, researching and strategizing a plan, it is the creative department’s job to present an ad that will meet the client’s goal. Unfortunately, creativity is abolished and simplicity is welcomed because the main concern is SELLING the product. A copywriters integrity and craftsmanship have to be put aside, as it has been researched that simple, straight-to-the-point direct selling techniques are guaranteed winners.

And thus, you have the state of Hip-Hop; the record labels act as competing ad agency’s whose primary purpose is to reach as many people as possible, through their creative department’s ad’s. Generally, rapper’s are forced to dismiss creative intuitions and original ideas to go with what is guaranteed to sell. What is guaranteed to sell in any type of market is sex, violence, and controversy; in Hip-Hop this is the exhausted gangsta-machismo persona, the constant sexual exploitation, and the public controversy. If there is a new trend that is selling in the market (the vocoder) other labels will be sure to use it and make it their own, but it never steers too far from the main selling points. When new ways of selling the product get introduced (the iPOD, ringtones) the labels adjust accordingly, to where the product isn’t an entire record anymore but rather a single track.

The problem is that these ad’s (records) aren’t just everyday poster’s that you see as you pass by on the train, these are people’s lives, ideas and feelings recorded to music. The product isn’t just another way to make a buck; it is the music that is the representation for an entire culture. So sex and violence creating sells isn’t just looked at as “that’s just the ways to sell your product,” it becomes directly correlated to the culture that it represents. It is permeated into our thinking, our actions and our thoughts. Rappers are essentially helpless, as operating outside of this rigid formula doesn’t generate much success. They must follow the specific blueprint to sell their product, just like a copywriter. The originality, versatility, and freedom of expression of the Golden Age are either hard to find, or non-existent now because those things don’t move the product out of the stores. Labels become brands in the marketplace to the point where there are only a few brands pumping out the product. Since they’re all competing with each other, the product is the same.

So the state of Hip-Hop can be seen in different lights depending on your perspective. Is it a state of bliss (because that’s what ignorance is) or a state of emergency? Is it for better or for worse? Whatever it may be, the fact is Hip-Hop is a cash cow in the music industry and the music that it sells directly reflects this point. The bigger question is who’s to blame?

Before rappers emerged proclaiming to be the “kings” of their city; glorifying and indulging in every negative aspect of respect, reputation and recognition, there was a man from the early 1920’s to the 1960’s who governed his city with a ruthless but positive aura. Harlem’s beloved son Ellsworth “Bumpy” Johnson is often referred to as the original black gangster, and perhaps the most feared and respected.

But in the eyes of today’s generation – incarceration, hustling, and all aspects of the gangsta-persona are more loved and glorified than feared and respected. Especially in the Hip-Hop culture – where braggadocios lyrics about drug-peddling, gun-blazing and jail-visiting rappers are the constant images being presented to audiences around the world. A vast majority of rappers mold their images and personas after the reality that Bumpy carried out everyday. The story of the hardcore, street-oriented, tough upbringing artist, that is frequently fabricated, usually concludes with highly publicized attempts of artists living up to these facades, after the words are spoken. Consequences, convictions and sometimes death are the end results of rappers attempting to solidify their status. For Bumpy however, the actions spoke for them selves, and those factual events can’t be compiled from loose leaf.

By the age of 30, Bumpy Johnson had spent half of his life in prison. Arrested over 20 times, his rap sheet was unmatched – everything from assault, grand larceny and drug trafficking to burglary, robbery and gambling, just to name a few. Never afraid of a confrontation, bar brawls and street scuffles were always constant as Bumpy would not hesitate to bruise an ego as well as a jaw. It was this same confrontational attitude that contributed to the short-lived numbers gang-war with Jewish mob boss Dutch Schultz.

Looking to take complete control of the Harlem numbers racket, the only threats standing in Schultz’ way were Harlem underworld leader Madame Stephanie St. Clair and Bumpy, acting as her head lieutenant. While the rest of Harlem’s black numbers runners either violently surrendered or quietly sided with Schultz, Madame St. Clair and Bumpy adamantly refused. After an estimated 40 murders on both sides, Bumpy realized that Schultz’ violent prowess and political connections were too much and orchestrated a truce between the two factions. Even though the majority of the power was ultimately shifted to Schultz and the Italian Mafia, Bumpy earned their respect. They took a liking to his persuasiveness and brash demeanor; so much so that he was placed in charge of Harlem operations by Mafia leader Lucky Luciano.

Along with the numbers market, Bumpy was as well-known for his flashy, extravagant flair as his quick-tempered dominance. It is claimed that he was the first black gangster to reach the millionaire plateau and he wasn’t afraid of showing it; he cruised around in a stretch limo with a driver and sported tailored suits. He was a pimp as well, having numerous suspected affairs while showering his wife with gifts in between prison stints.

