My Top 10: Rap is Like the NBA: '94 Draft Edition

So in the past 3 years, XXL magazine has done 2 groundbreaking, yet controversial covers that give shine to up and comers. For some oddball reason, the Hip-Hop community, mostly frustrated artists, complain about their respective choices. I think that 1) the publication should be applauded because no other mag has done something so avant garde, and 2)the staff shouldn't be crucified for their choices because there must be a definitive criteria for consideration. Granted, they dropped the ball with the notable absence of Drizzy in '08, but the truth is, homie's buzz grew exponentially towards the later half of the year which could explain why he missed it. However, to put thing in perspective, I've compiled my Top 10 Draft for what many consider one of the last seminal years in Hip-Hop; 1994. The results may surprise you.

Criteria:
1: No SOLO releases prior to 1994 (Sorry Common & The Roots)
* Rank is based on overall buzz, hype, and relevance

1: Method Man - his team was unquestionably the biggest thing going in Hip-Hop at the time and everyone was anticipating his solo release after the gargantuan single based on his moniker

2: Nas - the underground rallied around him, mainstream hailed him the new Rakim to a post Das EFX/Onyx era, and he had the co-sign of every super producer of the time

3: Notorious B.I.G - The star power of Bad Boy captured the hearts of Hip-Hop fans with underground gems like "Party & Bullshit", "Dreams" and guest appearances alongside the Queen of R&B/Soul, Mary J. Blige

4: Jeru The Damaja - after countless appearances alongside Hip-Hop mainstays, Gangstarr, Jeru was set to release a classic produced exclusively by Preemo. Not to mention his single "Come Clean" sent waves through Hip-Hop

5: Warren G. - yup, we seem to have collectively forgotten that "Regulate" was one of the biggest records of the year, and it didn't hurt either that he was affiliated with Dr. Dre, Snoop, and Death Row.

6: Da Brat - Jermaine Dupri was set to prove that Kris Kross and TLC were no flukes, and he sure did with his female Snoop. Between "Give It To You" & "Funkdified", homegirl's debut was set to establish a new precedent for females.

7: OutKast - with a single whose title is too long to spell out, I'll just say that ATL's premier group brought an entirely new sound that hadn't been heard on a national level in Hip-Hop yet. Thank goodness for these 2 southern boys..

8: Craig Mack - Project Funk Da World may not have had the impact that he anticipated, but it produced 2 hits, 1 bonafied classic, and 1 of the best remixes ever in Hip-Hop. I'd be lying if I said that the Easy Mo Bee produced track "Flava In Ya Ear" still isn't DOPE as hell

9: Keith Murray - The Def Squad must have sure been proud when their fellow member broke out the gate with a classic like "The Most Beatifullest Thing In The World". Though he used words out of context, made little to no sense, his rhymes sure sounded ill.

10: Smif N Wessun - Though their debut wouldn't drop until '95, they sure rode the momentum of Black Moon. The singles "Bucktown", Wreckonize" and "Wone Time" were already certified underground classics, and the group would further penetrate the mainstream with the memorable back and forth on Mary's "I Love You"

So there you have it. Notice anything? For one there are some noticeable absences like M.O.P, who began making noise. There was also Mic Geronimo, who's single "It's Real" was smashing NY. AZ's appearance on ILLMATIC generated a similar buzz to Nas' on "Live at the Barbeque", but wasn't enough to qualify. Most notably is the man that would basically define the next 12-14 years in Hip-Hop, Mr. Sean Carter. Although he had singles that made noise, he wasn't THAT dude at that moment, and couldn't crack the top 10.

Just as in the NBA, it doesn't always pay to be "numero uno" or in the Top 10 at all a la Glenn Robinson, Kwame Brown, and "Mr. Ether" himself, Sam Bowie. Take note folks. You can get your panties in a bunch, but nobody can predict the future, not even XXL.

Go ahead and debate...........

I'm Over It!!!!

So I'll begin by saying congrats to Sucio Smash on celebrating 7 years at WKCR. He's taken the reigns from underground luminary, Bobbito "DJ Cucumber Slice" Garcia, and has helped keep the "underground" alive.

However, I'm disgusted!!! I feel like the entire scene suffers from this elitist attitude which ultimately keeps it from growing. As I waited to participate in the festivities, and even as I got behind the mic, I realized I no longer wanted to be a part of this scene. My fondest memories of underground radio were those of Jay Smooth introducing me to Keith Murray's "Most Beautifullest Thing In The World" or Martin Moore & Meyhem breaking Junior Mafia's "Players Anthem". I fondly remember having my cassettes ready to catch Natural Elements cipher on Stretch & Bob. NY underground radio used to be instrumental in breaking the future stars of tomorrow. Their play list would be something like this; new Nas, new Roots, a relative unknown named J-Live, new Redman, new Natural Elements, new G Rap, and pre Reasoonable Doubt Jay-Z. The aforementioned play list is the furthest from an accurate representation of today's underground.

I understand the game has changed, but what made it so dope is missing. I'm not sure who's to blame; the fans or the DJs? Somewhere towards the mid to late 90's there was this shift to "preserve authentic Hip-Hop" amidst the Puff era, but something went awry. Isn't this the same scene that gave us Eminem, Mos Def, and Common? They've obviously lost their way, and I feel this was blatantly apparent last night. It's become progressively harder for me to listen to these shows when Funk Master Flex of Hot 97 does a 90's mix that's more reflective of underground Hip-Hop than the current mainstays. Instead of hearing the "next" Buckshot or being introduced to the next "King of NY", I'm left with some abstract, super lyrical, incomprehensible song about planets and toilet paper. WTF?

While I was ecstatic to see Homeboy Sandman rhyme next to General Steele and Rock of BCC and underground favorite, Pharaoh, everything else was a bit disappointing. As I listened to several talented emcees spit endless bars, I kept thinking, "this isn't it". These ciphers won't become the stuff of legends like "Jay-Z and Big L's? This isn't remotely close to that legendary night The Roots rocked NYU's radio show with a who's who of NY hottest like Lord Tariq and Sadat X. While I respect most of the emcees, with the exception of a notable performance by Cymarsahll Law, it was disheartening.

I often hear that NY's Hip-Hop scene is in shambles and is dire need of help, but it begins on the underground level. If the DJs don't partially accept accountability for not cultivating potential talent and ushering the future stars, NY Hip-Hop will continue to be irrelevant. Especially when foreigners like Pill and B.O.B are beginning to fit the bill.

Soundtrack of my Life

Music has an incredible way of defining my life. Just about every significant moment I've ever experienced is directly linked to a song. I can typically tell how much I feel a chick if certain songs begin to speak to me, as if I'm living vicariously through the artist. In the same breath, I can tell when I'm over someone when the song doesn't hold any more sentimental attachment. If the person was meaningful enough, it will always be there though. Relationship stuff aside, I can remember where I was, what I was wearing, who I was chilling with, and so much more based on music.

I'll never forget the summer of '92 because Pete Rock and CL Smooth's "T.R.O.Y" was THAT joint. The minute those horns came in, I'd lose my mind. I can see myself in that awful colored all over print t-shirt with my gold Guess denim shorts and matching NIKE Diamond Turf's with the gold mesh on the side standing in front of Naptale's house kicking rhymes (I thought I was fly, but I wasn't). I'll never forget watching the video to Shawn Stockman's (of Boyz II Men) solo record and being on the verge of tears around the time I lost my mom. I fell in love for the 1st time while bumping Lauryn Hill's "Miseducation.." and "Nothing Even Matters" spoke to me in new ways. Teedra Moses' "Be Your Girl" defined an incredible summer in 2004 that was filled with opulent living, excessive drinking, and all around debauchery. I know some of y'all remember.

It's just amazing what music can do for you. There are so many countless memories... All I want to do is define someone else's life through my music in the same way artists have done for me and pay it forward.

Current Playlist
"Un-Thinkable (I'm Ready) - Alicia Keys
"Spotlight" - Gucci Mane Feat. Usher
"So Beautiful" - Musiq Soulchild
"Cloud 9" - me
"Only In Dreams" - Weezer
"Rich off Cocaine" - Rick Ross

Gangstarr: Severely Under appreciated

The Hip-hop community has been in hysteria over the past few days as the rumormill has been buzzing over Guru, of the legendary rap duo Gangstarr. I don't know many concrete facts, but it's known that he suffered a heart attack and later had surgery. Amidst all the drama, social networking sites like Twitter became a hell of a plague as some folks reported homie died. Luckily reports and tweets from sources close to Guru, like DJ Scratch, have reported that he's well. Thank goodness.

I wanted to take this moment to explain a few things because as the title indicates, I believe Gangstarr is underrated, under appreciated, and ignored when conversations of "the greats" come up. When the discussion of classic group albums and consistency arise, I often hear people mention A Tribe Called Quest or even Mobb Deep. Not to take anything away from either group because they great as well, but for the uninitiated, do your homework; Gangstarr went in!!! We're talking Step In The Arena, Hard to Earn, and Moment of Truth, which respectively spawned classics like "Just To Get A Rep", "Mass Appeal", "Dwyck" and countless others. So if the barometer is ATCQ's and M-O-B-B's first 3 releases, why can't we talk Preemo and Guru?

They may not have been the biggest group at any specific moment, but they were always relevant. We need to thank them for introducing us to Jeru, who produced a classic debut, G Dep pre-Diddy, and even Group Home. We all got scared when we thought we may have lost dude, but it's time we show appreciation while he's still here. So let's make a toast to arguably the best rapper/producer duo... THANKS



Shouts to the homie Vic Black... I see you