While some newspapers called Bumpy “Harlem’s Most Famous Underworld Figure”, it was his work in the hearts of the people of Harlem that earned him the moniker, the “Robin Hood of Harlem.” He was a philanthropist for the city and was always in support of his people – whether it was setting up soup lines during the Depression, preventing a family from eviction with a couple of bills or organizing the black number runners in the fight against Dutch Schultz – he was there for his city, and his city loved him for it. It was Bumpy who tried to organize the black numbers runners in the fight against Dutch Schultz, and it was Bumpy keeping the black numbers runners in Harlem alive after Schultz’ takeover. This strong determination and will resonated to the other cultures who seen Bumpy as an ally and an asset.

Acting as the middleman between Italian and Black organizations, Bumpy was trusted and most importantly respected with others outside of his race. He was well-known in some of the highest of Italian circles and was looked upon as the spokesman for his people. No other black man could garner the same respect that Bumpy did, and it was because he was straight-forward with his actions and his words.

And his words were intelligent ones. Nicknamed “The Professor” in prison, Bumpy was an avid lover of books and chess. Also a poet, some of his poetry was published later during the Harlem Renaissance. A brutal and dominating “gangster” that was also a master chess player and a collector of books? Bumpy Johnson had the ability to it all

His life could be said to be one big contradiction. While strong-arming his way to the heights of power on one side, he made sure the people around him were taken care of on the other. He was a gangster’s gangster with a strong moral code of ethics; something that is desperately missing in today’s world of the self-proclaimed “gangster.” The life that these types of individuals lead should most certainly not be glorified, especially if it is only the negative that is mentioned. Today’s so-called gangster is much more an advocate of poisoning his people rather than giving back. A rapper’s sheet of lyrics reads like a real rap sheet, as they struggle to prove their importance through blatantly telling on themselves through song – whether factual or makeshift. They are not respected by other races and are not supporters of their own for that matter.

Today’s gangster is a composition of every well-respected gangster of old, but the real gangsters like Bumpy Johnson served a purpose just as much as they were served sentences. The sense of pride in one’s self and one’s people is a thing of the past, as exploitation and downright destruction have become things to be looked upon as favorable and respectable. The entire image of thugs, druglords and gangsters has become a misrepresentation of an entire culture as rappers become kingpins over night through the air waves. But authentic tough guys like Bumpy actually had something that they believed in and fought for, which was the sense of pride in the people that loved them.

Although his actions were extremely flawed, Bumpy did whatever he could to make sure his people were handled with respect and his constant interest for the common individual is why people loved him the way they did. It’s amazing to believe that the most respected gangster in Hip-Hop culture is a fictional Cuban character who had nothing to do with blacks, when there were real life individuals who made the support of your fellow man a way of life. This just shows the drastic shift of self-pride today.

Bumpy Johnson’s life was in no way a perfect one. It isn’t commendable, and it shouldn’t be glorified. But he was one real gangster that did more for his people than relatively any rapper today who claims to do what he did. His contradictions were many, but with whatever he participated in – from once being called “the most dangerous man in New York City”, to being the “Robin Hood of Harlem” – he did with a strong moral code that made sure his people would not be disadvantaged and deprived. With every rapper professing his thugged-out story – although it’s usually scripted – and simultaneously bringing back nothing to the hood that they made millions fabricating, I would rather have kids study the life of Bumpy Johnson, if they had to look up to something. His methods might have been downright ruthless and negative, but his words were true and the love for his people was real.

Three and a Half out of Four Stars

Usher is a grown-ass man. Fidelity, marriage and fatherhood are all the talk on Here I Stand, the King of R&B’s fifth studio album.

Besides the smash single “Love In This Club,” the subject matter is very adult; and in a good way. The upbeat two-step of “This Ain’t Sex,” proclaims the higher meaning of the physical and the slow and seductive “Trading Places” shows Ush letting the woman wear the pants for a second.

We find Usher at a familiar place with “Moving Mountains” produced by Tricky Stewart, a heartfelt break-up song reminiscent of the Confession days. The first dud occurs with the will.i.am produced “What’s Your Name?” The cliché club track is out of place accompanied by a cheesy bounce beat.

After a sincere interlude dedicated to his newborn son, Usher’s support of the one-woman idea continue to be the focal point. The soft acoustics of “Something Special,” the sensual bedroom song “Love You Gently” and the Hip-Hop influenced “Best Thing” all are in favor.

Trips down memory lane and temptation ballads rap up the last few songs with a piano-laced, “His Mistakes” wedged in between about paying for the next man’s mistakes.

The new beginnings over the past four years for the R&B singer have had some light shed on them with this album. It has a mature, adult feel that is certainly needed in an industry where tipping strippers and one night stands are the norm. Although not able to match the impact Confessions, this album shows the proper growth of a well-known superstar.

Downloads: Something Special, Moving Mountains, His Mistakes

Three and a Half out of Five Stars

The record-breaking singer Mariah Carey gives us the solution to success with her 11^th studio album ‘E=MC^2’ continuing her hit-making trail.

Initially, ‘E=MC^2’ goes straight to the club. The Danja-produced ‘Migrate’ shows Mariah attempting to reach the young crowd, but guest T-Pain steals the show. It would’ve sounded better as his own song. After the lead single, Damian Marley chimes in on the smooth ‘Cruise Control’ and Young Jeezy throws around his ad-libs on the synth-driven ‘Side Effects’ produced by Scott Storch. All three are sub-par shots aimed directly at today’s ringtone era.

But vintage MC returns full force, as the ballads she’s well-known for take form. Long-time partner Jermaine Dupri deliver ‘Last Kiss,’ ‘Long Story,’ and “Thanks 4 Nothin,’ all slow and sensual with the latter being a guitar-laced trip into heartbreak. Producer Bryan-Michael Cox crafts two of the albums better tracks, the familiar sounding ‘I Stay In Love,’ and ‘For The Record.’ The standout track ‘I’m That Chick’ could very well be her next single, depending on the direction she wants to take. Upbeat and groovy, Mariah taps into female confidence with a Janet Jackson-esque flavor.

The formula that has helped Mariah surpass the Beatles with the most #1 hits hasn’t faded. After beginning by venturing into Hip-Hop’s model of a club banger, Mariah sticks to the formula that made her what she is today. Coming in at fourteen songs with two bonus tracks, Mariah testifies to the famous saying, “if it ain’t broke, don’t fix it.”

Downloads: “I’m That Chick” “Thanks 4 Nothin’” “Love Story”

Lyrically and conceptually however, the album is very cliché and
 manufactured. It can be detailed something like this – 2 ‘I Miss You’
 songs, 1 ‘Ride or Die Chick’ song, 1 ‘What Would I Do Without You’ Song
 and 6 Sex Songs – with singles in between. Seemingly, the artists
 themselves had no actual input into anything that went into the
 creation; there is no personal relationship established or any insight
 to the group’s direction or purpose, besides a club hit.
 Vocally, the Making the Band Boys aren’t distinctive; at times it was
 difficult to distinguish who was who. The lack of personality and
 identity further contributes to the lackluster outcome that most
 factory-processed bands unfortunately suffer. Hopefully this isn’t the
 same with Day 26.

The new class of Hip-Hop are already sophomores in the game, as the Midwest duo Kidz In The Hall are now at the front of the class schoolin’ cats with their new album The In Crowd. With a fresh, reawakening sound that Hip-Hop so desperately needs, Rapper Naledge and Producer Double-O dare to be different in the attack of the clones era we live in.

The first half of The In Crowd is very experimental if anything else. It seems that the Chicagoan duo felt the need to stretch the margins to expand on their set image and be creative and innovative. The lead single ‘Driving Down The Block’ show the group attempting mainstream success, ‘Lucifers Joyride’ is an eclectic getaway track while ‘Snob Hop’ and ‘Mr. Alladatshit’ bring slick rhymes over horn-based samples. However, the first half lacks the personal and relatable subject matter made famous on their debut.

That changes with ‘Love Hangover,’ an ode to Hip-Hop featuring singer Estelle. From here on the album is conceptually on point. Producer Double-O seamlessly provides Naledge with smooth beats for a perfect fit. The title-track perfectly explains the group’s message of dealing with the ‘in crowd’ over a melodic piano boom-bap. They save the best for last with ‘Inner Me,’ the self-reflection song that will separate them from the rest of the new school pack and push them into rap’s elite.

The Kidz In The Hall work on refining their direction and sound on ‘The In Crowd.’ While they have some more fine-tuning to do, the sophomore effort is definitely a step in the right direction.

Downloads: “Inner Me” “Alladatshit” “The Pledge”

The incredible band known as The Roots, continue their journey as one of Hip-Hop’s elite with their 10^th album, ‘Rising Down.’

After a flashback Intro, the title track sets the tone for the rest of the album. Armed with additional lyrical vets Mos Def and Styles P, Black Thought and the gang tackle the world of today over a militant snare.

“Who got the politicians in their back pocket?” is the question Thought asks in the second track “Get Busy.” “75 Bars (Black’s Reconstruction)” is reminiscent of The Roots’ ‘Illadelph Halflife’ days where Thought would rip through tracks a-la freestyle.

The political undertone continues on “Criminal,” featuring Truck North and a memorable verse from Saigon where he spits, “crooked ass cops is the reason for my belligerence.” In light of the Sean Bell case, this speaks volumes. “I Will Not Apologize” speaks on detrimental issues in, and of the Black community while “I Can’t Help It” ventures into self-realization and personal struggle. “Singing Man” marks the move into the more calm section of the album; at least instrumentally. Although the drum and bass get toned down the lyrics continue to a rise of power as Black Thought, a re-emergence of Dice Raw and a host of others touch on many issues.

The overall feel of this album is great. Although it speaks on troubling issues and problems in today’s society, it’s uplifting. It displays the promise and the optimism of what we can do as a people who believe in themselves. The Roots march on.

Downloads: The Whole Album

The duo of rapper/crooner Cee-Lo Green and producer Dangermouse that make up Gnarls Barkley return for a second serving of exotic tunes with “Odd Couple”, a thirteen-track bliss-ride into a dimension all their own.

After a smooth, airy start with the enchanting “Charity Case”, and the hollow, empty sound of “Who’s Gonna Save My Soul” the album picks up speed with “Going On” and the current single “Run.”

Their ability to produce the sound of a full-feature band coming from two artist shines throughout, as Dangermouse’s retro-but-futuristic production joins with the easily identifiable stories of Cee-Lo. The high-pitched southerner is able to experiment and explore while Dangermouse plays the background providing the canvas.

Gnarls Barkley goes places unimagined to their respective genre’s, which makes them a very unique pair; the primitive self-actualization of “Open Book”, the teenage rebellion of “Whatever”, the love lessons of “Surprise” and the playful undertones of “Blind Mary” define the group as having no definition.

It’s an old-school sound that’s refreshing, something rarely found in music today. Although short with a majority of the songs clocking in slightly over three minutes, the group pushes the envelope and leaves you wanting more. Fitting into no categories, Gnarls Barkley is truly an Odd Couple that meshes perfectly to produce some great music.

Downloads: “Surprise” “Blind Mary” “Open Book”

Quietly reaching his ninth solo album, Brooklyn’s underrated son AZ
provides a nostalgic look at rap’s Golden Era on Undeniable delivering
rhymes as slick and smooth as the beats that support them.
However, missing are the street-slick, ghetto-gospel grittiness of past
beats and rhymes. Similar to Jay-Z’s Kingdom Come, AZ takes a more
retrospective, established, and sophisticated approach; a man who has
seen fads and trends of the industry come and go while still remaining
true.

Soulful, melodic and sample-driven beats reign supreme on Undeniable,
allowing AZ to reminisce on his ten plus years in the game. The players
ball-like “Life on the Line” and the harmonious “What Would You Do”
paints AZ at a podium receiving his rap-certification. The light and
upbeat production of “Fire” shows that effortless and almost mechanical
flow that he’s known for and “Dead End” provides the perfect backdrop
for a hazy summer on New York streets.

When he’s not instructing a course on lyricism, AZ is fulfilling the
other side of his dichotomy with attempts at crossover appeal. “Parking
Lot Pimpin”, “Undeniable” and the potential hit “Go Getta” with Ray J
displays the wordsmith’s savvy adaptation to today’s club-governed era.
Although lacking the subject matter and direction of classics like Doe
Or Die, the street-savvy appeal of Aziatic is there, providing a median
for the two extremes. With Undeniable it seems that the only thing
being denied to AZ is real mainstream success. But judging from this
attempt, it doesn’t faze him much.

Downloads: “What Would You Do”, “Go Getta”, “Fire”

On April 25, the three police offers charged with the 51 shots that killed unarmed husband-to-be Sean Bell 12 months ago were acquitted of all charges. Since then, much has been said about the disappointing verdict –what it says about law enforcement and the justice system’s treatment of the black community – but much is not being done about it.

Instead of the petty bickering between rival artist and labels, a collective effort should be made by Hip-Hop to inform and aware its people about what they can do about this case. Instead of the recent youtubing, photoshopping and case-pending rap beefs used to create controversy amongst ourselves, there’s a serious controversy being forced upon us that requires a similar approach.

Although rap beef is widely recognized as a strong selling tool, these events call for Hip-Hop as a whole to come together and stand-up for us as a teaching tool, knowing that a system ordered to protect us will not. The same energy used to further ridicule, disrespect and blatantly violate each other through rap beefs can be used to cohesively spearhead a movement against those who do these things to us already.

Where are groups like Public Enemy? N.W.A? Artist like Nas, Ice Cube and 2pac? Hip-Hop has the power and the resources to make a significant change, because if any change is going to happen it has to happen from within. Hip-Hop, we need you to answer the call.